Overview
Since its premier in Prague 1787, the story of Don Giovanni the serial seducer has been instigating laughter, tears, scandal and enchantment in its audiences all over the globe. Based on Mozart’s legendary woman-slaying character Don Juan, the saucy, smooth-talking, sex-obsessed scoundrel who was first introduced to the world through the 1630 Spanish play The Trickster of Seville and the Stone Guest. And despite the character’s womanising ways, Don Juan has been reimagined over and again by the world’s best literary minds. Moliere’s 1665 play, ‘Don Juan ou le Festin de pierre,’ Byron’s epic 'Don Juan’ and Jose Zorilla’s ‘Don Juan Tenorio’ are amongst the most successful renditions of everyone’s favourite womanizer. But with most of these success stories having taken place in the 17th century, it is no wonder the New Zealand Opera felt the need to take the age old sleazy story and give it a modern spin.
The contemporary twist is instantly apparent, when amidst the first act is a nightclub scene. Bouncers, pole dancers and seas of girls eager to please Don Giovanni highjack the stage and capture audiences as the star of the show, Mark Stone shows off his impressive baritone. The modernity of the newly spun tale does not negatively impact the storyline until some of the more classical scenes, where the gestures seem too jerky for the music, and the crass set slightly clashed with the crooning C’s.
The success of the era-transition is largely owed to the stars of the show. The characters are believable and the relationships - especially that between Don Giovanni and his servant Leporello played by Australian bass baritone Warwick Fyfe - are perfect. Fyfe embodies the awkward, anxious clown with ease, and provides most of the laughs for the night, helped along by Stone’s egotistical wit and powerful persona.
Another knock-out performance was given by Anna Leese, the New Zealand soprano who plays Donna Elvira, a young girl who falls victim to the Don’s characterising charm. Her voice overpowered (in my opinion) all others, and never once wavered or shook. Her character is charming although slightly insane. Playing the perfect woman scorned, the Donna is looking for revenge although she is hindered by her ever conflicting emotions and personal pain. Her character, along with the other leads, continues to grow and develop throughout the story, making them all relatable and even loveable. And this character evolution, along with the incredible vocals, is undoubtedly the highlight of the show.
Whilst the story has been around forever, Mozart’s Don Giovanni is a classic that may be best left alone. Director Sarah Brodie has made a good effort to incorporate the modern day, and maybe to appeal to a younger audience that opera’s usual demo. But I’m not convinced that the modern twist paid off in the plot, with an in cohesive storyline and some parts seeming a little forced. For those who adore the opera for the music and vocals, you will not be disappointed, as both aspects are entirely on point.
Overall, the show makes for an entertaining evening filled with outstanding music. It’s worth the watch if you can deal with the mid-song selfies.