POSITIVE CONDUCTOR TENOR PLACIDO DOMINGO'S ARRIVAL ENERGIZES THE LOS ANGELES OPERA.

Byline: Evan Henerson Staff Writer

New season, new leader, more performances, the company's first venture into ancient Egypt ... but no elephants?

You'd think the arrival of world-famous tenor Placido Domingo taking over the artistic reins of the Los Angeles Opera would entail a little pageantry. And what better occasion than Wednesday's opening night performance of Giuseppe Verdi's ``Aida,'' the first staging by L.A. Opera, and a piece for the presence of live beasts if ever there was one?

Sorry, says L.A. Opera executive director Ian White-Thomson. No creatures. (No Elton John, either. This is Verdi's ``Aida,'' not Disney's.)

``I just saw 'Aida' in Verona,'' said White-Thomson. ``It was a big open- air theater, and you sort of hope some livestock is going to be available. They managed to use a friendly bear for the Academy Awards once, but getting elephants on the stage? I don't even want to think about that.''

Following the bow of ``Aida'' and Rossini's ``La Cenerentola'' (which opens Friday), the company will conduct a different kind of dog-and-pony show next week as Domingo is expected to announce his plans for the 2001-02 season - the first he'll program. But until next Monday's press conference, don't ask Domingo, White-Thomson or anybody else at L.A. Opera what's on tap for the future. Those who know aren't saying.

``I think, like all transitions, particularly in businesses which have such a long lead time as opera, it doesn't just happen like that,'' says White-Thomson. ``We don't say, 'OK, here's a new management and all of these new things.' It's a very interesting and challenging time.''

Indeed it is, and opera aficionados both domestically and internationally are watching closely. Domingo, who has been the company's artistic adviser and principal guest conductor for several years, officially took over artistic directorship in July.

Which means attention will be paid.

``Placido is perhaps one of the three to five most visible people in the music world throughout the world,'' says Edward Purrington, artistic administrator for the Washington Opera, where Domingo will continue to serve as artistic director even after he takes over the reins in Los Angeles. ``When you have Placido Domingo running your company, the expectations of the audience are a lot higher than they would be than if anybody else is running it for reasons that the audience probably couldn't articulate. He's the man.''

As booked up as Domingo is - between his conducting and singing commitments - opera administrators nationwide are wondering how he'll make his mark on the Los Angeles scene without the use of a clone. This year alone, he has engagements in New York; Washington, D.C.; Madrid; Paris; Vienna; and Japan. He won't sing during the current L.A. Opera season, except in a series of all-Wagner concerts conducted by Valery Gergiev with the Kirov Orchestra on Sunday and Sept. 13 and 15. He'll also conduct four performances of ``Aida'' and most of Puccini's ``La Boheme'' in November.

``I say this not as a criticism,'' says Purrington, ``but he is dividing himself even further than he has. He is already sliced into so many different pie-shaped pieces that it's very difficult to find the idea lead time to work with Placido on creating his great desire for seasons in both Washington and Los Angeles.''

Purrington, who estimates that it will be at least three years before audiences see a ``Domingo stamp'' on the company, also expects Domingo's presence to cause donors to open their wallets. His presence may even further advance a marriage of high culture and Hollywood, said Christopher Hahn, former artistic administrator of the L.A. Opera under the company's departed founder/artistic director, Peter Hemmings.

``I think it can only be for the good of the classical arts and voice in the Los Angeles area, which, as we know, traditionally hasn't poured money in that direction,'' said Hahn, now the artistic director at the Pittsburgh Opera.

``Because of the proximity to Hollywood and all that money, I think he's superbly placed to pull off a significant connection. Not necessarily to popularize opera but to bring it to the forefront of people's imaginations.''

The current season, the last to be programmed by Hemmings, who has returned to England, will feature the return of Herbert Ross' production of ``La Boheme'' (Nov. 29-Dec. 21), Puccini's ``Tosca'' (June 6-27), Donizetti's ``Don Pasquale'' (April 11-29) and Mozart's ``The Marriage of Figaro'' (Jan. 16-Feb. 3). Following on the success of last season's ``Billy Budd,'' the company brings back Britten with ``Peter Grimes'' (Oct. 18-Nov. 4) to be directed by film director John Schlesinger.

Rounding out the season, which increases the total number of performances from 55 to 63, is Handel's ``Julius Caesar'' (Feb. 23-March 10). That brings the tally to four returning productions, and four that are new to L.A. audiences.

``Our actual repertoire is not exactly revolutionary or anything,'' White-Thomson said. ``But I think it has its exploratory moments. I'd be very surprised and extremely disappointed if 'Boheme' and 'Tosca' didn't sell out equally. I'd be amazed and very pleased if 'Peter Grimes' did.''

Why did it take 14 years to stage ``Aida''? ``My guess is money,'' White-Thomson said. ``It always is.''

Artists lined up include Catherine Malfitano (singing the title role in ``Tosca''), Jennifer Larmore and Rodney Gilfry (in ``La Cenerentola''), Elizabeth Futral (Cleopatra in ``Caesar''), Richard Bernstein (in ``Cenerentola'' and ``Figaro'') and Phillip Langridge (in ``Peter Grimes'').

Former Orange County resident Deborah Voigt makes her Los Angeles debut in the title role of ``Aida.'' It's a co-production with the Houston Grand Opera made possible by a gift from billionaire opera donor Alberto Vilar. Completing the love triangle are Nina Terentieva as Egyptian princess Amneris and South African tenor Johan Botha as Radames, the captain of the guard.

Radames, Botha notes, is a role that Domingo has sung several times, and he is very much looking forward to working with the maestro.

``I'm here basically to learn from him,'' Botha said, ``to learn how to perfect the part.''

By playing in repertory with `'Aida,'' Rossini's lesser-known ``La Cenerentola'' (a k a ``Cinderella'') occupies what White-Thomson calls ``the dreaded No. 2 position.'' Subscribers not necessarily wanting to see two operas in a week may opt for ``Aida,'' although the return of mezzo-soprano Larmore and tenor Gilfry (last season's Billy Budd) may yet help fill the seats.

The facts

--What: ``Aida'' and ``La Cenerentola.''

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

--When: In repertory Wednesday through Sept. 28. Call for dates and times.

--Tickets: $65 to $180 for ``Aida''; $28 to $148 for ``La Cenerentola.'' Call [phone].

CAPTION(S):

4 photos

Photo:

(1 -- cover -- color) L.A. Opera stages `Aida' under baton of new artistic director Placido Domingo.

(2 -- 3 -- color) Placido Domingo, above, leads the L.A. Opera through a rehearsal of the season opener, Verdi's ``Aida.'' Jennifer Larmore, right, stars in a new L.A. production of Rossini's ``La Cenerentola.''

(4) Placido Domingo is ``one of the three to five most visible people in the music world,'' acording to Edward Purrington, artistic administrator for the Washington Opera.

David Sprague/Staff Photographer