It’s easy to imagine that the Metropolitan Opera has by now adopted a “damned if we do, damned if we don’t” mentality. If they attempt to give operatic masterpieces a fresh, updated spin—ala Luc Bondy’s controversial production of Tosca a couple of seasons back--they run the risk of having the results loudly booed and denigrated. On the other hand, if they present a warhorse in a staid, traditional production, they’re criticized for not taking artistic chances.

Such is the case with the recently opened revival of Mozart’s Don Giovanni. The project certainly seemed promising on paper: per Peter Gelb’s recent leanings, a notable theater director—in this case Michael Grandage, the former artistic director of London’s Donmar Warehouse—was given his Met debut. And the much lauded Polish baritone Mariusz Kwiecien was slated for the title role.

Alas, the stars were not in alignment. Grandage--who in recent years has brought such exciting theatrical productions as Frost/Nixon, Hamlet and Red to New York--seems to have fallen asleep at the switch, delivering a visually drab staging largely devoid of excitement. And Kwiecien seriously injured his back during a dress rehearsal, resulting in a heroic, last-minute substitution by Peter Mattei.

Considering that he had barely two days to prepare, Mattei acquits himself nicely (Kwiecien is scheduled to return to the role on Oct. 25). The hulking Swedish singer certainly looks the part, providing an imposing physical presence to go along with his powerful vocalizing.

He’s well supported by several of the other singers, particularly Luca Pisaroni, as dramatically convincing as he is vocally supple in the role of the put-upon servant Leporello; Ramon Vargas, who earned sustained applause for both of his gorgeous arias; and Barbara Frittoli, deeply moving as the tragic Donna Elvira.

Grandage doesn’t seem to have given any particular thought to the staging, which mainly has the singers declaiming directly to the audience in near concert fashion. There is the occasional imaginative theatrical touch, such as the flames that shoot out as Giovanni descends into hell, but it’s too little, too late. Not helping matters are the monochromatic sets and costumes designed by Christopher Oram, with the former consisting largely of massive walls lined with balconies and doors.

Musically, the evening hews to the Met’s traditional high standards, with conductor Fabio Luisi drawing a superb performance from the orchestra. He also manages the pretty neat trick of accompanying the recitatives himself, on the harpsichord.

Metropolitan Opera, Lincoln Center. 212-362-6000. www.metopera.org.