Peter Sellars gained international attention at just 24 with a staging of Handel's "Orlando" that shifted the scene from Charlemagne's Europe to the American Orlando - in Florida - and the U.S. space program. Eighteen months later, in May of 1983, the late Ardis Krainik turned the Civic Opera House over to Sellars for an astounding contemporary "Mikado" that marked his major opera company debut. There's been little turning back ever since for the passionate director/creator and his unique combination of being a controversialist and a deeply committed humanist.

While his subsequent Lyric Opera of Chicago projects have been spread out over time, all have been significant. In the 1988-89 season, he repackaged Wagner's "Tann­hauser" to encompass the televangelist scandals of the day. "Doctor Atomic," the operatic retelling of the Manhattan Project that he developed with composer colleague John Adams, found its definitive performances here three seasons ago.

If Sellars were just outrageous, there'd be little to distinguish him from the columns of European-style "director's theater" opera producers. But he examines his texts and scores with X-ray eyes and builds up teams of performers who make intense emotional investments as well as offering top technical presentations. He earns our attention and respect even when he might occasionally go astray.

His re-creation of Handel's 1744 "Hercules" that opened Friday night at Lyric is another example of Sellars succeeding in some ways despite both himself and his material. If one hopes simply for another night at the opera or, instead, takes some of the director's extensive program commentary at what might be called "psychologically correct" face value, disappointment awaits.

But Sellars' genius here is not to try to paste a concept on top of Handel's score and story of Hercules, home from his labors and home from war. He finds within the classical tellings of Sophocles and Ovid and the Baroque music and lines of Handel that the Greek myths still resonate because they are about us, too. Hercules comes home physically from his battles but cannot leave them emotionally. Ask any vet you know - or look at any homeless former soldier you see on the street each day - and the story is no different.

Sellars loves his characters: Hercules; his wife, Dejanira, an emotional victim of her husband's absence and then his distance upon his return; Hyllus, trying to find a place as the son of a demi-god; the superman's captive - and possible concubine - Iole, and aide and narrator Lichas. That includes their tragic failings, and you see that this is the way to reanimate this neglected work.

The cast is exceptional, with debutante English soprano Lucy Crowe breaking out astonishingly in a chilling Abu Ghraib costume and English mezzo Alice Coote making Dejanira dramatically complete. American tenor Richard Croft is a steadfast and dutiful Hyllus. Countertenor David Daniels was born for this music and his Lichas grabs your heart. And American bass-baritone Eric Owens speaks to you even in his silences - Handel gave his title character the least amount of music - and shakes you when he sings.

English conductor Harry Bicket knows both the material and the Sellars way intimately, and he transforms the Lyric Orchestra into a style-appropriate ensemble. Donald Nally in his last outing as Lyric chorus master makes his singers shine, especially in the out-of-its-time "Jealousy." Regular Sellars teammates George Tsypin (set) and James F. Ingalls (lights) find a haunting simplicity here. And Dunya Ramicova may be the only person who really knows how to costume a chorus.

War follows everyone home, Sellars - and Handel - tell us. And "Hercules" will follow you home and keep you thinking as well.