Saskatoon Opera brings artistic edge to Mozart classic
In any production of Mozart’s classic opera Don Giovanni, the show swings on how the titular character — based off the amorous Don Juan — is brought to life.
And to the credit of Iain MacNeil, there was not a single moment when he was onstage that anyone could be unconvinced of his hedonistic desire to sleep with anything in a skirt. In this 1940s-themed production, MacNeil’s blend of subtle machismo and an almost palpable self-assuredness made his Don Giovanni the kind of person every father warns their daughters about. His seductive duet with the innocent bride-to-be Zerlina (Emma Johnson) was an early highlight.
The entire plot of Don Giovanni centres around the man as he plans his sexual conquests with the help of his servant Leporello (Daniel Thielmann), while being pursued by a cadre of people who seek vengeance for his crimes. In the end, Don Giovanni is forced to confront his sins and be judged for his actions, and not in the way one might expect.
The orchestra, led by music director Eric Paetkau, did a skilful job with the score. Never overpowering, Paetkau’s orchestra led the audience through the highs and lows of Mozart’s “drama giocoso” (a comedy-drama mix).
One standout was the jilted lover Donna Elvira, played by Aviva Fortunata. Fortunata’s striking soprano was expressive and expansive through bouts of inconsolable rage and sweet hope for love as Don Giovanni manipulates her affections. The chemistry between Donna Elvira and Don Giovanni was by far the most intriguing in the show.
Another performance of note was that of Saskatchewan-born bass Brenden Friesen in the role of jealous bridegroom Masetto. His voice carries a surprisingly powerful edge for such a low tone, lending to the fits of jealous passion Masetto experiences throughout the opera. Masetto’s relationship with Zerlina was one of the few to truly evolve before the audience’s eyes in the show.
The opera, while thoroughly enjoyable, was not without some small flaws. Outside of Garry Gable’s booming singing as the Commendatore, the show felt slow-starting. It wasn’t until the second act that the audience truly got a taste for the abilities of the lead performers. And in some of the scenes where characters were singing alone onstage, the drama fell a bit flat.
Every singer had standout moments, such as Thielmann’s rendition of Leporello’s laughout-loud funny “catalogue aria” describing his master’s conquests. The women in the background of certain scenes felt somewhat out of place until Donna Anna (Myriam Leblanc) sung her chilling recollection of her assault at the hands of Don Giovanni, where they transformed into an emotionally moving allusion to other women from the lecherous Don’s past. No part of this show worked without the others, and it all came together beautifully in the end.
If you enjoy genuinely creative artistry on stage, young and talented singers, and a truly spectacular villain in every sense, Saskatoon Opera’s Don Giovanni is more than worth seeing. Just be careful not to be seduced.