In opera, there are few experiences like one of Wolfgang Amadeus Mozart’s classics. Deemed great back then, they still hold up as inspiring, emotional and scandalous. Today, we get the unmatched opportunity to see one of the greatest operas ever with the present’s performers and technicians.

There is little fresh commentary to make on the plot of “Don Giovanni.” A character that preceded Da Ponte’s libretto and Mozart’s masterpiece reappears to seduce, betray and manipulate his way to the top — until his sins catch up. From past companions to possible suitors and reluctant servants to jealous husbands, all the enemies he made seek to free themselves from his grasp as he refuses to repent for his crimes — old and new. This story is known, and these songs have long been adored.

What is new is the L.A. Opera’s kick start of the season with this historic masterpiece. The high expectations for the occasion were met and surpassed.

The L.A. Opera’s interpretation of the stage left little to be desired. Projected writing of the protagonist’s journal of lovers gives life to this tale of conquest and hubris. Save for an error in the projections briefly during the second act, these constituted an interesting choice for the set, a choice that doesn’t please all but gives the first act a breath of fresh air.

Meringue walls and phantoms otherwise filled the stage, leaving a slate for these projections to change with the show, highlighting specific characters and numbers. In set pieces composed of doors, stairs and balconies, the dynamics of power between Don Giovanni and his servant Leporello was a continuing theme made stronger by the set’s organization.

With the physical placement of the sets, the performers executed a tremendous choreography using these dynamics of positioning to elevate the characters. The presence of the protagonist from an irreverent nobleman standing above to an unhinged deviant wallowing on the floor reinforces the interactions with the characters who look to exact revenge.

As directed, the music feels as revolutionary as when it debuted in Prague. Of course, none can hope to invoke Mozart exactly as a composer or conductor, but the tall task of making such a renowned show feel exciting again speaks to the talent of conductor James Conlon at the masthead of flawless instrumentalists.

Anja Vang Kragh’s designs in costumes are generally appropriate. They don’t catch the eye — they serve their function adequately with not much else. However, for Donna Anna, one of Don Giovanni’s lovers turned enemy, each of her appearances is marked by the majesty of her gowns, whether black or red, stained with inklike bereavement or cardinally bereft of shame. This is where Vang Kragh outdoes herself.

Most relevant to any interpretation of “Don Giovanni’’ is the vocal performance itself. Here, L.A. Opera surpasses already mighty expectations. Lucas Meachem in the title character is striking, imponent and despicable, appropriate of the contemporanean character. There is little to love about the character’s antics and so much to love about hating him. His reverberating baritonal force is the perfect channel for uniting the characters against him and the rest of the cast in a stellar performance.

Craig Colclough as Leporello is intensely charming and vocally versatile, though where he shines is in his thespian labor. One can understand the character’s every thought, tact, idea, feeling; there is no stone left unturned. The audience gets to treasure his wit, desperation and hilarity.

The two artists that leave some to be desired, though for different reasons, are Alan Williams as Masetto and Peixin Chen as Commendatore. The former has the opposite problem as Colclough — overacting. His exaggerated gestures and absurd expressions detract from a masterful vocal showing. Meanwhile, Chen disappoints because, as one of the most promising and impressive performers in the cast, he is relegated to a very limited role. Regardless, his bountiful bass is felt profoundly and closes Don Giovanni’s spiral expertly.

Two other performers, Isabel Leonard and Meigui Zhang, bring inspired interpretations to characters with less of the spotlight, Donna Elvira and Zerlina respectively. The first takes a character that feels outdated and nonsensical and carries it spectacularly, making her hesitant actions seem more plausible. This glue performance keeps the pace high and the emotions in the foreground. Concurrently, Zhang interprets Zerlina to perfection. She brings the playfulness, scandal and curiosity that separates her from the cast and Masetto from his jealousy.

The best are left for last. The longing Don Ottavio and cold Donna Anna are portrayed by Anthony León and Guanqun Yu, two singers who conquer the Chandler Pavilion every moment their voices are heard. The dynamics of their acting beyond song are the sole subtraction from their performance.

Yu is magnetic. The audience could have tried to take their eyes off her, but their ears would immediately pull them back to a performance that pushes the limits of the excellent soprano.

León feels too reserved in his physical presence. In his stance, he is not expressive. In his song, it is one of the greatest expressions one could hear. Pitch-perfect and strong, and yet pained and gentle, the character’s desperation to search for redemption is a rollercoaster of immense thrill and constitutes a tenor performance that stays with the audience long after they’ve left their seats. It would be worth going to see “Don Giovanni,” which will run until Oct. 15, just to hear León’s mobilizing, magnificent voice.

“Don Giovanni” is a story many know. Mozart is a composer many have heard. This new interpretation brings pain because it has not been experienced by all those same people. Even with the deficiencies one can bring to light, this is a spectacular opera interpreted by some of the most impressive singers in the world.

It can be easy to nitpick and look for slight imperfections, especially in an opera that has historically been so studied and repeated. But it would be dishonest to witness these artists of the highest standards and not recommend the show wholeheartedly for anyone who has seen it as much as to anyone who hasn’t, for anyone who often goes to the opera as much as anyone who never has.