Don Giovanni

Although Don Giovanni was written in 1787, and this Göran Jävefelt production was developed in 1991, this opera is truly an opera for our times. Don Giovanni, a nobleman who uses his power to seduce, and is not averse to raping women or murdering those who stand in his way, is not far removed from power wielding men whose exploits have recently come to light. 

The behaviour of Don Giovanni is repugnant, and sits in stark contrast to some of Mozart’s most gorgeous music. Mozart said, "Music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music.” Lorenzo Da Ponte’s lyrics also switch deftly between horror and humour, making the situation more tolerable for viewing. The message remains clear, despite Don Giovanni’s charm, and gorgeous voice, he is evil, and deserves (literally) to go to hell.

Teddy Tahu Rhodes plays the villainous title role with great glamour and grand voice, in a wonderful performance. The audience love both actor and character, which helps us to understand how the character gets away with what he does.

James Clayton is an exceptional Leporello, a beautifully sung role, and he makes the most of the humour in Da Ponte’s lyrics. Johnston Abernethy is a worthy Don Ottavio. Judd Arthur is outstanding in his book-end appearances as Il Commendatore, with his second act persona a wonderful vehicle for his commanding bass voice. Wade Kernot is believable as conflicted bride-groom Masetto. 

Glorious girl-power performances from the ladies in the cast, a trio of super-sopranos who are united but distinct. Anita Watson’s soaring Donna Anna is strong in voice and attitude. Emma Pearson’s steel magnolia of Donna Elvira is a wonderful portrayal, vocally and emotionally of inner struggle. Rebecca Castellini, in what I believe is her best performance to date, is beautiful as bride Zerlina .

Excellent support from the West Australian Opera Chorus, and a team of actors. 

Accompaniment is provided by the West Australian Symphony Orchestra, under the baton of Brad Cohen, and is superb.

Although this is a production that operaphiles have seen before, it continues to look wonderful, and the surprises of the second act still pack a punch. Original designer Carl Friedrich Oberle, and original lighting designer Nigel Levings, have worked on this incarnation in Perth.

A wonderful performance that could lead to some great post-show debate, Don Giovanni is a show that belies its time. Well worth a look.

Kimberley Shaw