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Don Giovanni
By Michael Van Duzer
Opera Pacific premiered a thoughtful new production of Mozart's Don Giovanni last week. Considered by many scholars to be Mozart's operatic masterpiece, Giovanni eschews the playful humanity of the other Mozart/Da Ponte collaborations to explore the darker side of Man's psyche. With its' daring blend of glorious music, acerbic wit, and tawdry doings, Don Giovanni might qualify as the first black comedy.
Director Thor Steingraber and scenic designer Riccardo Hernandez conceived the action on a sleek unit set that pared Old Seville down to its essentials. Stripping away the frippery that often clouds Giovanni productions energized the actions of the principal characters and highlighted the dire consequences that followed. Chris Binder's sensitive lighting brought atmosphere and variety to the stylized simplicity.
Friday night's performance featured Mark McCrory as the hapless anti-hero. (During the rest of the run he sings the role of Masetto.) A far cry from the charm and suavity of the old-style seducer, McCrory's Giovanni is a brutish satyr. Vocally, too, he is powerful and brash--choosing force over seduction on his intended conquests. McCrory's modern take on the character exposes the Don as an empty and rather sad man overpowered by his seemingly unquenchable lust. This leaves Kyle Ketelson's Leporello with the lion's share of audience sympathy. Ketelson sings and acts authoritatively, creating a fully rounded character who is all-too-aware of his master's failings. Paula Delligatti may not have full command of the challenging role of Donna Anna yet, but her singing is musical and refined. Chad Berlinghieri's Don Ottavio brought some welcome fire to a role that too often fades into the shadows. Stephanie Woodling sang Donna Elvira with canny verve and understood that taking the character seriously is the way to get the laughs. Sari Gruber and Andrew Fernando sang Zerlina and Masetto with the same care and high musical standards as the rest of the cast. Fernando, in particular, found a humanizing sadness to mediate the buffa aspects of his character.
John DeMain's conducting of an uncut score was of the high order that we've come to expect from him and Opera Pacific.
Opera Pacific, Orange County Performing Arts Center, Costa Mesa.
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