IT would seem as if a love triangle is a prerequisite for the productions mounted by New York’s Metropolitan Opera as part of its 2012/13 season.

Of the productions showcased during the Live in HD series, four — L’elisir d’Amore, Otello, La Clemenza di Tito and the most recent, Un Ballo in Maschera — bear this feature.

The reasoning behind this theme is clear. It certainly adds tension and high drama, a key ingredient in these great works of art.

In Saturday’s presentation of Verdi’s Un Ballo in Maschera, the triangle involves Gustavo, the King of Sweden ( Marcelo Alvarez), his secretary and friend Renato (Dmitri Hvorostovsky) and Renato’s wife Amelia (Sondra Radvanovsky).

Interestingly, Un Ballo is based on a true story, and as a result, Verdi reportedly came under heavy pressure from censors of the time which saw the production being shifted from one European country to the next in order to avoid this pressure.

At the heart of it lies the story of a plot to assassinate the king. Confident in the love that his subjects have for him, he throws cold water at the advise of his insiders. However, he seeks counsel from a fortuneteller, Ulrica, who confirms his demise at the hand of a friend.

Still not convinced, he decides to go ahead with his normal life.

As the story unravels, what is presented is an epic, theatrical production which seamlessly combines drama, tragedy and comedic moments. Director David Alden and his team pull out the stops to mount a piece with elements of a Broadway production complete with dancers.

This creates textures and levels not normally experienced through opera. The creative staging and majestic sets definitely add to the experience. One could easily be caught staring at the set pieces rather than focusing on the action on stage. The use of giant mirrors for the final scene was a stroke of genius as it presented the spectacular dénouement in a larger-than-life setting.

It is the Met and therefore a certain standard is expected of the actors. However, credit must be given to Hvorostovsky, whose booming voice — which he ‘modestly’ admits is a wonderful instrument — truly carries the character. His flair for the dramatics is also evident in his nuances and makes Renato that much more believable.

Being a Verdi work, Un Ballo is not without its fair share of great arias.

Hvorostovsky’s rendition of Alla vita che t’arride , as he warns the king of the impending assassination, showcases the power and depth of this singer. Stephanie Blythe, who plays Ulrica, is eerie and dramatic as she belts Re dell’abisso. The duet between the king and Amelia — Non sai tu che se l’anima mia — is tender and sweet, with Alvarez and Radvanovsky giving their romantic best for this piece.

The Met’s Live in HD series continues this Saturday with the highly anticipated performance of Verdi’s Aida.