MY OPERA EXPERIENCE WAS DARKEST BEFORE THIS DON
Don Giovanni seduced me — in a manner of speaking — when I attended last night’s opening of Mozart’s Don Giovanni by Boston Baroque. I’ve covered theater for quite some time, but this was the first opera I’ve seen live. And I’ve got news for anyone timid about attending opera: I was completely mesmerized, totally charmed, and utterly disgusted by the story (that’s a good thing). Lorenzo da Ponte’s poetic libretto of Don Giovanni (Don Juan) revolves around the libertine and seductive Don Giovanni, who leaves a trail of romantic conquests and reckless behavior. The opera explores themes of love, morality, and retribution as it follows Don Giovanni’s encounters with various characters, ultimately leading to a final reckoning.
Sidney Outlaw (Don Giovanni), Kevin Deas (Commendatore)
It’s just your basic tale of a nighttime seduction, a parental murder, an escape, lies, sinister plotting, past romantic revelations, more seduction, a wedding, a dance, evil craftiness, still more seduction, an unveiling, a confrontation, an escape — and all this before intermission.
Kevin Deas (Commendatore)
And if I wasn’t inundated with seduction, Act II began with another seduction by the Don, a running theme in this opera, an identity switch to aid said seduction leading to an almost execution due to the identity confusion, a lovers’ suspicions, physical violence, an encounter with the ghost of the man who you happen to have murdered and who invites you to dinner, then has you, yes YOU the Don, banished off to hell.
Just your typical dinner party!
Patrick Carfizzi (Leporello), Julie Boulianne (Donna Elvira)
Sidney Outlaw plays Don Giovanni with a self-centered passion, making it believable that he is forever rationalizing that all his evil deeds are being done for love. The majesty and the power of his voice, added to his command of the stage, explains the many female conquests. Upon meeting him after the show, the first words out of my mouth were, “You were SUCH a slut!” He burst out laughing saying he loved that, then he gave me the most enormous hug.
Maya Kherani (Zerlina)
Patrick Carfizzi is wonderfully humorous as Leporello, Don Giovanni’s manservant/friend/lackey, who would help set up his crafty schemes, and then take the blame when they failed. His character was onstage so much that the opera should have been named after him. Filled with richness and muscle, Carfizzi’s voice demanded respect — even for a flunky!
Julie Boulianne (Donna Elvira), Sidney Outlaw (Don Giovanni)
Susanna Phillips is Donna Anna, who is having a bad day, beginning with a failed seduction attempt by Don Giovanni (who knows she is engaged!) and ending with the murder of her father. Her beautiful voice is full of such strength and dynamism, you can almost forget that her and other female characters are written as rather vapid and stupid. Glorious tenor Nicholas Phan played Don Ottavio, Donna Anna’s fiancée. Along with that buttery voice, Phan showed a love for Donna Anna that was reflected by both his physical presence and the beauty of his aria, “Il Mio Tesoro” (“My Treasure”), a veritable vocal obstacle course.
Julie Boulianne (Donna Elvira), Sidney Outlaw (Don Giovanni),
Susanna Phillips (Donna Anna), Nicholas Phan (Don Ottavio)
Speaking of vapid, there’s Zerlina, Don Giovanni’s attempted conquest in Act II. Even though Zerlina’s seeming innocence disguises an inner power, the dialogue has her spouting those of an idiot. (Did anyone else think this at their first Don Giovanni?) You can tell that a man wrote the libretto. However, Maya Kherani in the role features a crystal-clear agile soprano with secure high notes, expressive acting and a charismatic stage presence. David McFerrin gives us a Masetto, Zerlina’s fiancé, as one who is very full of himself while seemingly protective of her (at least until the suspicion of infidelity with Don Giovanni arises). With sophistication and grace, McFerrin’s light lyric tenor showed beauty, freedom of tone, and outstanding breath control, reflecting the caring and love they share.
David McFerrin (Masetto), Maya Kherani (Zerlina)
Donna Elvira once loved the Don, then he left her — a pattern of his. Now she despises him, but would take him back in a heartbeat since she still believes in love. Julie Boulianne‘s ethereal voice reflects that. She seemed like the comic relief, although the entire opera was very funny.
Sidney Outlaw (Don Giovanni) with orchestra and chorus
Rounding out the cast, is Kevin Deas is Commendatore, Donna Annas murdered father. We don’t see much of him when he’s alive, but he regally commands the stage once he’s dead. Deas’s exceptional bass voice and suitably threatening demeanor is spellbinding.
Julie Boulianne (Elvira), Nicholas Phan (Ottavio), Susanna Phillips (Anna)
Boston Baroque uses the original Prague version of Mozart’s opera, which means we hear it on instruments of that time. The phenomenal orchestra is front and center, led by conductor and Founding Music Director Martin Pearlman, who pays attention to the orchestral colors which contributed a vivid and multi-dimensional portrayal of the opera’s personalities and situations. Just exquisite!
Julie Boulianne (Elvira), Susanna Phillips (Anna), Patrick Carfizzi (Leporello),
David McFerrin (Masetto), Sidney Outlaw (Giovanni),
Maya Kherani (Zerlina), Susanna Phillips (Anna)
The costumes by Daniel James Cole mix time-period appropriateness with modern day touches. And I’m thrilled that director Chuck Hudson brought a double helping of humor instead of emphasizing the tragedy of the piece (he even uses cellphones).
Thank you Boston Baroque. This may have been my first Opera, but it is definitely NOT my last.
photos by Hilary Scott
Don Giovanni
Boston Baroque
The Huntington Theatre in Boston, MA
ends on April 28, 2024
the April 26 presentation will also be livestreamed on the global streaming platform IDAGIO
the virtual performance can be streamed on-demand 30 days after the live air date
for tickets, in-person ($50-$175) and livestream ($9), call 617.987.8600 or visit Baroque Boston
