Angela Meade in "Ernani" at Metropolitan Opera Ernani Foreground from left, the veteran bass Ferruccio Furlanetto, as Silva, and the tenor Roberto De Biasio, in the title role, in this 1844 Verdi opera, based on a play by Victor Hugo, at the Metropolitan Opera. Even with several strong contenders for the title, "Ernani" may have the most implausible plot of any Verdi opera. Based on a play by Victor Hugo, it is a melodramatic tale of a love quadrangle set in tumultuous 16th-century Spain. Not two but three entitled men try to claim the beautiful young Elvira: her uncle and guardian, Don Ruy Gómez de Silva, an old Spanish grandee; Don Carlo, the imperious King of Spain, who you might think would have the upper hand; and Ernani, who has lost his title and wealth during a civil war and become a very dashing bandit. But in this early work, first performed in 1844, Verdi seized on the story as a vehicle for sweeping Romantic drama, complete with rousing choral scenes, and for broad explorations of human dilemmas. All this comes through with the right cast in place. And the Metropolitan Opera had four excellent lead singers on Thursday night, when "Ernani" returned to the repertory in Pier Luigi Samaritani's gargantuan-looking traditional 1983 production, last seen during the 2007-8 season. Marco Armiliato conducted a capable though occasionally untidy performance. Just days after the announcement that the American soprano Angela Meade, 34, had won this year's Beverly Sills Artist Award, a $50,000 prize, she earned a big, deserved ovation for her Elvira. Last fall she sang three performances of the title role in Donizetti's "Anna Bolena" in the Met production created for Anna Netrebko. Ms. Meade's Elvira showed what this uncommonly gifted rising artist is capable of. Her voice is plush and penetrating, though the power comes effortlessly from the body and richness of her sound. Her top notes soared over the orchestra. Yet just as impressive were her finespun pianissimo phrases. She can be a cautious singer, and she started tentatively here. But as the evening progressed, she gained confidence and conveyed the pathos, anguish and torment of a young woman being pulled apart by three controlling men, one of whom she adores. The Sicilian tenor Roberto De Biasio, who sang Ernani, has followed an unconventional career path. For years a professional flutist, he emerged as a tenor in his late 30s, making his opera debut in 2006. His only previous Met performance came a year ago when, at 42, he substituted one night for Ramón Vargas as Gabriele Adorno in Verdi's "Simon Boccanegra." His voice is warm and sizable, with a youthful bloom. He sang Ernani with verve and ardor but also taste. Handsome and limber, Mr. De Biasio embodied this hotheaded character, torn between love for Elvira and determination to seek revenge against Don Carlo, whom Ernani blames for the death of his father. That Mr. De Biasio has not had a couple decades" experience as a tenor shows. Sometimes the technical calculation behind his singing came through. Still, he is understandably in demand these days. His greenness stood in contrast to the veteran bass Ferruccio Furlanetto as Silva, who intends to marry Elvira. Mr. Furlanetto's strong, dark, textured voice filled Verdi's lines with burnished sound and arching lyricism. The baritone Dmitri Hvorostovsky chose this evening to introduce a new role for him, Don Carlo. After a halting start, he sang it splendidly. The tessitura of the part, which sits on the high side for Verdi baritone roles, well suited Mr. Hvorostovsky, who shaped floating phrases with mellifluous, honeyed sound. To go along with the opera you have to believe that the characters take the matter of Spanish honor very seriously. In an absurd plot contrivance, Ernani, beholden to Silva for protecting him from the king, pledges to take his own life whenever Silva demands it. At the end, just when things are turning out well and Elvira and Ernani are getting married, Silva, seething with resentment and desire, calls in his chit, and Ernani duly stabs himself. But this trio offers inspired Verdi, with impassioned melodic lines entwined atop a grimly restrained orchestral accompaniment. And Ms. Meade, Mr. Furlanetto and Ms. De Biasio really sang it. "Ernani" runs through Feb. 25 at the Metropolitan Opera House, Lincoln Center; (212) 362-6000, metopera.org.