If Don Giovanni was alive today, he’d have a sex tape and a reality TV show.  Wolfgang Amadeus Mozart’s opera depicts a lusty, salacious and remorseless playboy.  First performed in Prague, Czech Republic, Ocober 29, 1787, it had music by Mozart and a libretto written by Lorenzo Da Ponte.  Since then, it has become the most oft-performed opera in the world.

The curtain opens and Leporello, Don Giovanni’s faithful servant, is standing guard, while his master attempts to rape Donna Anna. She screams for help and her father, the Commendatore, runs to her rescue.  He is quickly killed by a masked Don Giovanni after which Donna Anna pleads with her betrothed, Don Ottavio, to avenge her father.  He agrees, and off they go in pursuit.

Don Giovanni and Leporello flee the scene and soon stumble upon a bereaved young lady.  Still feeling rambunctious from his attempted rape and successful murder, he tries to chat her up.  It’s Donna Elvira—the same girl he ditched recently! Needless to say she’s peeved and Don Giovanni makes a hasty exit.  Leporello then sing the famous Catalogue aria, which vividly explains his master’s conquests.

During the course of the opera, Don Giovanni attempts to seduce a peasant girl about to get married, beats up her fiancee, chases after a beautiful maid, incites a rowdy group of villagers, invites a statue of the Commandatore for dinner who agrees (after all, statues rarely get invited anywhere) and drags a kicking and screaming Don Giovanni down to hell.

This production at the Detroit Opera House boasts a splendid cast.  A huge nod goes to the marvelous women.  Mozart writes splendidly for the female voice and these talented ladies did not disappoint.  Caitlin Lynch, as Donna Anna, is marvelous with a large and agile voice.  Kelly Kaduce (Donna Elvira) acts the dickens out of that part and showcases her powerful, elegant soprano voice.  Sarah Jane McMahon (Zerlina) is beyond delightful.  Her charm and sense of comedic timing, as well as her effortless vocals, allows her to hold her own on a stage overflowing with talent.

The men are in equal form.  Standouts include Burak Bilgili, who has a commanding stage presence and is hilarious as Leporello. David Lomeli (Don Ottavio) had the most surprising voice of the night—a strong and beautiful tenor—and possessed a quiet dignity in a part that is not the most exciting.  Robert Gierlach (Don Giovanni) acted well but did not have a steely-enough voice to cut through the powerful orchestra conducted by the wonderful Christian Badea.

This is not the most inventive production: period costumes, very big “opera-acting”, and cheesy gags.  However, the beautiful sets, costumes and excellent singing more than make up for it.

Author: Yana Levovna