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.
