Johanna Austin

Before any music-making happened, there were clear signs of success. One of the earliest and most daring initiatives of Opera Philadelphia’s new regime led by Anthony Roth Costanzo has been a “Pick Your Price” program, with opera tickets available for as little as $11.

At the opening night performance, the Academy of Music was as packed as I’ve ever seen it, with many young people in the audience. When ARC himself took to the stage, the crowd cheered. When he announced that literally the entire season was sold out, they cheered louder.

With this energetic rush, we were off to the races—in musical terms, almost literally. Opera Philadelphia’s Music Director Corrado Rovaris is known for brisk tempi, but this exceeded any expectations. Surely here was the fastest Don Giovanni I’d ever heard.

As with other aspects of the show, I had mixed feelings. The speed worked best in some individual numbers, including for me finally hearing Elvira’s “Ah, fuggi il traditor” at the frantic pace I want. But the relentless momentum diluted key dramatic moments that passed quickly and, damagingly, largely unmarked. These included Zerlina’s capitulation to the Don’s advances, and Anna’s recognition of the Don—and there were more. Still, there was an undeniable excitement to the performance.

Johanna Austin

The cast was largely rising young singers. They delivered high-level performances individually, and together, they were ultimately among the most consistent ensembles I’ve seen in any Don Giovanni.

Sidney Outlaw, the Don himself, was a late replacement—understandably, this was a theatrically low-key performance, but it’s a lovely voice, especially in a ravishingly-delivered “Deh, vieni alla finestra.” He was well-partnered by Nicholas Newton as Leporello, who also made his strongest points vocally.

Tenor Khanyiso Gwenxane was an elegant Ottavio: I was sorry that “Dalla sua pace,” was cut—I think it would have suited his lyric poise very well. (He was generally fine in “Il mio tesoro,” though challenged—as many tenors are—by the ornamental writing.) Olivia Smith (Donna Anna) proved a find, the rare soprano with the vocal heft for “Or sai chi l’onore” as well as the flexibility for “Non mi dir.”

Kevin Godínez and Amanda Sheriff were a charmingly paired Masetto and Zerlina. Theatrically and vocally, Godínez confirmed the very positive impression he made as an AVA resident artist here in Philadelphia; Sheriff has a lively presence and a pretty voice that occasionally turned squally.

For me Elizabeth Reiter (Elvira) was the real discovery here: vocally commanding with a glamorous glint to her soprano and a compelling, engaged actor. The conception here of Elvira as sardonic and confident was one of the production’s best ideas.

Johanna Austin

Ah, yes—the production. Often, this is a highlight at Opera Philadelphia, known for innovative theatrical values, but this Don Giovanni — directed by Alison Moritz, designed by Cassandre Griffin, Jesse Wine, Victoria Bek, Jeanette Oi-Suk Yew, and Amanda Clark — fell short of that standard.

A colonnade of white arches nodded to the historical period, while costuming was a modern-mix, but none of it felt specific. Comedic elements dominated, and certainly they are a significant part of Don Giovanni. Pointing the comedy may also seem like a way to soften the problematic nature of a story that is fundamentally about a rapist.

But a Don Giovanni without poignance, gravitas, violence, and awesome retribution is ultimately only part of the story. Some silly ideas—balls and spheres overran the stage, often to audience laughter—took over here. I won’t attempt to describe the nadir of this production—the return of the Commendatore’s ghost, which also induced unwanted giggles. (Raymond Aceto brought a formidable bass and a good presence to the Commendatore, but it was a lost cause here.)

So… a mixed bag in sum but musically rewarding, with fine work from the orchestra and chorus, the latter under the direction of Elizabeth Braden.

And on a further positive note, the success of the ticket initiative, and the enthusiasm of—and for—Roth Costanzo in his new role is invigorating and hopeful. Next season looks to be the company’s most ambitious since the first Festival O in 2017.

There’s a lot to look forward to.