There’s a reason Verdi’s “La traviata” is the most-performed opera in the world. The music is gorgeous and instantly recognizable, the plot and characters are interesting and the story is told economically in a little over 2-1/2 hours.

As a result, if you cast the three principal characters well, you’re more than halfway home. And that’s the case for San Diego Opera’s season-closing production of the 1853 classic that opened Friday with a sold-out performance at the San Diego Civic Theatre. The three-day run closes Sunday.

On Friday, soprano Andriana Chuchman gave a ravishing vocal performance as Violetta, the dying Paris courtesan who sacrifices everything for the man she loves. The coloratura work in her first-act aria “Sempre Libera” was fearless and exuberant, and her finale, “Addio, del passato,” was delicate and haunting.

Playing her impulsive lover Alfredo in his company debut, tenor Boris Borichevsky gave a warm and appealing vocal performance that  was most pleasing in the middle range of his voice, shining best in the third-act aria “Parigi, o cara, noi lasceremo.” And bass-baritone Hunter Enoch was outstanding as Alfredo’s disapproving father, Germont. Enoch has a huge and perfectly pitched voice that easily filled the 3,000-seat Civic Theatre and his performance of the beautiful second-act aria “Di Provenza il mar” was a show highlight.

“La traviata” is an opera where the San Diego Opera Chorus, directed by chorus master Bruce Stasyna, plays an active part, both vocally and dramatically, and they did it here with aplomb on Friday. And San Diego Opera Principal Conductor Yves Abel’s subtle and nuanced leadership of the San Diego Symphony musicians Friday was exceptional, particularly in the two party scenes and finale.

Because “La traviata” has been staged so many times by San Diego Opera, there’s usually not much new in its theatrical staging. But director/choreographer Kyle Lang has brought some new ideas to the production.

First, during the melancholy overture, he creates a cinematic-style graveyard scene where performers moved backward, rewinding the action so the rest of the story becomes a flashback memory tale. There’s also a bold ballet for six dancers where a courtesan-style ballerina is symbolically manhandled and flipped around on her back by a group of tuxedoed male dancers. And when the chorus turns on Alfredo in the second act ball scene, he’s literally beaten and bloodied.

The physical production features lavish rented costumes from Washington National Opera and projections and minimal scenic elements by Tim Wallace.

San Diego Opera has downsized in recent years, with less money spent on large scenic designs. Those gigantic set pieces from yesteryear were visually stunning (and sometimes generated their own applause when revealed), but they took 15-20 minutes to change between scenes. For this production, the audience could watch through a semi-transparent scrim curtain as three stage crew workers moved and rearranged the stage platforms and stairs n just a few minutes. This kept the mood and the show moving along at a good pace.

‘La traviata’

When: 7:30 p.m. April 26; 2 p.m. April 27

Where: San Diego Opera at the San Diego Civic Theatre, 1100 Third Ave., downtown

Tickets: $35-$260

Online: tickets.sdopera.org/events