The holdovers from Baltimore Opera are relatively few, but they are exceedingly important, starting with Jim Harp, who was such a key artistic figure in the old organization. The Lyric wisely hired him after the liquidation to help keep opera alive in the historic theater.

Harp had been as much a public face for Baltimore Opera as its longtime general director Michael Harrison, but without the negative baggage. He was exactly the connective thread the Lyric needed if something like the old company was ever going to return. (I don't think there was ever a chance that something totally unlike the old company was ever going to be considered.)

Some dynamic folks from the previous board also made the transition to Lyric Opera Baltimore, providing the base for what could be a healthy, sustainable company. Money will still be essential, of course, if not as much as the old company needed, since administrative and production costs have all been reduced. There still will have to be a solid financial framework, with big time donors stepping up regularly, so there can be future growth and, eventually (I hope), risk-taking.

For now, Lyric Opera is going to steer a conservative course, leaving it to Peabody Opera Theatre, which will have a presence at the Lyric for the first time, to spice things up -- Stravinsky's brilliant work "The Rake's Progress" will be performed by the conservatory company later this month.

"La Traviata" proved that Lyric Opera can deliver the goods. It was not exactly a life-changing production, but it proved effective on balance, thanks largely to Elizabeth Futral's assured, absorbing portrayal of the title role. From her defiant "Sempre libera" to a riveting last act, the soprano showed what it means to burrow into a role. Another plus: Her voice sounded stronger, steadier and warmer than when I last heard her.

The other principals disappointed, especially tenor Eric Margiore, who favored one volume and tone color. But he and baritone Jason Stearns got the job done. So did the rest of the cast, sometimes with a good deal of color -- notably from Rolando Sanz (Gastone), Coleen Daly (Flora) and Brendan Cooke (Grenvil).

I wish conductor Steven White had left a stronger imprint on the score. More nuances of tempo and dynamics would have done wonders. Still, he did some impressive work, especially in the finale to Act 2, which was shaped with a good deal of dramatic weight.  Some fine work by the BSO in the pit all evening; the orchestra will surely get even more smoothly into the operatic mode if the association with the new company continues.

The staging, directed by Crystal Manich, needed a lot more flair and imagination than the grating explosion of laughter in the opening party scene (or the clumsy burst of dancing in the subsequent party scene). And, for all the surface prettiness of the scenery and costumes, the production looked like a moth-balled idea of what opera should be.

That said, the significance of this weekend cannot be overlooked. Against the odds, Lyric Opera Baltimore has emerged to resume a valued tradition of filling a great old theater with a noble art form.

PHOTO (by Sharon Redmond and Rich Riggins) COURTESY OF LYRIC OPERA BALTIMORE