Because it brings in professionals for the leading roles, Fresno Grand Opera has often scored successes with smaller, more intimate productions that don't rely on large crowd scenes and big, fancy sets. Integrating the principals with the chorus and supernumeraries has sometimes been where the professionalism has seemed a little tenuous in past productions. (Think "Aida.")

But from the first act of "Manon Lescaut," when the curtain rises near the gate to Paris, the staging is vibrant and polished. The crowd scenes are seamlessly integrated with the main action, and members of the ensemble are poised and confident. The 18th Century period-specific sets and costumes -- and Joseph Bascetta's stage direction -- are impressive. The word "smooth" comes to mind, enhanced by Tom Wolfgang's lighting design, which is a very nice complement in this opera to the principal singers.

At its core, "Manon Lescaut" is about a spoiled young woman who can't decide between money and love. It was also one of Puccini's first operas. Bascetta finds the hint of immaturity in the material, the impertinent tone of youth in the story (even though, in old-fashioned opera style, several of the principal singers are decades older than their characters) that makes it a zesty tale despite the tragedy instead of some dour exercise in middle-aged angst. When the snippy Lescaut (a wonderful Patryk Wroblewski), Manot's scheming brother, gets tipsy in the first act and unceremoniously hoists up his bright red trousers, it's a chance to see the character at less than his noble best.

After all, Lescaut encourages his sister to basically ditch her plans for entering a convent so she can hook up with the wealthy Geronte (a feisty and crackling Gary Giardina, who took over the role in a last-minute program change). Left in the dust, alas, is the young and smitten Des Grieux (the powerful and charismatic Allan Glassman), who would literally follow his love to the end of the earth.

Wroblewski, as Lescaut, is a highlight. At one point mocking des Grieux in a little-boy, sing-song voice, he's like every obnoxious brother you've wanted to pop in the jaw -- but you're also, at some level, glad he's still around. Strutting about in a purple coat and obnoxiously wide gold sash, Lescaut manages to be both annoying and sympathetic, which is no easy feat.

Glassman's des Grieux is a little less defined -- it's harder for him to do more than convey a puppyish earnestness -- but his glorious voice pummels the Saroyan in a big, powerful performance.

As Manot, Frances Ginsberg has some fine, tender moments as the title character, particularly in the moving fourth act. But while she delivers a gorgeous second-act duet with Glassman, her aria in that same act did not work for me. Some of her higher notes sounded shrill, heavy and strained. It was also difficult at times to buy Ginsberg as a flighty young woman. In the second act, for example, in the famous moment when Manon is running off with des Grieux and tries to steal Geronte's jewels (she's trying to have love AND money), Bascetta's staging fails her. It needs to have more a theatrical and less scurrying feel.

Overall, however, these are quibbles. Fresno Grand Opera can be proud of this "Manon Lescaut." It's a rousing conclusion to the season.