BY LUCY RASH
Opera Australia
‘Don Giovanni’ by Mozart
State Theatre, Arts Centre Melbourne, 11 May 2015
It took a lagging front of house clearance and a lot of shuffling around on the audience’s behalf before the staircase, the jewel of Robert Jones’ grand set, finally lowered from the ceiling of the State Theatre. This pomp, cascading architectural feat would become the centre of much of the action in Opera Australia’s newest production of Mozart’s Don Giovanni. In a few words, it’s worth your dollars – if not only for the presence of local heroes Emma Matthews as a delightful Donna Anna and Teddy Tahu Rhodes as the frighteningly libidinal Don Giovanni.
Of course, Rhodes is no stranger to the role. With his imposing figure, fiercely grounded demeanour and a voice shrouded in the colours of midnight, he’s the perfect candidate to carry out the Don’s fiendish plan of seduction. In David McVicar’s reimagining of Mozart’s underworld, Don Giovanni slinks about Jones’ extraordinarily heavy, broody and monochromatic set in pursuit of (let’s be honest) a majority of the opera’s female characters. With all but the youthful Zerlina (Taryn Fiebig) dressed completely in black or grey, one can’t help but feel the depths of hell could crack open at any given moment: that the Don was doomed from the very beginning. The sense of tension created by such vivid contrast between the set and vastly sunnier subject of Don Giovanni’s croonings is impressive.
The performance is conducted by OA staffer Anthony Legge with great sensitivity but an obvious and affecting lack of boldness. Orchestra Victoria, on the other hand, is very much in control of the great ship Giovanni, bringing Mozart’s characteristically playful and intelligent score to life. An exciting feature of the score is the beautiful pianoforte recitatives which pepper much of Act 1. Here, executed with great musicality by pianist Siro Battaglin, they bring a delectable intimacy to many scenes in which the Don and his droog, Leporello (Shane Lowrencev) creep knowingly about their surrounds.
It’s a true pleasure to hear the sweet, dexterous voices of Jane Ede and Matthews together as Elvira and Donna Anna respectively. The men are also impressive; bar John Longmuir’s occasional lack of strength and tone in the lower register his Don Ottavio is certainly adequate. Richard Anderson is convincing as Zerlina’s lover, Massetto. It’s pleasing to see a cast of talented local heroes shine in this production.
The final moments of his life – those very events the audience has been anticipating all along – are finally upon us. Don Giovanni is swallowed up amidst a light-filled pit of grey, convulsing, demonic spirits. Following his disappearance, Jones’ staircase descends once again from the ceiling of the State Theatre and a cold albeit heavenly glow trickles down its steps. It’s a fittingly theatrical end to a production you’d be damned to miss.
Image supplied. Credit: Jeff Busby.
