Mozart’s evil hero Don Giovanni brilliantly portrayed writes Victor Grynberg
Wolfgang Amadeus Mozart (1756-1791) is often described as one of the big three of classical composition, along with Johann Sebastian Bach and Ludwig van Beethoven.
Andrei Kymach as Don Giovanni and the cast of Don Giovanni in Opera Australia’s 2023 production of Don Giovanni at the Sydney Opera House
Photo Credit: Keith Saunders
Coinciding with this revival of perhaps his greatest opera is a new production, also at the Sydney Opera House, of the play “Amadeus”, about his fierce rivalry with contemporaneous composer Antonio Salieri.
Don Giovanni as a name translates in Spanish (the source of the story behind the opera ) and in English as “Don Juan”. But any connotations that Don Juan is just a lover of many women are totally changed in this story, where Don Giovanni is a charmer who heartlessly seduces and then rapes innocent women. The role, therefore, requires a singer who can portray these characteristics while singing the brilliant score of Mozart to its demanding notes. Making his Opera Australia debut is Ukrainian baritone Andrei Kymach. An excellent piece of casting as Zymach always came across as the powerful and menacing yet charming rogue.
His vocal intonations were clear and always appropriate to the lyrics he was singing.
Don Giovanni’s power is aided by his overwhelmed servant Leporello. Shorter in stature significantly to his master, this difference helps get the power imbalance across. Excelling in both acting and singing was French-Israeli baritone Yuri Kissin, who was also making his Australian debut. Perhaps the biggest “hit” of Don Giovanni is the often-played “Catalogue” song, wherein Leporello reads from his diary the multitude of sexual conquests Giovanni has made. Kissin’s recital was just perfect. Bravo.
This production was first aired by OA in 2014 and directed by Scottish maestro Sir David Mc Vicar. With its dark, brooding set, the evil of Giovanni comes across with total impact. No wonder McVicar received a knighthood for his work over the years and is much in demand.
The set, with its famous descending staircase and what appears as destroyed gravestones and skulls on the sides, adds to the threatening forces always nearby. The revival director who should be commended for this production is Warwick Doddrell.
This is definitely not an opera to take the children to, and there are many bacchanalian scenes. Requiring a first for this reviewer an “Intimacy Fight and Movement co-ordinator). For the very graphic, intimacy scenes, certainly shocking to some sensitive viewers, the chorus and actors of OA have obviously been well-trained by Troy Honeysett.
Most operas use the lush and powerful sounds of a full Symphony Orchestra. Not so in this opera, meaning the singers have very little support behind their voices. This requires, therefore, some very clear vocalisations and especially as so many roles were played by young Australian performers. I’m pleased to acknowledge just how well they sang and performed their roles. The new generation definitely combines top-class singing with first-class acting.
There are three key female characters. The first one we meet is Donna Anna, a victim of Giovanni. Played by Sophie Salvesani, far removed from Maria in West Side Story, her previous role for OA. This lead is critical to the story and Sophie really tells it all. The next victim of Giovanni we see is Donna Elvira. Young Australian soprano Bronwyn Douglas shows more evidence of her great future. The third female role is that of Zerlina, sung by Australian award-winning soprano Cathy-Di Zhang. Zerlina has just married Masetto, which is not enough to stop Giovanni from trying to seduce her. Young Andrew Williams, the third baritone, plays the husband and deserves full commendation for both his singing and acting. All these outstandingly talented artists are well supported by the singers and actors of this production. No first night jitters or uncertainties here.
If there was an opera requiring brilliant use of lighting, then it’s definitely this one. David Finn as the lighting designer, significantly adds to the menacing atmosphere.
What is opera without music? This is a brilliant score by Mozart, with its powerful overture, supposedly only written the night before its premiere. Conducting the always excellent OA Orchestra was Guillaume Tourniaire, who enthusiastically guided his players. Starring in this piece was Siro Battaglin playing the fortepiano ( an instrument derived from a harpsichord on the way to the development of what was to become a pianoforte (Piano). Really important to this score and vital as the accompaniment to many arias.
This was most probably the most powerful production of Don Giovanni I’ve ever enjoyed, and I heartily recommend it
DON GIOVANNI
Opera Australia
Joan Sutherland Theatre
Sydney Opera House
January 5 2023
Season till February 17
