 |
| Luca Michelletti (Don Giovani) - Anna Dowsley (Zerlina) |
Directed by Sir David McVicar. Revival directed by Matthew Barclay
Conducted by
Xu Zhong. Set and Costumes designed by
Robert Jones
Lighting
designed by David Finn. Choreographed by Andrew George
Joan
Sutherland Theatre, Sydney Opera House until 27th February, 2020
Reviewed by
Bill Stephens
Mozart
described this opera as a “playful drama”. David McVicar’s epic production, stylishly realised for this
production by Matthew Barclay, incorporates moments of comedy, high drama, even
playfulness, but it’s the inevitable sense of tragedy, in its sweeping expose
of the profligate adventures of its seventeenth century Harvey Weinstein, that dominates
the evening.
 |
| Shane Lowrencev (Leperello) and Company |
The dark,
decaying setting by Robert Jones, with its tantalising perspectives, dominated
by a huge staircase, and huge, movable masonry walls, with piles of detritus
containing rotting skulls, visible on either side, compliments that feeling. From
time to time the staircase rises to become a ceiling, tables rise out of, or
sink into, the floor, adding to the feeling of unease, until finally, hideous
creatures emerge from the depths to deliver Don Giovanni his come-uppance.
Jones has
also used a subdued palette for his attractive costumes. For the wedding
banquet, most are in sombre shades of grey, replaced for a later orgy by lavish
black costumes richly embroidered in silver. Particularly striking is the
extraordinarily low level of David Finn lighting design, which, far from being
oppressive, achieves an unusual authenticity for the many night-time scenes.
 |
| Shane Lowrevcev (Leporello) - Luca Micheletti ( Don Giovanni) |
Heading a
superb cast of singers, making his role debut, as well as his Opera Australia
debut, as the, debauched, pleasure-seeking libertine, Don Giovanni, convinced
that to be constant to one woman is to be unkind to the others, charismatic Italian
baritone, Luca Micheletti, quickly won the audience, with his strong, confident
singing and nuanced acting. However, it was his tender rendition of “Oh, Come
to the Window”, that got them cheering.
 |
| Eleanor Lyons (Donna Anna) - Jane Ede (Donna Elvira) |
Also making
her Opera Australia debut in the role of the grieving Donna Anna, determined to
avenge the death of her father, murdered by Don Giovanni while escaping from
his unsuccessful attempt to seduce her, returning Australian soprano, Eleanor
Lyons, also impressed with her impeccably judged performance.
Shane
Lowrencev not only sang superbly, but captured every laugh, as Don Giovanni’s
fall-guy, Leporello, while Jane Ede gave an arresting performance as the
abandoned Donna Elvira, desperately trying to rekindle her three-day fling with
Don Giovanni. She was given excellent support by Juan de Dios Mateos, as her protector,
Don Ottavio, who impressed with his striking, clarion clear tenor voice.
 |
| Anna Dowsley (Zerlina) - Richard Anderson (Masetto) and company. |
Anna Dowsley
was captivating as the young bride, Zerlina, providing a highlight with her
singing of “You are jealous. You are Cruel”, as she tried to persuade her young
husband, Masetto, (Richard Anderson) to take her back after she had fended off
the unwanted attentions of Don Giovanni, while the haunting bass voice and
commanding presence of Gennadi Dubinsky, as the Commendatore, sent
shivers up the spine.
Rounding out
a night of firsts, internationally renowned Chinese conductor, Xu Zhong made an
impressive Opera Australia debut with his command of the excellent Opera
Australia orchestra and chorus.
At three-and-a-
half hours, including one interval, this production of one of Mozart’s finest creations,
never seems to drag. The potent combination of complex libretto, coupled with the
heady mix of superlative music, glorious singing, striking visuals and thrilling
performances, provides as satisfying and memorable night of opera as one could
possibly wish.
Photos by Keith Saunders
This review also appears in Australian Arts Review. www.artsreview.com.au
