Flawless choreography, flattering costuming, dynamic set pieces and enchanting orchestration made the opening night of LA Opera’s production of “West Side Story” well worth the standing ovation it received Saturday at the Dorothy Chandler Pavilion. Marking the start of LA Opera’s 40th anniversary season, the Francesca Zambello-directed production brought iconic scenes and musical numbers to life.

With the majority of the cast making their LA Opera debut, the talent and skill of its vocals and dancing blended harmoniously, easily captivating the audience. From the opening dance number to Tony’s death, the performers maintained a riveting energy and emotional vulnerability that created a dazzling spectacle.

Starring Gabriella Reyes and Duke Kim as Maria and Tony, respectively, the production featured their powerful, operatic singing voices and impressive ranges. Kim’s consistently clear tone was sonorous, but he let his vibrato get away from him a couple of times. The mild inconsistency made it occasionally hard to discern which notes he was singing, especially in the first number that featured his heavy vibrato, “Something’s Coming.”

Reyes’ performance as Maria was resounding and robust throughout the show, but her grandiose singing often didn’t match the sweet, delicate character of Maria. While Reyes and Kim are undoubtedly capable and talented singers separately, their chemistry is questionable, with some of their interactions feeling awkward and unpassionate.

The chemistry between Bernardo (Yurel Echezarreta) and Anita (Amanda Castro), however, was more palpable, and the two consistently commanded the audience’s attention: Castro especially killed it with her fiery, charismatic portrayal of Anita. Her mesmerizing dancing in “America” was crisp and immaculate, showcasing her agility and athleticism.

Echezarreta’s line delivery was quick and energetic throughout, never letting the audience take a breath. His magnetic presence perfectly complemented Castro’s intensity, creating a dynamic pairing that carried every scene they shared.

Alongside “America,” the iconic “Dance at the Gym” number did not disappoint. Warm lighting was cast over the Sharks and cool lighting over the Jets during the scene — making for a visually engaging symbolic distinction between the two gangs — while the footwork of both sides neared perfection, making the work the cast put into nailing the choreography apparent.

The Jets’ signature songs, “The Jet Song” and “Gee, Officer Krupke,” were incredibly gratifying, with standout performances from P. Tucker Worley as Riff and David Prottas as Action. Unfortunately, Baby John’s (Grayden Mark Harrison) mic cut out during “Gee, Officer Krupke,” a noticeable technical error. Still, the number was a pleasure to watch.

The set designed by Peter J. Davison was entrancing and suitable, with building facades angled toward the middle of the stage to create a pseudo-alleyway that pulled eyes inward. A mid-section from a set piece on the left side of the stage that swung open to reveal Maria’s bedroom recaptured the audience’s attention during “I Feel Pretty” — a surprising and creative transformation.

Some decorations inside Maria’s bedroom were out of place, however, as she had a poster of Bad Bunny and a framed photo of Sonia Sotomayor on her wall. “West Side Story” is a timeless tale about racism and the immigrant experience in the United States; adding these set details as an attempt to establish relevancy is redundant and it undermines the story’s innate political and social implications.

Moreover, much of the wardrobe didn’t blend well. This was especially noticeable during the “Dance at the Gym” number when the majority of the girls were dressed in short dresses — excluding Anybodys, played by Anna Bermudez — while the boys were in skinny jeans and T-shirts.

These decisions were seemingly made to make the production more relevant and familiar to the audience, but they instead made it apparent that coherence was sacrificed for superficial appeal. While these small details didn’t detract from the talent of the cast or the messaging of the story, audiences shouldn’t expect this production to transport them back to 1950s New York City.

One stylistic wardrobe choice that was incredibly valuable was the fact that Maria was never dressed in red like the other Sharks. Instead, she opted to wear white and yellow, indicating that she did not view herself as a Shark. While it could be seen as naivete to try to exist outside the rigid social realities of being a racial minority, the choice speaks more to Maria’s refusal to listen to those around her, arguing that she should remain loyal to the Sharks over all else, even love.

While this production of “West Side Story” wasn’t without flaws, its dazzling choreography, familiar soundtrack and standout performances from Castro and others made opening night memorable. Selecting this show to begin a historic season for the LA Opera was an outstanding choice.

LA Opera’s “West Side Story” runs through Oct. 12.