BWW Reviews: Opera in the Height's DON GIOVANNI is Engaging Fun

Related: Houston, Opera, Mozart, Wolfgang Amadeus Mozart, Opera in the Heights, Don Giovanni

Cecilia Duarte, Trevor Martin, and Brian K. Major.

Based on the legends of Don Juan, Wolfgang Amadeus Mozart's DON GIOVANNI is a true staple in the operatic repertoire and is the tenth most-performed opera worldwide. The opera is often considered to be a dramma giocoso, which means that it mixes serious drama with comedy to create a melodramatic plot; however, Mozart catalogued the work as an opera buffa, or comic opera. Houston's Opera in the Heights production highlights the humor of the piece and thrills with skillful performances.

This is my second experience with the much adored opera, and I find that this score and this plot just don't do anything for me. The often-repetitive libretto causes the plot to drag its feet, making the audience sit through well-performed arias that essentially say the same things over and over. Yet, to give this opera a fresh update, Stephanie Havey sets DON GIOVANNI in the United Sates in the early 1960s. This choice creates a unique visual aesthetic for the show that breathes a little bit of fresh life into the stale piece, but some of her choices in stage direction work against Lorenzo Da Ponte's libretto. For example, Stephanie Havey first introduces Donna Anna to audiences during the overture, dressing the character in a short red dress and having her gallivanting. She dances seductively with men, drinks Jack Daniels straight from the bottle, and seems to be willingly seduced by Don Giovanni. Therefore, towards the end of Act I, when Donna Anna sings to Don Ottavio, her betrothed, about Don Giovanni's attempt to rape her, the audience sees her not as an innocent but as a liar. This makes Donna Anna's motivations seem as abhorrent as Don Giovanni's licentious escapades and ever-growing list of women who have fallen prey to his libidinous lust.

Baritone Brian K. Major plays Don Giovanni as a stereotypical American gangster. Clad in a fedora, overcoat, and suit, it is his appearance of power and control that is used to seduce the women of the world. He sings the role with clarity and strength, delivering rousing performances throughout the production.

Justin Hopkins' Leporello is undoubtedly loyal to Don Giovanni, following the man all over the world and performing any task set before him. His rich Bass-Baritone instrument is well suited and exploited for the role.

Michelle Johnson and chorus.

Soprano Michelle Johnson owns the night as Donna Anna, singing the role with pristine precision and sumptuous beauty. She doesn't characterize Donna Anna as this overly depressed and lost innocent though. Her Donna Anna is saddened by her father's death and is seeking revenge. She is also sexually aware and unafraid to utilize her own sultry sexuality to achieve her goals.

Singing Donna Elvira, Julia Cramer is often hilarious as she chases Don Giovanni in hopes that he will settle with her so she can forgive him for breaking her heart. With a gorgeous soprano instrument she commands attention and warms the hearts of the audiences with her comical, melodramatic zeal.

With a shimmering tenor voice, Zach Averyt sings Don Ottavio with rich control. He plays the character with sincerity, making him entirely devoted to appeasing his beloved Donna Anna.

Mezzo-Soprano Cecilia Duarte sings the naïve Zerlia with vibrant energy, making her an appealing and comical figure that gets mixed up in Don Giovanni's wanton games. Opposite her as Masetto, Trevor Martin creates a greaser who quickly becomes jealous of his soon to be wife's sudden and impenetrable attraction to another man. Utilizing his powerful, robust baritone instrument, he sings with tangible gusto.

More On: Cecilia Duarte, Trevor Martin, Jack Daniels, Justin Hopkins, Michelle Johnson, Denzel Washington, Frank Lucas.

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David Clarke David Clarke has had a lifelong love and passion for the performing arts, and has been writing about theatre both locally and nationally for years. He joined running their Houston site in early 2012 and began writing as the site's official theatre recording critic in June of 2013.

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