When: 7:30 p.m. Tuesday, April 2, and Friday, April 5; 2 p.m. Sunday, April 7
Where: Ellie Caulkins Opera House, Denver Performing Arts Complex, 14th and Curtis, Denver
Tickets: $20-$160. operacolorado.org or 303-468-2030
DENVER — If you attend one of the remaining performances of Opera Colorado’s “Don Giovanni,” be prepared to laugh almost constantly, to weep intermittently and to fall in love with the eight leads, all of whom are making their debut with the company on the stage of the Ellie Caulkins Opera House. The opera opened Saturday evening.
One of those leads, soprano Maria Lindsey, does have local roots and a special connection to Boulder. She is a recent alumna of the University of Colorado opera program. Lindsey plays Zerlina, the young peasant (or perhaps “student” in this modernized staging) whose failed seduction at the hands of the title character helps contribute to his downfall.
Lindsey, along with baritone Christopher Magiera, who plays the Don, gets to sing one of Mozart’s most famous melodies from this most famous of operas, the duet “La ci darem la mano.” And although it is set in an apparent teen hangout with a jukebox, it is as affecting as ever.
The updated staging, placing the action of the 1787 opera in the late 1950s or early ’60s, works beautifully on a visual level. Director Kevin Newbury has done a marvelous job of making it believable, and the singers never play it as a parody. This only enhances the inherent comedy.
Yes, some of the language referring to knights, noblemen, servants, masters and peasants doesn’t quite work, but it doesn’t really matter. It’s clear that Giovanni is rich, privileged and entitled. It’s clear where everybody stands in the social strata.
Pehaps the best part of the staging is the use of a classic convertible. It is in this car where the Commendatore, played with gusto by bass Richard Wiegold in his American debut, meets his end at the hands of the Don. And when he reappears at the end as a statue, he drags Giovanni to hell in the same vehicle. It is a hilarious, appropriate and deeply moving event at the same time.
There is high comedy as well when the servant/sidekick Leporello, masquerading as the Don, sidetracks the guillible Donna Elivira in a classic motorcycle, complete with sidecar. The use of props — especially masks — is extremely effective.
But the real joy of this production is in these lead actors. Conductor Ari Pelto and his orchestra seemed to realize this, doing everything possible to place them in the best light. Magiera conveys the Don’s viciousness, channeling James Dean all the way through, singing with a forceful and menacing tone.
Soprano Ellie Dehn is a revelation as Donna Anna, the Commendatore’s daughter and the opera’s most pathetic character. Dehn plays Anna not as a matronly prude, but as a vibrant, sensual, passionate woman. The beautiful aria “Non mi dir” has never sounded better.
Tenor Jonathan Boyd as
Anna’s suitor Don Ottavio brought the house down with the virtuoso aria “Il mio tesoro,” and had great success in playing a problematic, often boring character straight. This Ottavio was not the stick in the mud he so often is.
Soprano Melody Moore provided a huge highlight in the grand aria “Mi tradi,” a late addition by Mozart that is often omitted. Moore’s vocal and emotional range were breathtaking. Bass Christian Bowers played Masetto almost like a puppy dog, and had wonderful chemistry with Lindsey.
The palm, however, goes to bass Matthew Trevino as Leporello. The audience fell in love with him from the outset, and his rendition of the famous “catalog” aria, playing beautifully off Moore, will be hard to forget.
Perhaps the finest aspect of the rethinking was in the often trite, moralistic finale after the Don’s fiery exit. It contains gorgeous music, but is always a challenge. Newbury’s approach here is nothing short of genius. The final exit of Trevino and Moore will put a smile on your face and make you want to cheer.
