This ‘Don Giovanni’ has striking looks

Twelve years and two revivals later, the Jonathan Miller-Robert Israel production of Mozart’s “Don Giovanni” has been retired. In its place, Saturday night in the Dorothy Chandler Pavilion, Los Angeles Opera unveiled a co-production with Polish National Opera-Warsaw staged by Mariusz Trelinski, with sets by Boris F. Kudlicka and costumes by Arkadius.It is primarily a visual experience, although the music is well served by conductor Kent Nagano and a strong, if not ideal, singing cast. But the eye is startled, delighted and sometimes enlightened by constant visual stimulation.

A raked and often darkened stage, geometric lines on the walls, halls of mirrors, gaudy costumes in bright colors, even a frightening hole in the stage -- yes, it swallows up the Don at the end -- these are some of the components of the visual production. They are fleshed out by the stylized gestures, walks and movement of the singing actors.

It is a commedia dell’arte concept, and it works, mostly, although some may think it contradicts Mozart’s very human musical drama. Individuals here become stereotypes: The Don is a one-dimensional postadolescent, Donna Elvira a shrew, Leporello a clown, and so on. These stereotypes are effective, but the music tells us much more about the characters and their inner lives.

Nevertheless, Trelinski has put together a most amusing evening. And the singing is good. One cannot, of course, forget the wondrous cast in the 1999 L.A. Opera revival, in which Dwayne Croft, Jane Eaglen, Sally Wolf and others performed up to a splendid Mozartean standard.

The present cast constitutes a tight musical ensemble, follows the director’s instructions stylishly -- if one can describe walking on the beat stylish -- and meets all the vocal challenges bravely. Erwin Schrott, a not-yet-30 baritone from Uruguay, is a most persuasive Giovanni, sensual, sleek and commanding and possessed of a voice of honeyed authority. He wears his three costumes with a swagger and sings the Serenade -- among other things -- languidly. Rosendo Flores, light of voice but comedically deft, makes a believable, contrasting Leporello.

On the other hand, the women, all accomplished, tend to sound like each other. Andrea Rost, who was an ideal Pamina in the company’s last “Magic Flute,” sings well in every moment but lacks the heroic qualities of voice and gravitas one expects in Donna Anna. Adina Nitescu, after a strident beginning, brings to Donna Elvira most of the vocal and dramatic facets the role requires; she might have done more, had the director not had her reach for some easy laughs.

Anna Christy is a charming Zerlina with a voice of genuine promise.

Fedor Kuznetsov, looking lean and bony, provided chills and fear as the Commendatore; John Matz, a most promising tenor, gave a variable account of his achievement in Ottavio’s two arias, and James Creswell again showed healthy, attractive vocal resources as Masetto.

Alan Burrett’s complex but evocative lighting designs added sparkle to the performance, as did the able chorus -- trained by William Vendice -- and the small but accomplished orchestra.

*

‘Don Giovanni’

Where: Dorothy Chandler Pavilion, 135 N. Grand Ave., L.A.

When: Wednesday and June 11, 14, 17, 20 and 22 at 7:30 p.m.; Sunday at 1 p.m.

Ends: June 22

Price: $30-$170

Contact: (213) 365-3500

Running time: 3 hours, 15 minutes