Beautiful. Exceptional. Exquisite. Those are the whispered words of choice for showgoers at San Diego Opera's season-closing production of "La Traviata."

Led by the expressive and talented German-Greek soprano Anja Harteros as Verdi's tragic heroine Violetta, this jewel of an opera production shines in its every facet -- from its fine casting, to its gorgeous sets and costumes, to its thoughtful direction, elaborate choreography, well-sung choral numbers and bold conducting from the pit.

In her first-ever performance as Violetta, Harteros is a marvel. Her voice is large and powerful, smoky in its lower range and ringing in its wide upper register. Although she sings the role's ornamentations cautiously, she's unafraid to pull out the stops for the big closing notes. But voice aside, what makes Harteros really work in the role of Violetta is her personality, beauty, grace and acting talent. She isn't just playing the French courtesan Violetta, she is Violetta, and it's sure to become one of her signature roles.

San Diego Opera general director Ian Campbell stage directed this production and he selected its cast. Fortunately, he found a great supporting cast to keep this "La Traviata" from turning into a one-horse race.

Canadian baritone James Westman makes an impressive company debut as Germont, the disapproving father who tries to break up the relationship between his lovesick son, Alfredo, and Violetta. Westman is 31, but he sings with maturity and power, and his second-act duet with Harteros is one of the highlights of the show.

American tenor Richard Troxell is confident and earnest as Violetta's penniless lover, Alfredo. He sings with power and drama as well, though he doesn't have quite as much chemistry with Harteros as Westman does.

Staged in four short acts, with three intermissions, the three-hour, 15-minute production is like a gourmet meal, with each new course better than the last. The third-act party scene, where Spanish ballet dancers choreographed by Maxine Mahon liven up a richly designed poker party, is the tasty dessert course. And the heartbreaking final act -- made so believable by Harteros' acting -- is the sad moment when you realize the check has arrived and there will be no more of this sweet meal to enjoy.

Campbell directs with an eye toward realism. Troxell's stage movement is a bit stylized, but Harteros and Westman are wholly authentic in their actions. Italian maestro Edoardo Muller conducts the San Diego Opera Orchestra with pitch-perfect serenity.

Sets and costumes, rented from San Francisco Opera, are so grand and beautifully appointed that they earned applause with each curtain-opening. Chris Rynne designed the lighting (especially beautiful in the third act) and Timothy Todd Simmons led the San Diego Opera Chorus.