FINE WORK MAKES `DON CARLO' WORTH THE 16-YEAR WAIT.

Byline: David Mermelstein Correspondent

There are no consumptive heroines in Verdi's ``Don Carlo.'' Nor are there humpbacked jesters -- or pyramids, for that matter. And though Shakespeare wasn't the source of the drama -- as he was for Verdi's last two operas, ``Otello'' and ``Falstaff'' -- Friedrich Schiller's work isn't a bad starting point.

Regardless, ``Don Carlo'' is one of Verdi's greatest achievements, even though it remains frustratingly rare in performance, at least locally; until last Sunday, it hadn't been seen at the Los Angeles Opera in 16 years.

So, points go to Placido Domingo and company for programming the work, even if it's an exaggeration to say Ian Judge's new production was worth the wait. Still, John Gunter's set, all darkly lit gliding arches in deep red topped with images from Caravaggio, gets the job done. The royal court of Spain in the 16th century, with tombs, gardens,cloisters and the like, is effectively, if blandly, evoked. Tim Goodchild's costumes aren't much to look at, either, nearly all totally black, if occasionally richly adorned.

No one comes to ``Don Carlo'' for spectacle, though. We come for the singing and that pumped-up score, which the company's new music director, James Conlon, conducted with the sort of passion that enhanced, rather than overwhelmed, the drama.

In fine tone

The assembled singers rate as one of L.A. Opera's most deeply cast efforts in years and should be appreciated as such. As the opera's titular hero, Don Carlo, tenor Salvatore Licitra made a favorable impression. That was hardly foreordained given his extremely disappointing showing in last season's ``Tosca.'' But this time, his tone was warm and steady, his sound substantial, suggesting there may indeed be a bright future ahead for him. < As Don Carlo's swashbuckling partner Rodrigo, baritone Lado Ataneli also claimed an attractive tone. And though a bit clumsy in some of the subtler scenes, he was physically right for the role. To her credit, the cherishable mezzo-soprano Dolora Zajick let loose as the scheming Princess Eboli. She charmed by playing to the rafters -- even wearing an eye patch for the sake of historical veracity -- but that's mere window dressing when the voice is as rich and molten as this singer's. Anyone recalling Zajick's terrific turn as the gypsy Azucena in Verdi's ``Il Trovatore'' on this same stage two years ago won't want to miss her this time. And those who didn't catch her last time ought to make sure they do now. < By comparison, soprano Annalisa Raspagliosi offered a subdued portrayal of Elisabeth, the figure at the center of the drama, stepmother and beloved of Don Carlo, wife of his father, King Philip II. She sang prettily and with conviction, and look terrific as this conflicted character.

Born for the role

But in so many ways, this is bass Furruccio Furlanetto's show. Furlanetto, making his company debut, was born to play King Philip. He has physical stature and regal bearing on his side. More important, he has the voice for the role. It's not just about deep tones, which Furlanetto has in spades, it's how he dispatches them. The bass was chilling as the withholding father, but much more impressive was how he handled the king's moments of doubt. Even days later, it makes your breath catch.

DON CARLO - Four stars

What: L.A. Opera presents Ian Judge's new production of a rarely heard Verdi masterpiece.

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

When: 2 p.m. today; 7 p.m. Wednesday, Sept. 24 and 28; 12:30 p.m. Oct. 1.

Tickets: $30 to $220. [phone] or www.losangelesopera.com.

In a nutshell: A well-sung, beautifully played account of an engrossing, underappreciated opera.

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Tenor Salvatore Licitra rehearses for the L.A. Opera's ``Don Carlo.''