ANNA NETREBKO'S MANY WOMEN OF `MANON'.

Byline: John Farrell Correspondent

The Los Angeles Opera's new production of Jules Massenet's ``Manon,'' which opened Saturday at the Dorothy Chandler Pavilion, is anything but ordinary.

Under the direction of noted choreographer Vincent Paterson, who's making his opera debut, ``Manon'' reunites tenor Rolando Villazon (as the Chevalier de Grieux, the young lover) and soprano Anna Netrebko (as Manon). The two first sang together in LAO's production of Berlioz's ``Romeo et Juliette'' and have gone on to be one of opera's great pairings.

They match each other perfectly physically, Netrebko a dark, slim, slight beauty who can be girlish in one scene, a femme fatale in another; Villazon with a mop of dark hair and huge eyebrows, just an inch or so taller than Netrebko, and with all the wounded innocence of youth. (He was Alfredo in the company's two recent ``Traviatas.'') Hers is perhaps the stronger voice: Together they are magic vocally, passionate and responsive and just plain sexy.

Exuding sexiness

In ``Romeo and Juliette,'' their sexual liaison was a bit graphic. Here it's boiled down to a pillow fight on a bed half the width of the stage, with Netrebko clad in tap shorts and a silk camisole. No matter. Netrebko is a winning beauty with a winning smile and a floating, delicious middle forte, which she can hold for what seems like hours.

Her high notes are so unforced that they seems as natural as conversation.

Villazon is the perfect young man in love, so much so that when, in the opera's gambling scene, he appears in a Palm Beach tux, he seems awkwardly overdressed. But his voice is rich, powerful and elegant.

Together they are everything opera -- romantic opera, anyway -- is supposed to be.

You couldn't help but love them, even in an old-fashioned ``Manon,'' but Paterson has created a witty, bright and effective new look for the old story. He cut the music a bit and moved the action to a post-World War II Paris, a tribute to the elegant look of films of the period. Susan Hilfery created the effective and memorable clothes, and lighting designer Duane Schuler has kept darkness at bay, even in the opera's darkest moments.

A woman of many looks

When Manon arrives at the train station at the opera's beginning, she has the look of a young Audrey Hepburn in a red beret and carrying a cardboard suitcase.

She is still Hepburn-esque when she is living in sin with de Grieux in an elegant flat with a view of the Eiffel Tower. But later as a kept woman, she is every bit the elegant European (a Sophia Loren, with hair cut shorter and sunglasses).

Then she morphs once again -- this time into a blond Marilyn Monroe clone for the gambling hall scene, and, yes, there is even a pole dance.

Finally, she ends up in jailhouse dress, hair raggedly cut, in a scene that would have been perfect for Ingrid Bergman's Joan of Arc.

Placido's pluses, minuses

LAO music director Placido Domingo conducted energetically. He is best at supporting the leads, something he knows a lot about, but not so effective in the lyric passages and with the chorus.

For those who love opera for its vocal beauty, its heightened passion, its raw emotional and sexual power, this is a production to see and cherish.

MANON - Four stars

What: Jules Massenet's work as performed by opera's ``it'' couple, Rolando Villazon and Anna Netrebko, directed by Vincent Paterson.

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

When: 7:30 p.m. Thursday, Oct. 11, 18 and 21; 2 p.m. Sunday and Oct. 15.

Tickets: $30 to $220. [phone]. laopera.com.

In a nutshell: Everything opera should be.

CAPTION(S):

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Photo:

Rolando Villazon and Anna Netrebko -- here outfitted like Marilyn Monroe -- bring their trademark heat to L.A. Opera's ``Manon.'' Netrebko also brings to mind images of Marilyn Monroe, Audrey Hepburn, Sophia Loren and Ingrid Bergman.