L.A. OPERA'S `LA TRAVIATA' ENTERS THE JAZZ AGE.

Byline: David Mermelstein Correspondent

It would be fun to speculate why the Los Angeles Opera, in bringing a new production of Verdi's ``La Traviata'' to the Dorothy Chandler Pavilion stage on Wednesday night, chose Marta Domingo, wife of company impresario Placido Domingo, to direct it -- especially as she was afforded precisely the same honor the last time the company offered a new production of the opera, back in 1999.

But let's not succumb to such base musings when there's plenty to say about this new production, which recasts ``Traviata'' from the mid-19th century to the Jazz Age. The reasons for this change remain obscure, save that Domingo, also credited as having designed the production, is clearly besotted by the art deco fantasies of Erte, the Russian-born French artist whose work celebrated all that was slim, slinky and sophisticated.

Those three adjectives, by the way, perfectly describe the Violetta of soprano Elizabeth Futral, who sings the fallen woman at the heart of this tale -- a story some may know better in its silver-screen incarnation, the Greta Garbo vehicle ``Camille.'' In Domingo's version, Futral is cast not as courtesan, but rather as a common prostitute, thanks to a dumb scene the director inserts as the overture is playing.

Be that as it may, Futral plays Violetta with head held high, her silvery soprano disavowing any notion that this creature has ever been near a gutter, let alone descended into one. In addition to tonal beauty, Futral, who impressed previously at L.A. Opera as Sophie in ``Der Rosenkavalier'' and as Cleopatra in ``Giulio Cesare,'' possesses extraordinary technique, and her fearless flights up the scale lent her portrayal additional sparkle.

Futral was well matched with Maltese tenor Joseph Calleja, who sang Violetta's suitor Alfredo with great passion. Calleja has more than a beautiful voice -- warm, ringing and plush; he has a voice that fills the hall. At a time when Verdi tenors are in short supply, he brings hope along with impressive vocalism. His acting could use work, but that is a small quibble, given his gifts.

Completing the trio at the heart of this opera, baritone Dwayne Croft, naturally regal, proved an ideal Giorgio Germont, Alfredo's father. Along with necessary stentorian force, he gave his character a humanity essential to making him believable.

And yet for all the beautiful singing and gorgeous, Gatsby-esque costumes, this was a cold, efficient and entirely unmoving production. Partly, conductor John Fiore is to blame. His speedy tempos pushed the singers. But that can be corrected. Less easy to fix will be the remove at which Domingo clearly regards this opera.

``La Traviata'' should be a hot-blooded, and hotheaded, romance that culminates in declarations of ardor, remorse and forgiveness, before death stakes its inevitable claim. But Domingo sees it differently. Her message? Down with love.

LA TRAVIATA - Three stars

What: Marta Domingo's new production of Verdi's work at L.A. Opera.

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

When: 7:30 tonight, Tuesday, Friday and June 21; 2 p.m. June 18 and 24.

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

In a nutshell: A well-sung but strangely unmoving version of a classic tearjerker.

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Elizabeth Futral is Violetta and Joseph Calleja is her suitor, Alfredo, in the L.A. Opera production of ``La Traviata.''