Mozart was an endlessly inventive composer, but he seemed particularly inspired by the main character of this opera, Don Juan. The figure today is a mere caricature, the short-hand name for a serial philanderer. Through Mozart’s music and Da Ponte’s libretto, we engage a more complex figure, a cruel and capricious rogue who is not without courage, sardonic wit and charisma.
Vocally, the cast, a blend of international and regional talent, is strong. It’s a wonderful treat because this opera is crammed with tremendous ensembles: duets, trios, quartets and sextets. To have musicians of such high caliber deftly weave together the various melodic strands of these ensemble pieces is a joy.
Of course, certain performers stand out. Keith Miller as Don Giovanni turns in a powerful performance. He is physically commanding. Not surprising for a former pro football player. More importantly, his presence is matched by an equally commanding and dramatically flexible voice. He oozes menacing charm in “La ci darem la mano” as he woos the peasant girl Zerlina (played with coquettish charm by Christine Renee Keene); he nimbly recites his recipe for a proper party in the rousing “Fin ch’han dal vino,” and he is scornfully defiant as he faces his just desserts in the finale.
Dramatically and vocally Miller is matched by the tall and regal Alexandra Deshorties as Donna Anna. Deshorties’ Donna Anna reminded me of one of the Furies from Greek tragedy: a persistent figure of justice dogging Don Giovanni’s steps. Deshorties turns in a nuanced performance, displaying vulnerability and resolve as she incites her finance Don Ottavio to avenge her father’s death in “Fuggi, crudele, fuggi.” I was particularly moved by Deshorties’ rendition of “Non mi dir, bell’idol mio.” Her considerable technical abilities were tempered by an affecting plangent tone.
Deshorties was helped in these scenes by Eapen Leubner as Ottavio. His pleasing tenor complemented Deshorties in their duets, and he brought insight and tenderness to the aria “Dalla sua pace.”
If Donna Anna carries something of high tragedy in her pursuit of Don Giovanni, Donna Elvira is more accessibly human as she seeks the man who abandoned her. In part, that is because she is put in some comical situations, especially with Don Giovanni’s valet Leporello.
Anastasia Jamieson does a wonderful job handling Donna Elvira’s comic moments, such as the delightful “Madamina, il catologo e questo,” where Leporello catalogues Don Giovanni amorous conquests. Her expressive face conveyed as much as her polished vocal delivery in scenes such as “Ah! Taci, ingiusto core.”
Last, and certainly not least for me, is the figure of Leporello. I have always had a soft spot for comic relief and Richard Bernstein’s delightful portrayal of the long suffering servant didn’t disappoint. His comedic instincts were on display, not to mention his rich and pliant bass. He was a perfect foil musically and dramatically to Don Giovanni and the other characters.
Opera Fairbanks’ production is instructive in it doesn’t allow the physical limitations of the performing space to hamper the action. The orchestra is on stage, and stage director Gloria Marinacci Allen shows great creativity exploiting the turf she’s allowed by introducing characters from various unexpected angles in Davis Concert Hall.
But this limitation underscores how powerful the score is as well. Musical director Gregory Buchalter shows real sensitivity for Mozart and leads the orchestra in a disciplined and nimble performance that doesn’t overwhelm the singers. It is something of a marvel considering the orchestra is massed behind the singers.
Opera Fairbanks has performed something of a marvel itself. Opera is the most expensive and demanding of the performing arts. That this fledgling company has been able to mount such a satisfying production here is worth celebrating. I think Nietzsche would be pleased.
Post a Comment