Twelve years in the making: That’s what the University of Maine School of Performing Arts’ production of Mozart’s “The Marriage of Figaro” has been – a long, difficult journey for director Tom Mikotowicz stretching back to those scary years in the late ’90s and early 2000s when there was a question whether there’d even be a School of Performing Arts. The last opera UMaine staged was “Die Fledermaus” in 1996. Mikotowicz has been itching for another one all this time. “Figaro” is his baby.

Fortunately, this production of “Figaro,” which opened last weekend and runs for three more shows this weekend (Feb. 22-24), was well worth the wait. The UMaine “Figaro” is ambitious, lighthearted and a welcome change of pace from the contemporary musical theater repertoire from which UMaine productions typically draw.

Visually, every detail is nailed. There are the opulent 18th century costumes, on loan from Toronto-based costume shop Malabar LTD. There’s the creamy, natural lighting by New York lighting designer Burke Brown, which makes everyone look a little flushed and excited (which they probably are). There are the wigs – when Basilio (played hilariously by Alan Sevigny) stepped onstage in Act I, with his enormous, fluffy mound of white hair, a giggle arose from the crowd. Even the most cultured of audiences can’t help but laugh.

And, most notably, there are the stunning, geometrically inspired sets by professional set designer Laura McPherson. The juxtaposition of period costuming and postmodern set design could have been distracting; instead it imparts an air of whimsy and, while striking, does not overwhelm from what’s most important – the actors onstage.

There are truly some extraordinarily talented performers involved in “Figaro,” though it seems that most of them fall into one of two camps: the theater students who can sing fairly well, and the music students who can kind of act.

All of them displayed a remarkable level of vocal skill – from the buttery, rich baritone of Seth Grondin (who plays the lovable lunk Figaro) to the enchanting soprano Whitney Blethen (one of two actors playing the page Cherubino). A superb, hard-working orchestra and expert musical direction by professor Lud Hallman certainly helped to facilitate this.

There are a few performers, however, that can both act and sing, and with great success. Among these are Jason Wilkes, as the arrogant, lustful, jealous Count Almaviva; Rebecca Bailey, who plays the clever chambermaid Susanna for the first two acts; Matt Bessette, as the slimeball lawyer Bartolo; and Tina Burns, who plays the lovelorn Countess Almaviva for acts III and IV. Wilkes especially deserves praise for his conniving count. He strikes the right balance between the false pride of aristocracy and unabashed horniness – and he’s got some serious vocal chops to boot.

The split, double and sometimes simulcasting of certain roles had mixed results. The transition between different actors worked seamlessly in the case of the lady-lovin’ Cherubino (Brinee Martin and Blethen), but was rather clunky for Susanna (Bailey and Maria Talbot) and the Countess (Jesse Hanington and Burns), and downright distracting for the simulcast role of Barbarina (Alyssa Manzi and Sarah Farnham).

Mikotowicz keeps the messy, freewheeling plot under reins, while letting his performers have a little fun with their roles. The result is an alternately bawdy and tender tale of raging hormones, betrayal, forgiveness and love, sweet love, that will please both buffs and newbies. Let’s hope that Mikotowicz and the rest of the School of Performing Arts are given the opportunity to stage more opera.

“The Marriage of Figaro” will be performed at Hauck Auditorium on the UMaine campus at 7 p.m. Friday, Feb. 22, and Saturday, Feb. 23, and at 2 p.m. Sunday, Feb. 24. Admission is $12.