Don Giovanni - Review

Don Giovanni
Sydney Independent Opera
Sydney Independent Opera Orchestra
Independent Theatre
North Sydney
Reviewed by Ben Oxley

Don Giovanni has contrasting characters to offer ensemble companies the chance to excel. First we are introduced to the very fine ensemble directed by SIO's artistic director Dr Steven Stanke. Paul Smith, an engaging and attentive Leporello, whose attractive bass voice gave the commentary to the desperate Don, sung by Randall Stewart. The Don needs to have the sexual allure that would make sense of the female following. His change of costume to the party scenes helped his character’s indiscreet designs. More resonant tone would create a believable seducer. 

Qestra Mulqueeney was an impressive Donna Anna, summoning the vocal stature demanded by the role. She gave the leading edge to the big ensembles and had the resolve to see Giovanni to his demise. Alastair Colgrave missed the mark with Ottavio. Vocally it was closer to Basilio, and lacked calm, even phrasing. While he doesn’t understand Anna’s plight, he needs to find a reason to take up her cause. 

Salina Bussien brought a contrast of tone to Donna Elvira. Her portrayal gave the other characters a wildness to work with, and she handled the difficult coloratura mostly with control. Maia Andrews was well-cast as Zerlina, with attractive some beguiling tone at the top of the voice. Some phrases were lost in the ensembles, but she projected a girl in the middle of someone else’s dilemma. Her husband-to-be Josh Salter is a Masetto with credible opposition to Giovanni, in even, flowing tone. 

Ian Fisher as Commendatore has the moral compass in hand, and in his short role gave the Don pause for thought. The ensemble of singers was well supported by a handful of lads and lasses, who helped connect the story. 

Opera in English? It always helps to be in the language of the audience. The real work for the singers needs to be in delivering the text so that we can comprehend their actions, and make sense of motivation. Perhaps workshopping scenes to connect characterisation with libretto would help create more credible performances. Paolo Montoya created theatrical tension throughout this fast-moving drama, and effectively broke the fourth wall to move the story to its deadly end. 

The Sydney Independent Opera should be congratulated bringing a large piece to a jewel of a theatre. There really is a place for this company, offering scaled productions to showcase emerging talent.

Madama Butterfly

Reviewed by Regina Su

Puccini’s Madama Butterfly is now playing at the Sydney Opera House and to miss this would be more than an irreversible regret. The costuming was detailed in silk creating a sense of sensous voluptuousness. Visually, this opera was spectacular, easily the most stunning show I have ever had the privilege to watch. Subtle breezes over the stage sent white curtains billowing, the water moat around the raised stage was used to float tea-light candles. Somehow, the opera crew created a sacred and stunning space, something so breath-taking that ladies in the row in front of me were actually in tears at the performance. 

But it’s not just the staging that can evoke the use of a tissue, it’s the whole atmosphere. When the lights are dimmed, they reveal the pinpricks of a starry night, and a perfect moon overlooking one of the most romantic and tragic love stories of all time. The entire show was like witnessing a picturesque Japanese post card and the lighting was totally flawless. I was seated where surtitles could not be seen, but this was not an issue. At one point, a letter of bad news is read out. Butterfly’s face lights up with energy, passion and excitement and the stage is awash in pink. Later, the same letter reads a great tragedy for Butterfly- her beloved American soldier has since married in the US. Her face darkens, as the lighting changes dramatically to deep blues and greens and I felt a heart-breaking pain; I had invested so much emotional energy in Madama Butterfly.

Puccini’s opera is recognisable, hum-able and so very poignant. Commendation to the actor who played Madama Butterfly’s son- he was so perfect and gut wrenching in his silent performance of love for his mother. As we watch Butterfly await the return of Pinkerton that will never happen, we watch her suspense, her loving devotion and adoration. She smiles, but there are tears in her eyes. Her dedication to the dream that is Pinkerton is manic, borderline lunacy and we feel so much sympathy for this Japanese woman wronged by a marriage of convenience. We had invested so much in Butterfly’s story that when Pinkerton came to bow onstage in the finale, the audience in fact boo-ed him off, (all in jest of course). The show has a sad nostalgia, a tragic loss of a romantic ideal, a sensual and perfect night of Opera. I cannot regard this performance more highly.

Performance dates: 20^th September until the 1^st of November.

Image source: http://www.sydneyoperahouse.com/whatson/madama_butterfly_2012.aspx