On Monday night, the Metropolitan Opera began another run of Mozart’s “Don Giovanni,” but without music director James Levine in the pit. He was at Carnegie Hall, directing his new band, the Boston Symphony Orchestra. Conducting at the Met was Philippe Jordan, the sensational young Swiss. He is the son of the esteemed maestro Armin Jordan; indeed, they are the most noted father-son conducting pair since the Kleibers. But Philippe will far outpace Armin. That is the safe betting, at least.

Two years ago, young Mr. Jordan made a splash at the Mostly Mozart Festival. He was alert, commanding, very, very musical. And he has already become a conductorial hero at the Salzburg Festival.

On Monday night, he led an inspired but flawed performance of “Don Giovanni.” In the first few measures, he gave notice that this would not be an ordinary, routine “Don Giovanni”: The overture had uncommon drama and sweep. Dynamics were bold, and phrases were pregnant. Unfortunately, when the music got faster, the orchestra became sloppier, and Mr. Jordan would have what you might call “management problems” throughout the night. Still, one saw that this was a conductor of rare sensitivity, and no jadedness. Mr. Jordan is not a phoner in – may he never become one.

This “Don Giovanni” was not without its eccentricities and annoyances. Some pieces were harmfully slow: the Catalogue Aria, for example. That bordered on ponderous. “La ci darem la mano” was almost absurdly languorous, without a tingle. “Dalla sua pace” was very slow and very soupy, as it usually is, sad to say. This is not so much Mozart as Chopin – and bad Chopin.

But Mr. Jordan was completely persuasive elsewhere. The dancing music at the end of Act I was superb: either gently lilting or majestic. Mr. Jordan tucks into Mozart’s juicy phrases juicily. And the finale had tremendous dramatic power, with the Met orchestra playing thrillingly. Mr. Jordan helped remind you that “Don Giovanni” is a great opera – if reminding you needed.

The singers onstage were generally first-rate. Samuel Ramey, the veteran bass, took the role of Leporello. For decades, he has been both Leporello and Don Giovanni (though not at the same time!). It is good to see him return to Mozart, for he should not close his career with heavy Verdi alone. Mr. Ramey is a keen Mozartean, and he can gambol about like a teenager. His intonation was correct all night long; and he shows his operatic canniness in myriad ways.

Opposite him as Don Giovanni was the Canadian baritone Gerald Finley, who owns a beautiful instrument. He has a fine musical head on his shoulders, too. And a fine dramatic one. His Giovanni was suave, alluring, wicked – everything he ought to be. He was neither histrionically monstrous nor excessively subtle. He was rightly rotten. In the Champagne Aria, Mr. Finley might have been truer to the notes, but his serenade (“Deh, vieni alla finestra”) was smooth and lovely. In a nice touch, he managed to sound like Mr.Ramey when Don Giovanni is disguised as Leporello. And, while taking his fatal meal, he had the courage to sing with his mouth full – very effective.

The tenor portraying Don Ottavio was Richard Croft, a welcome sight on the Met stage. He is brother to Dwayne Croft, the baritone, and many of us wish we saw Richard as often as Dwayne. He is a tenor of extraordinary gracefulness and ability. An enduring memory is of Mr. Croft in “Semele” (Handel), about 10 years ago. (The venue was Washington, D.C.) You never heard a creamier, more sublime “Where’er You Walk.” It was scarcely human. On Monday night, Mr. Croft’s singing was more human, but it was still excellent, and how he is able to take such a long breath in “Dalla sua pace,” I’ll never know.

Zerlina was Isabel Bayrakdarian, the Canadian-Armenian soprano: She has become the Zerlina of choice in the world. She has performed this role at the Salzburg Festival, too – and would not be refused by any company, anywhere. Ms. Bayrakdarian is delectable, vocally and otherwise. I keep using this word with her – delectable – but it is unavoidable. On Monday night, she was clear, accurate, and convincing.

Singing Donna Anna was Tamar Iveri, a Georgian soprano making her Met debut. Like Mr. Jordan and Ms. Bayrakdarian, she has had success at Salzburg. Her soprano is somewhat dark, and mysterious, and cutting – suitable to Donna Anna. Gratifyingly, Ms. Iveri sang her recitatives (which are many) with real intelligence. She had a pitch problem or two, but was basically solid.

Donna Elvira was Adina Nitescu, a Romanian, also making her Met debut. She showed composure and what you might call attitude – Elvira attitude – which compensated for some vocal difficulties. Her soft singing was especially admirable. And a third debut belonged to Jonathan Lemalu, a Samoan bass-baritone born in New Zealand. (How often do you get to write that?) He has a new CD of arias out, and big things are expected of him. As Masetto, he was vocally assured and dramatically interesting. His Masetto was indignant and active, not pathetic.

Finally, Paata Burchuladze was the Commendatore, fearsome and just, as expected.

“Don Giovanni” can be slightly hard to sit through, for longtime opera goers, simply because of its familiarity. But this performance was consistently alive. The production was Marthe Keller’s, from last season: Its bricky gigantism works. And James Levine cannot be outdone in this opera (as in many). Philippe Jordan, however, is a huge talent, and sorely needed, in this age not rich in conductors.

“Don Giovanni” will be performed again April 1, 6, 9 & 12 at 8 p.m. and April 16 at 8:30 p.m. (Lincoln Center, 212-362-6000).