A psychological opera composed in the shadow of World War I, Erich Wolfgang Korngold's long-neglected "Die Tote Stadt (The Dead City, or Shi no Miyako)" has this year been brought to the stage three times: once in a revival of the New York City Opera's 1975 production and twice in new stagings.

The first of these was an avant-garde version in May that inaugurated the Theatre du Chatelet's regional opera festival in Paris. This relocated the action to Hollywood and loaded up the sexual overtones; even the best of voices would have found it hard to compete with the flashy peripheral (distr)action.

The second was this week's impressive "Concert Opera" staging by the New Japan Philharmonic under the baton of the seasoned yet spry Michiyoshi Inoue, performed at the Sumida Triphony Hall on Sept. 13 and 15.

The third of Korngold's five operas, "Die Tote Stadt" thrilled audiences when it premiered in 1920. Seemingly a tale of domestic loss and betrayal, the opera's characters spin gradually out of control.

While strolling to allay grief over the recent death of his wife Marie, widower Paul encounters and is swiftly infatuated with Marietta, who resembles the dead woman. At first pleased with this replacement, Paul one night dreams that Marietta is attempting to erase all memory of Marie. Imagining that he is strangling Marietta with the lock of Marie's hair that he saved after her death, Paul awakes to find the hair in his hands and Marietta gone. Distraught, he flees from the city to begin a new life.

While the plot line is deceptively simple, the libretto is extraordinary for its lyrical melody. The highly chromatic music is pure Romanticism and stylistically similar to Strauss' more popular "Die Frau Ohne Schatten (The Woman Without a Shadow)," which premiered in 1919.

"Die Tote Stadt" contains duets popularized by the legendary Lotte Lehmann and Richard Tauber. In the New Japan production, Michie Nakamaru and Ludvit Ludha performed these demanding soprano and tenor duets with inspiration.

A resplendent Nakamaru appeared as both Marie and Marietta. Although not possessing the "Salome" voice traditionally cast in this role, Nakamaru's powerful vocals charm and convey much warmth. Her fans are many, and deservedly so.

We can expect to see more of Nakamaru on the international stage, and no less commendable is the accomplished Slovakian Ludha, who expertly and compellingly sang the tenor part of Paul. A fine contribution was also made by baritone Hidehito Ihara in the role of Paul's friend Frank.

The Ritsuyu-kai Choir and Chorus and the Tokyo FM Boy's Choir and Children's Chorus performed proficiently under the baton of Inoue. Stage prompters who do their work well are invisible and unacknowledged. Filling this role here was Kamal Khan, who has himself conducted the New York Metropolitan Opera and was for 10 years an assistant to James Levine.

In contrast to the Theatre du Chatelet interpretation, New Japan presented an unashamedly "traditional" performance with minimal cuts from the full score and no attempt at modernizing the few stage props. The music had the audience spellbound, and a framed portrait of Marie, dreamily highlighted with shimmery fabric, dominated the stage.

All in all, the production triumphantly demonstrated the performability of this unusual piece. So why does "Die Tote Stadt" -- and, indeed, most of Korngold's operatic oeuvre -- languish in relative obscurity today?

The answer may lie in the composer's singular personal history.

In 1910, at the tender age of 13, Korngold was enjoying wide European success. Having composed his first ballet at age 11, Erich was a child prodigy whose work was admired by his influential idols, particularly Gustav Mahler, Richard Strauss and Giacomo Puccini.

Forced on account of his Jewish identity to leave Vienna in 1934, Korngold sought refuge and work in America. He met with success in Hollywood, where he wrote no less than 17 film scores, including those for "Of Human Bondage" and "Elizabeth and Essex." He also won Oscars for "Robin Hood" and "Anthony Adverse."

When Korngold returned to Vienna in 1947, however, he found himself no longer regarded as a "serious" composer.

It is to be hoped that this year's productions of "Die Tote Stadt" herald a rediscovery of Korngold and his work, including his exciting and colorful film music. The New Japan Philharmonic certainly intends to continue its good work: "Korngold's music is so sweet you cannot help but love it," a cast member told me. "We hope to do more of his operas in the future."

For now, those who want to listen to a recording of "Die Tote Stadt" have only two options. One is the RCA 1975 world premiere recording with Erich Leinsdorf conducting the Munich Radio Orchestra, the other a 1997 version on the Naxos label, extensively cut, performed by the Swedish Royal Opera.

The untrimmed RCA recording more closely mirrors New Japan's effort, and is lent authority by its conductor Leinsdorf's acquaintance with Korngold. The singing on this recording is sublime, with the exception of the tenor, who misses a few notes.

Selections from the opera can also be found on many recital discs.