Elizabeth Futral, a soprano from New Orleans, is one of the best singing actresses we have. She has proved as much before New York audiences in recent seasons. Last fall, she was Strauss’s Daphne, at City Opera. Earlier this month, she starred in Ricky Ian Gordon’s “Orpheus and Euridice,” a presentation of Great Performers at Lincoln Center. And on Thursday night, she was Lucia, at the Metropolitan Opera. The Met has again revived what may be the quintessential bel canto opera, Donizetti’s “Lucia di Lammermoor.”

Ms. Futral has returned to Lucia often, and a wise thing, too: It is a role that requires the kind of singer she is – lovely of voice, agile in technique, convincing in dramatic portrayal. Lucia is, in fact, one of the most inviting roles in all of opera, and it can pretty much make a career. Ms. Futral did not deliver her best Lucia on Thursday night – she struggled in the early going. But she did justice to this extraordinary role, which you can’t say of every soprano who tries it.

We are talking about a funny kind of coloratura soprano: Ms. Futral has all the tricks, but she also has tremendous strength. In the past, I’ve described her as a “battleship of a coloratura.” It’s as though Lily Pons had a piece of Birgit Nilsson in her. Ms. Futral can be as formidable as anyone singing: When she commands “Ascolta”- “Listen”- you really listen up.

On Thursday night, she initially had trouble focusing her sound, and she had major trouble with high notes: She grabbed for them, fought for them. Those first high Ds were strident, almost shrieked. But she was brave, not ducking the music, apparently trusting that she could work out whatever was hampering her.

By the time Act II came around, she was much more herself, and when she sang her Ds, they were excellent – even blazing. It should be said, too, that she has an exceptionally potent lower register (and quite clear). This range, and its evenness, are not given to every soprano.

Ms. Futral’s abilities as an actress were particularly noticeable in Lucia’s transition from sanity to madness. This transition is hard to effect – happy sanity and barking madness are easier. And in her mad scene, Ms. Futral did not chew the scenery. She was subtle, controlled, conveying Lucia’s tragedy in a heartbreaking manner.

And, although it’s unfair, life is unfair, and opera is unfair: Ms. Futral is blessed with fetching looks, which does her no harm in her profession, or as the lovable, pitiable Scottish lass, Lucia.

The tenor singing Edgardo was making his Met debut. That was Giuseppe Filianoti, an Italian who is a rising star in bel canto. He was impressive right from the beginning, with a well-placed, pleasant voice. Sometimes that voice sounded a tad pinched, but that has always been acceptable, especially in this repertoire. And Mr. Filianoti can sing with style, a sense of drama: When he sang the words “Sulla tomba” – about that gloomy crypt – he sent a shiver down your spine.

He had trouble with pitch, however, especially during his big final-scene aria. (Mr. Filianoti suffered a case of the flats.) But this did not spoil a notable debut.

Charles Taylor, an American baritone, was Enrico, showing off a big, rounded voice, and singing with plenty of conviction. He was not free of glitches, but he sailed right through them. Confidence is one of a singer’s most valuable assets. Raimondo was John Relyea, the Canadian bass-baritone who is ever reliable (and versatile). He was not in his best voice at the beginning of the opera, but he soon hit his stride, singing deftly and beautifully. Raimondo is given some of the most poignant music in the opera; Mr. Relyea sang it poignantly.

In the role of Arturo, Dimitri Pittas displayed a bright tenor, and, in the role of Normanno, Ronald Naldi displayed a quirky tenor. He did some bleating and bellowing – but he got this role across. The mezzo-soprano Edyta Kulczak was Alisa, and her outstanding traits were a generous vibrato – too generous, I’m afraid – and ample volume.

In the pit was a maestro who had conducted “Lucia” at the Met before: Edoardo Muller, an Italian. (Go by the first name, not by the last name.) When he was good, he was very good: The very first pages of the score set the grim Scottish mood; the famous Act II sextet was fast, but not too fast, and its climaxes were interestingly emphasized (almost too emphasized); the beginning of Act III – when tremendous foreboding is in the air – was downright gripping. Otherwise, Mr. Muller was merely competent, or even workaday. I should say, however, that this conductor almost always showed vigor, giving us “energy in the executive.”

Members of the orchestra did some lousy playing, but some laudable playing as well. The French horn was beautifully mournful at the beginning of the opera – a bit frayed and uncertain toward the end. The harp was duly angelic, and virtuosic. The cello – helping to conclude the story – was ravishing. And the Met chorus did its job, now festive, now horrified, as required.

The production is Nicolas Joel’s, from 1998. It looks like aristocratic Scotland, and like Sir Walter Scott’s tale, “The Bride of Lammermoor.” Funny how Donizetti’s music often seems incongruous: bouncy and Italian, as the fog settles over one of the most wrenching, brutal dramas we know.

***

Shostakovich was born in 1906, so you know what that means – next year’s a “Shostakovich year.” We will be swamped with him, as we will with Mozart (b. 1756). In the music business, there’s no kill like overkill.

The Chamber Music Society of Lincoln Center is getting started early, with a three-concert centennial celebration. The first concert was on Friday night, and the last will be tomorrow night.

Shostakovich is best known throughout the world for his symphonies, and for a concerto or two. But his chamber output is large and rich, having at its center 15 string quartets. On Friday evening, the CMS gang opened with a youthful work, the Trio No. 1, written when the composer was 17. Really, Shostakovich is underrated as a wunderkind (or at least a wunder-teen). This is a fine work.

The cellist in the CMS grouping was Clancy Newman, who produced a remarkably beautiful sound. At one point, Shostakovich gives him a song, and Mr. Newman sang it wonderfully. He went about his work in general with unusual purpose and skill.

At the piano was Anne-Marie Mc-Dermott, whose playing was nimble and well-defined. Shostakovich can bear some of her habitual percussiveness, as other composers cannot. Ida Kavafian was the violinist here, perfectly capable, but not perfect, sadly, of intonation.

After the Trio No. 1, she and Ms. Mc-Dermott played the Shostakovich violin sonata, written in 1968 for the composer’s great friend, David Oistrakh. In the opening Andante, the pianist was measured and calculating (though not in a negative way). Both musicians conveyed Shostakovich’s off-kilter march effectively. And as the sonata progressed, we heard what we so often hear in Shostakovich: terror (or terrified anxiety); resignation; introspection. The final movement wove a kind of spell.

In the second half of the program, CMS presented a novelty: Three Duets for Two Violins and Piano, which come to us from another Shostakovich friend, Levon Atovmyan. He took some of Shostakovich’s film and theater music and arranged it, charmingly. The duets were played by Ms. Kavafian and her sister, Ani. They treated the first piece – Prelude – roughly, with sorry intonation. They got better, however, and it was nice to hear this unfamiliar music.

The concert ended with something very familiar, and great: Shostakovich’s piano quintet in G minor. Did Shostakovich ever write anything more intelligent or enduring? Too bad the CMS 5 could not offer a memorable performance. Ms. McDermott did some stilted playing, and there was no reason to pound so.There was no reason to grunt, either, like Monica Seles on the tennis court.

In keeping with a theme, the cellist Fred Sherry struggled with intonation. But Ani Kavafian made some beautiful sounds – meltingly lyrical – and so did the violist, Paul Neubauer. (No surprise there.)

Shostakovich’s second movement – Fugue: Adagio – was touching, but the stirring, well-loved third movement – Scherzo: Allegretto – was a mess. And the Finale? Slower and sleepier than its tempo marking, Allegretto (again), and its nature should suggest.

Well, there are only 55 more shopping days until Christmas, and 63 days until the “Shostakovich year” officially begins.

“Lucia di Lammermoor” will be performed again tonight, November 3, 7 & 10, December 20, 23 & 30, and January 5 at the Metropolitan Opera House (Lincoln Center, 212-362-6000).

The Chamber Music Society of Lincoln Center will perform another Shostakovich program tonight at Alice Tully Hall.