Even with an excellent cast and Willy Decker's fine production, top honors for today's San Francisco Opera premiere of Britten's "Billy Budd" go to Donald Runnicles' orchestra and Ian Robertson's chorus. Soon after Kim Begley's haunting opening solo in the role of Captain Vere, the men of HMS Indomitable tugged on giant ropes (left over from "The Flying Dutchman"?), singing "O heave! O heave away, heave!," the sound of the chorus and of the orchestra coalesced into a thrilling single voice, coming from far away, from the deep. Time and again, Robertson's chorus sang with introspection, depth, a solid sound that did not aim at overwhelming the audience, but rather to draw it into the base, the essence of the music. There was restraint even during the battle scene, not even a hint of showboating in this "choral opera." For the chorus to go Solti-Wagnerian is a temptation difficult to resist; Runnicles, Robertson, and the chorus came through with honor and the highest quality. The orchestra, under a knowing and loving baton, was at its best, flawless woodwinds riding on the gently rolling waves created by the strings. Balances and dynamics were exemplary. Willy Decker's rather curious production from Vienna both framed this performance and was sustained by it. "Curious" because there is little physical reality to the ship where the work takes place - there are huge, flat, mostly black surfaces, and - now and then - a "window" to the sea. It's clean, consistent, and unintrusive. Ditto for Sabine Hartmannshenn's direction, except for her dressing Billy Budd in white (whenever not naked to the waste), against the dark (suspiciously contemporary denim-like) uniforms all around. "Beauty" or "Billy the Good" has been seen with blond hair before, with going whole hog with the whites lacked only having a halo around his head. A halo, actually, was well deserved by Nathan Gunn, fully on par with San Francisco's only other Budd, Dale Duesing (in 1978 and 1985). Gunn's mellow, warm and yet heroic voice underlined a well-acted character whose demise at the end was greeted by much sobbing. Begley's Vere is of the Peter Pears category, but more solidly grounded. Phillip Ens' Claggart was mean, disturbed, powerful - in voice, in action. They and the rest of the large cast (featuring many Adler Fellows from the SFO Center) blended spectacularly, helping to realize Runnicles' concept of an oceanic musicality. (Although performed in two acts, this production otherwise is based on the original, 1951, four-act version.) It's easy to predict that future stars of opera will refer to the San Francisco "Billy Budd" as their first role of note. Among them: Joshua Bloom (First Mate), Ricardo Herrera (Second Mate), Daniel Okulitch (Bosun and Gunner's Mate), Mel Urlich, Thomas Glenn, and - especially - Harold Gray Meers, as the outstanding Novice. Such veterans as Theodore Baerg, Philip Skinner, John Duykers, William Pickersgill and Gregory Stapp contributed mightily. There are performances through Oct. 17. Don't miss this musical treat - the house was only three-quarters full for the opening, and it would be a shame if music lovers missed out on a quietly majestic performance of a great opera. Janos Gereben www.sfcv.org [log in to unmask]