"Aida" at the Metropolitan Opera A scene from Act II of Verdi's "Aida" at the Metropolitan Opera, in which the mezzo-soprano Stephanie Blythe made her house role debut as Princess Amneris. One of the most manipulative moments in opera occurs in Act II of Verdi's "Aida," when the jealous Princess Amneris tricks Aida into revealing her love for the warrior Radamès. The mezzo-soprano Stephanie Blythe, who made her house role debut as Amneris when the Metropolitan Opera's grand production returned for the first performance of the season on Thursday, sang with a luminous sweetness while manipulating Aida, her voice taking on a more steely tone after learning that her slave is her rival in love. Ms. Blythe offered a nuanced psychological portrayal that traced Amneris's evolution from a spoiled princess frustrated that she can't have what she wants to a more mature woman, vulnerable and heartbroken. While not always sounding entirely idiomatic in the role (a relatively new one in her repertory), her huge voice was powerful and alluring, audible even over the orchestra and chorus in Act II. She nailed the high notes in the Judgment Scene with confidence. By comparison, the tenor Marcelo Álvarez often sounded underpowered and had an off night over all, starting on shaky ground with an uneven and choppily phrased rendition of "Celeste Aida." He almost cracked a few high notes and didn't attempt the pianissimo Verdi specified for the final phrase.He acted convincingly throughout the evening but continued to struggle vocally. As Aida, Violeta Urmana also had some treacherous moments, particularly in the Act III Nile scene, when her high notes turned shrill, and her lower notes disappeared altogether. But at other times she sang expressively and plumbed the depths of her character's momentous choice: whether to betray Radamès or her native country. James Morris as the high priest Ramfis, and Jordan Bisch as the King both sounded too pallid for such authoritative figures. In the role of Amonasro, Aida's father, the baritone Lado Ataneli was somewhat more persuasive, particularly as he cajoled his daughter into coaxing army secrets from Radamès. Marco Armiliato conducted a supple performance, albeit with some coordination problems between stage and pit; the soloists sounded out of sync with the orchestra on a few occasions. But however flawed the singing might be, it's always hard not to enjoy Act II in Sonja Frisell's magisterial staging, proof that a lively spectacle can be achieved without sacrificing good taste entirely, as has occurred in many of Franco Zeffirelli's overblown Met extravaganzas. While Ms. Blythe offered the most memorable performance, there were also some vocally alluring moments in the temple scene in Act I, when Lori Guilbeau, who sang with a strong and luminous soprano, made her Met debut as the Priestess. Her lovely singing complemented the haunting excerpts from the male chorus, which also sounded gorgeous in that scene. "Aida" runs through March 3 at the Metropolitan Opera House, Lincoln Center; (212) 362-6000, metopera.org.