The tightrope act that a 21st century opera must perform is both to please opera purists and to connect with a new generation of opera-goers.

Contemporary composer Peter Hilliard and librettist Matt Boresi bring their modern sensibilities to their opera, “Blue Viola,” the season kickoff for Lyric Opera of the North (LOON).

With its mix of blues, jazz, musical theater and modern classical music, “Blue Viola” is a sophisticated mélange of the sounds and styles of the likes of B.B. King, Stephen Sondheim and George Gershwin.

Under the ever-impeccable baton of the DSSO’s Dirk Meyer, the six-piece orchestra including, of course, a viola, (played elegantly by guest artist Tamás Strasser) creates music that is at turns captivating, haunting, discordant and undeniably fresh and exciting.

“Blue Viola” tells the comic and tragic tale of a valuable viola that is accidentally left on a Chicago street and how it passes through the hands of a woebegone junk collector, his downtrodden girlfriend, a sleazy food-shop owner and ultimately into the clutches of a music aficionado who alone understands its worth.

The cast of four are all solid actors and consummate singers. Playing Mikey Stearns, the smarmy owner of a beef sandwich and cookie shop, Calland Metts shows his musical theater and opera skills, both in his acting and his always crystal clear singing.

As Fritz Humboldt, an intimidating rare instrument dealer, David Greenberg brings a commanding voice and physical presence to his role. His song about the differences between the violin and the viola, and ultimately his reverence for the viola, is one of the highlights of the evening. As he sings, “The viola discovers your heart’s desire … and whispers it in your ear.”

Mezzo-soprano Alicia Hall Moran (Arnita Seward) has appeared in such venues as Lincoln Center, the Kennedy Center and on Broadway where she understudied Audra McDonald as Bess in “Porgy and Bess.”

Arnita sees the viola as a means to escape her dead-end life where she laments that she “ain’t never had a good day.” Moran’s luscious voice combined with her sensuous acting style demonstrate her facility to work across genres in theater, jazz and opera.

Baritone Jorell Williams, who originated the role of Vernon Addams with Urban Arias, has sung with many opera companies throughout the United States and has won many awards from a variety of foundations and in many competitions.

Vernon is both mocking and longing to be one of the “real classy people” who can just sit and listen to music “in red velvet seats.” Williams effortlessly combines a grittiness in this character with the velvet tone of his voice.

While Clyde Iron may seem an unlikely opera venue,  Ann Gumpper’s cutaway tenement set pieces blend well with the industrial style of the event space.

Bravo to director Jeffrey Madison for his crisp direction and to LOON for choosing this intriguing example of what the landscape of the 21st century opera may look like. “Blue Viola” shows how a new audience for opera may find their entryway through modern pieces to the enduring repertoire of classic opera.