A VICTORY FOR `GRENDEL' BUT NOT ON THE ARTISTIC FRONT.

Byline: David Mermelstein Correspondent

In a town where schadenfreude isn't exactly a stranger, some may be disappointed to learn that the Los Angeles Opera's delayed premiere of ``Grendel,'' the first opera by film composer Elliot Goldenthal, came off without a hitch Thursday night. But a technical triumph -- the work is directed and co-conceived by Julie Taymor of ``Lion King'' fame -- isn't necessarily an artistic one, and this production is, alas, the former but not the latter.

``Grendel'' had its premiere postponed because of technical difficulties relating to stage machinery. (A co-production with the Lincoln Center Festival, the opera is scheduled for a short run in New York starting July 11.)

Goldenthal's opera sets John Gardner's 1971 novel of the same name. The book retells the Anglo-Saxon ``Beowulf'' epic from the point of view of the eponymous hero's nemesis, Grendel, a monster. Essentially an internal monologue, it takes a clever idea and stretches it beyond the breaking point. There's only so much ``woe is me'' a reader can take.

Same with an opera lover. To the dubious credit of Goldenthal and his librettists, Taymor and poet J.D. McClatchy, ``Grendel'' the opera is faithful to the novel, especially in the first act. This means that the opera is largely narrated by its title character -- here embodied by the remarkable American bass Eric Owens. Unfortunately, it also means a lot of exposition. And that's boring, no matter how well sung.

Perhaps if Goldenthal's music were more engaging, the journey would be easier. But this composer -- who is clearly technically talented -- can't seem to find his own voice, even as he sets those of others. But this is, after all, his freshman effort. And there's certainly enough promise here to encourage further efforts.

In terms of spectacle, though, no one should be disappointed. That pesky mechanical issue is completely solved, and George Tsypin's giant unit set -- nearly 30 feet high and about 50 feet wide -- rotates smoothly along the stage. It's meant to represent Grendel's world, half ice, half earth, and does so evocatively. Taymor's famous puppets, her directorial signature, are not up to ``Lion King'' standards, though. Some of the beasts are practically sculptural, but the small puppet soldiers resemble action figures, and their manipulation looked plain silly.

The director also deployed a large number of dancers to liven up things. It was a wise move, for besides Grendel and the Dragon, deliciously sung by mezzo-soprano Denyce Graves in high-camp mode, this opera, like Gardner's book, lacks real characters, though Laura Claycomb, a radiant soprano, provided a lovely cameo as Queen Wealtheow.

Yet Angelin Preljocaj's choreography was disappointingly generic, with bumps and grinds to signal sex and various thrusts to indicate battle.

GRENDEL - Two stars

What: L.A. Opera premieres Elliot Goldenthal's first opera, co-conceived and directed by Julie Taymor.

Where: Dorothy Chandler Pavilion, 135 N. Grand Ave., Los Angeles.

When: 2 p.m. today; 7:30 p.m. Wednesday and Saturday.

Tickets: $30 to $205. [phone] or www.losangelesopera.com.

In a nutshell: Even ample talent, massive forces and beaucoup bucks can't guarantee artistic success.

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``Grendel'' pulls out the stops from a technical standpoint, but the story drags along, as the production clings to the exposition used in the novel by John Gardner.