Don Giovanni - MN Opera at the Ordway

There is nothing like a night at the Opera listening to Mozart. The melodies, the orchestration, the way the voices combine and mix in these wonderful songs (though I know that isn't quite the right word for it). Last night I was able to see the opening night of a new production of Mozart's Don Giovanni, brought to the stage by a women-led creative team. That is a strong choice to start off with as the story of Don Giovanni is the story of a cad, a man who treats women as disposable and doesn't care for anything but pleasure, and a bodycount (in a sexual conquest way). I did not take the time to read the director's note on the production before, but I did read some trigger warnings in the program. During the Overture, we see Don Giovanni sneak into a room, and force himself onto a woman (thank goodness for Intimacy Coordinators like Doug Scholz-Carlson). We find out that this is Donna Anna, played and sung by Symone Harcum. She enters chasing after Don Giovanni, clinging to his sleeve stating something similar to "don't leave me" or "I will not let you go" while also calling for help. After the scene we just witnessed during the Overture, this was a bit distressing, and came across initially as a victim falling in love with the rapist. Considering that this is Opera and all emotions are big and quick-changing, this version seems like a possibility. 

Sidebar: the translation used in the Supertitles is a new translation so in searching for more standard translations, I came across this site that I found interesting - trying to discover Donna Anna's motivation in her first scene. 

Donna Anna's cries for help have woken the household and her father, the Commendatore (the vocally powerful Allen Michael Jones) enters to catch Don Giovanni, and help his daughter. Giovanni kills him - and that tells you so much about the character of Don Giovanni (Seth Carico). A truly horrible person. So, why go and sit through three hours of singing to follow this lead character? Easy - the singing, the music, the relationships between the other couples that show various facets of love, the humor, the darkness, and the light. After the death of the Commendatore, Don Ottavio enters to help his love Donna Anna in her time of grief, and to swear vengeance on the man who did this - because neither of them know it is Don Giovanni. Leporello (the amazing Thomas Glass) is Don Giovanni's servant, and confidant, and keeper of the book that lists all of Don Giovanni's conquests. Donna Elvira (the luminous Sara Gartland) enters, and the trouble really starts to begin - because she knows what sort of character Don Giovanni is, and is not afraid to shout it in the town square. Leporello talks to her while, again, Don Giovanni escapes from any trouble. 

His next pursuit is the newly married couple Zerlina (the bright voiced Leah Brzyski) and her husband Masetto (Charles H. Eaton) - a perfectly matched couple, vocally, physically, comedically. These two are a joy to watch. They were filled with love and newly-wed lust for each other through out the whole opera. They are followed by Don Giovanni and Leporello. Also entering the scene and thwarting Don Giovanni's seduction of Zerlina is Donna Elvira. Who happens to enter next? Donna Anna, and Don Ottavio and we see them talk to Don Giovanni who promises to help them find the man who killed the Commandatore.  As Don Giovanni exits, Donna Anna recognizes him and tells Don Ottavio the whole sordid story. Don Ottavio (the glorious Efraín Carralejo) sings this incredible aria about seeking revenge - yet it is not an angry aria. It is full of long vocal lines, and a wonderfully lush voice, telling (and in singing also showing) the love that he has for Donna Anna, and how much he wants to take care of her. This was a moment, one of many, where the power of Mozart comes through. You don't need to know the exact words he is singing to fully understand the aria. It was fantastic. He also had an aria in Act Two that really shows off his breath control and was a true joy to listen to. 

After a heavy scene, we need some lightness and we get that in a charming, funny, and very modern scene between Masetto and Zerlina. She is trying to convince him to not be jealous of Don Giovanni's flirting. Her lyric starts with "Beat, oh beat me handsome Masetto" - however in this new translation, it is turned into "Spank me." This leads into a fully consensual, and led by Zerlina, light bondage bit with Masetto tying her hands together. Not something you see in opera every day. Don Giovanni enters and in an attempt to get Zerlina alone, he invites the couple to bring the marriage party to his place. Act One ends with Don Giovanni trying, again, to assault and take advantage of Zerlina, but is thwarted by her screams, and the wedding guests. He escapes, yet again, by blaming it all on Leporello.

Sidebar: I wondered, at this time, if there was any reading of Don Giovanni where he might be bisexual. If there was, while the text doesn't say anything explicit, the camraderie he shows with Masetto and Zerlina before they come to his palace might be the place to hint at it - as if he wants to seduce them both. Honestly with this production, I could see this couple being open to the idea.

Now, if you have seen the film Amadeus, you know how this story ends. You know that Don Giovanni does get what is coming to him. Seth Carico plays Don Giovanni in such a truly caddish way that it can be hard to empathize or understand him - and you don't have to. He was a joy to watch (as troubling as his character was) through out. He knows his voice and the role and really was astounding. There were some moments physically that didn't make much sense in the moment but all made sense in the end. (Also, I want that robe he wears in the final scene!) The production was dark and lovely to watch. The beams of light in certain scenes, highlighting each performer as they sang a sextet was smart - lighting by Mary Shabatura. The fluid movement of the main multi-sided set piece, handled by supernumeraries dressed as maids, was such a smart choice. One thing in the director's notes written by Keturah Stickann, states that after the killing of the Commendatore, Don Giovanni just keeps moving, not really knowing where he is and that is how this set worked so well. It rotated and nothing was specific, yet it was all specific. Such a great design by Liliana Duque Piñeiro. The costuming by Sarah Bahr was gorgeous and perfect for the 1930's timeframe. The dresses of Donna Elvira, and Zerlina were some favorites, along with anything Masetto wore - such great style. Conducted, on opening night by Mario Antonio Marra, the orchestra, including a fortepiano, played exquisitely. It is a fantastic production that had some troubling moments but it all pays off in the end.

Photos: Cory Weaver