Toronto Review - 'Don Giovanni' -Opera Atelier
Dave Rabjohn, Associate Toronto Critic
In his opening remarks before the curtain of Opera Atelier’s ‘Don Giovanni’, artistic director (and director) Marshall Pynkoski described the graphic used for the program’s cover page. On an ancient copy of Mozart’s own handwriting, his words “opera buffa” are aggressively circled in photoshopped red ink. The popular opera can be part outrageous comedy, part melodrama, and some parts fantasy. Clearly the artistic leadership wanted to lean towards the comic “buffa elements with hilarious moments at every turn. Having said that, the overarching element of the production is the timeless, sumptuous music of Mozart. An orchestra, so large that it had to flow into some audience stalls, along with rich tenors and sopranos (and others,) elevated this magnificent production.
Conductor David Fallis beautifully guided the diverse orchestra right from the luscious overture. As majestic as the music was, it was also entertaining to see some playful banter between Fallis and some of the artists on stage. Slashing the fourth wall, Don Giovanni is handed an instrument that he begins to play until his skills lapse and the orchestra takes over – everyone laughingly accepting the Milli Vanilli moment. The “buffo” creeps into Mr. Fallis’ work night as he playfully argues with the brilliant clown Leporello (Stephen Hegedus) at the edge of the stage. As usual, the production then gets swept back up into the richness of Mozart’s music.
Mr. Pynkoski’s comments made a parallel with the love/hate relationship between the 1967 movie ‘Bonnie and Clyde’ and the audience who is intrigued with the evil but compelling criminals. The reference is perhaps an over reach, but the point is made that Giovanni is as alluring as he is despicable. As Giovanni, Douglas Williams finds this balance between the perfidious rascal and the outlandish romantic. Constantly grinning with ever watchful eyes darting, Giovanni’s antics are sometimes applauded, but mostly scorned. His beautiful baritone helps to anchor the company.
After murdering the father of one of his potential conquests, our anti hero is loathsome enough to ignore his barbarism and continue his mockery of romance. As Donna Elvira, Carla Huhtanen joins Williams in displaying the humour of the gap between her outrage and her obsession for the rogue. Mireille Asselin, as the piquant Zerlina, also falls under his spell even as her fiancée hovers over them both. The commedia dell’ arte aside, both sopranos were magnificent.
As mentioned, the director chose to highlight the comic brilliance of the story. Stephen Hegedus, as the mirthful, but badgered servant Leporello, is the anchor of the mischievous comedy. Brilliant timing and clever physical buffoonery endear the working-class hero to the audience. With many other characters, the physical comedy continues with the motif of arms akimbo or hands flying out to repel and then, just as quickly, sweep inwards to embrace. Olivier Laquerre, as the grumbling buffoon Masetto, poses with indignation and, like many others, proffers a codpiece whenever opportune. Zerlina’s fingers are constantly wandering, and usually in a southern direction. Sensual steam is always on full display.
Again, Mr. Pynkoski submits that this is a “subversive masterpiece.” In the tradition of commedia, it satirizes conventions and skewers the upper classes. Mockery becomes a main theme – the servant mocks Giovanni’s singing, security is mocked as a band of agents attack with cabbages and dusters. Even Gerard Gauci’s set is a lampooning of his art itself. Using “trompe l”oeil” – the deceiving of the eye, a bottom corner of the set appears to be unglued and is rolling up with another set painting revealed behind. A large red ladder is a symbol in Act 1 of Giovanni’s many escapes, but disappears in Act 2 as his fate is established. Even a large moveable piece is revealed as being absconded from a production of another famous Mozart opera.
From the very beginning the boisterous romp is set as servants run, comically high stepping through the courtyard. However, as it should, it is Mozart’s musical genius that powers the production. Both Atelier’s artists and Tafelmusik’s orchestra have fully realized Mozart’s brilliant music.
DON GIOVANNI by MOZART – OPERA ATELIER TORONTO
Artists – Colin Ainsworth, Gustav Andreassen, Mirielle Asselin, Stephen Hegedus, Carla Huhtanen, Olivier Laquerre, Meghan Lindsay, Douglas Williams
Production – David Fallis, Conductor - Marshall Pynkoski, Director – Jeannette Lajeunesse Zingg, Choreographer – Gerard Gauci, Set Design – Kat Chin, Production Stage Manager
Runs through to November 9, 2019 at The Ed Mirvish Theatre. Tickets at operaatelier.com
Photo by Bruce Zinger