Publication Date: Friday, May 28, 2004
A dazzling 'Don'
A dazzling 'Don'
(May 28, 2004) West Bay Opera does Mozart justice
by Jeanie Forte
When Mozart began composing operas in the latter 18th century, the form was already highly refined and developed, owing to masters who preceded him like Gluck and Haydn. But Mozart breathed new life into opera, adding richness to the arias and ensembles and revealing a genius for characterization in music.
"Don Giovanni," currently mounted in a lavish production by West Bay Opera at Lucie Stern Theatre, demonstrates these developments in spades -- not only highlighting Mozart's musical accomplishments, but also elevating the figure of Don Juan himself to a complex, engaging anti-hero.
The production assembles a terrific cast in service of this popular opera. Kirk Eichelberger as the cad we love to hate, Don Juan, gleefully swashbuckles his way through the role with enormous verve and delight in his own depravity. He capably fulfills the larger vision Mozart had of this Medieval legend, making him almost sympathetic in his pure desire to live as he chooses, without constraint of commonplace morality.
Eichelberger's slight tendency to sing in the lower part of the note during ballads is forgiven because of his fabulous acting and strong vocalizing in the bravura passages. He has the look and litheness of a young Errol Flynn, and the vocal confidence to match.
In fact, all of the leads give superb performances. Don Giovanni's henchman, Leporello, is here brought wonderfully to life by Todd Robinson, a newcomer to the West Bay Opera. Possessor of a rich, resonant bass, he also delights as the hapless servant, the comic foil for his master's misdeeds.
Donna Anna, sung by Shana Blake Hill, is the pure emblem of innocence and grief, mourning her father's murder and seeking vengeance. Hill's warm soprano expertly delivers the role, and rouses audience cheers with her dolorous aria in the second half.
Todd Wilander also garners bravos for several tour-de-force arias in the role of Don Ottavio, showing off his outstanding lyrical tenor, drenching his beautiful sound with emotional nuance and giving the high notes a lively sense of risk.
I also thoroughly enjoyed Kimarie Torre as the flirtatious Zerlina, in a charming characterization of the amorous country girl. Her slightly risque aria persuading the wounded Masetto to renew his love showcases both her acting skills and her sweet soprano.
Lori Decter as the jilted Donna Elvira (sharing the role with Elizabeth Caballero) and Nikolaus Schiffmann as clueless hunk Masetto round out an amazing ensemble. Decter in particular does an excellent job portraying her conflicted character, purring her way through a lovely aria about her ambivalent feelings.
West Bay Opera regular Paul Thompson gives a solid performance as Il Commendatore, although the decidedly unorthodox staging of his singular appearance tends to distract.
All the performers deliver the goods when it comes to the numerous trios, quintets, and sextets -- Mozart's marvelous pyrotechnics that surprise the ear and continue to develop the characters.
The ensemble is so strong that the true musicality of these pieces sparkles with energy and expression.
The strength of this local company is not just on stage, but in the pit, in one of the best community orchestras anywhere -- kudos to David Sloss and his musicians for a fine rendering of a demanding work.
And special recognition is due Set Designer Peter Crompton for his clever, multi-functional set pieces, and the entertainment of seeing them transformed from one scene to the next.
This is a first-rate, elegant and appealing production.
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