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by Wolfgang Amadeus Mozart, directed by Alison Grant

Opera Ontario, Hamilton Place, Hamilton

Oct. 19-29, 2006

Opera Ontario fielded an impressive cast for a production of Don Giovanni (seen October 21, 2006), most noteworthy for introducing Ontario audiences to Canadian artists Daniel Okulitch in the title role and conductor Robert Tweten, both of whom have made names for themselves in the US.  A charismatic performer, tall, good-looking and commanding a resonant, agile bass-baritone and a natural acting style, Okulitch was an ideal Don Giovanni for a production like this that presented the character as a young libertine rather than middle-aged roué.  He tossed off a very rapid Champagne Aria with panache and beautifully phrased the Act II Serenade.  For once Don Giovanni’s irresistible magnetism, despite his cruelty, was completely understandable as was the sense of a young man spoiled to the point of boredom with the ease of his successes, his expression constantly flickering between a smile and a sneer.

Under Tweten, the Hamilton Philharmonic gave a seemingly under-rehearsed account of the overture, only to pull itself together for the opera proper to produce crisp, unified playing in a considerably lightened style.  Tweten’s tendency to emphasize contrasts between one tempo and the next consistently heightened the work’s dramatic impact.

Thomas Goerz, an old hand at the role of Leporello and in fine voice, was a constant delight.  He delivered the Catalogue Aria with obvious relish at Donna Elvira’s distress.  In Act II when called on to imitate his master, Goerz so accurately mimicked Okulitch’s voice the effect was uncanny.  As Don Ottavio, Scott Scully, the only American in the otherwise Canadian cast, displayed a beautiful light tenor that brought the audience to a deep hush with both “Dalla sua pace“ and “Il mio tesoro“.  If only he could acquire some rudimentary acting skills he should go far.

Among the women, Lyne Fortin gave an elegant accounts of Donna Anna’s “Or sai chi l’onore” and “Non mi dir, bell’idol mio” characterized by pinpoint accuracy and heavenly piannissimi.  Armed with a crystalline soprano Sally Dibblee gave us a Donna Elvira who really did seem to be on the brink of madness.

Director Alison Grant drew highly detailed acting from most of the cast in an otherwise traditional production originating from New Orleans Opera.  Surprisingly, Grant missed the work’s multiple ironies by regarding Don Giovanni solely as a disruptive element in society as if, as she seemed to emphasize, the final sextet provided an adequate moral to the story.

©Christopher Hoile

Note: A version of this review appeared in Opera News 2007-01.

Photo: Michèle Bogdanowicz, Daniel Okulitch and Lyne Fortin. ©Opera Ontario.