COUNTERTENORS IMPRESSIVE IN 'GIULIO CESARE'.

Byline: David Mermelstein Correspondent

As if we needed further proof that baroque opera has been fully embraced by the nation's major opera companies, along comes the Los Angeles Opera's new production of Handel's ``Giulio Cesare,'' its bold staging and extremely gifted cast fine compliments to Handel's superbly lyrical score.

Perhaps the most noteworthy aspect of this production, which opened at the Dorothy Chandler Pavilion on Friday night, is the casting of three leading countertenors - David Daniels, Bejun Mehta and David Walker - replacing the castratos called for by the composer. These singers merge the high-pitched tonal beauty associated with sopranos with the heft of tenors. And in performance all three impressed.

Daniels, who sang the opera's title role, may well be the best-known of them. Though he needed nearly all of Act 1 for his voice to warm, once it did, Daniels sang with technical assurance and a finely honed, attractive tone. As an actor, Daniels is less skilled, and his portrayal of the great Caesar was more than occasionally tentative. And yet, Daniels was deeply moving in the melting third-act aria ``Aure, deh, per pieta,'' which finds the Roman narrowly saved from drowning.

Mehta's Tolomeo (Cleopatra's scheming brother) is a much stronger portrayal, a carefully etched blend of effeminacy and dangerousness. On top of that, Mehta has the advantage of a richer, and at times even more powerful, voice than Daniels. Walker, as the servant Nireno, has a huskier, less bright sound than his colleagues do. But his scampering about the stage, harlequin-style, lends the production welcome sweetness.

Elizabeth Futral, singing Cleopatra, is the production's other great asset. She's an American soprano gaining in fame, and with good reason. She hits her high notes easily and possesses the sort of natural charm and stage presence for which many another singer prays. That ability found its toughest test in a second-act nude scene that Futral handled with consummate grace. What her sound may lack in personality, Futral compensates for in thorough characterization.

The remainder of the cast (including Pablo Porras, Paula Rasmussen and Suzanna Guzman) is also strong, although not taxed quite as much by Handel's demanding score.

Director Francisco Negrin has wisely opted to eschew literalism in an opera that has little to do with historical fact anyway. He has also refused to bow to typical space constraints, bringing his singers out into the audience via what looks very much like a fashion-show runway. This device works particularly well in the second act, when Daniels and violinist James Stark engage in a musical duel.

Though Anthony Baker's mobile sets are streamlined and often dark, they effectively evoke popular images of ancient Egypt. Baker's costumes are more of a mishmash, but they generally look good on the wearers. Especially noteworthy is Gregory Nash's engaging, athletic choreography, unusually fine for opera.

In the pit, Harry Bicket, in his L.A. Opera debut, conducted with style, neatly blending elegance and drama. Occasionally, the brasses sounded raw, but otherwise the ensemble was supple.

``GIULIO CESARE''

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

When: 7:30 tonight, Friday, Sunday and March 7; matinee 1 p.m. March 10.

Tickets: $28 to $148. Call [phone].

Our rating: Three stars

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2 photos

Photo: (1 -- 2) Elizabeth Futral is Cleopatra and David Daniels has the title role in the L.A. Opera's production of ``Giulio Cesare,'' at the Dorothy Chandler Pavilion.

Ken Howard