In a Don Giovanni that aligns comfortably with tradition and elucidates the jocular elements of ‘Dramma giocoso’, Melbourne Opera’s (MO) new production, directed by Suzanne Chaundy, has a good list of pluses – none more so than the splendid musical interpretation under conductor Raymond Lawrence and the fine musicianship of the MO Orchestra, who add thrilling vocal padding to proceedings,
In the pit, the pulse, textures and shading that Lawrence mined from Mozart’s almost 240-year-old score proved exciting at Sunday’s opening, creating an exemplary structural and evocative world in which the titular wretched, chauvinistic and egotistic womaniser preyed.
On stage, the Don’s relentless pursuits of seduction and deception – culminating in his refusal to repent for his actions before being dragged into hell – are enacted within the spatial context of the Athenaeum Theatre itself. Dale Ferguson’s parchment-toned set echoes the theatre’s neoclassical aesthetic, featuring a high, twin-arched angled wall to one side, with modern lighting rigs that mimic those present in the venue.
From a practical standpoint, it facilitates ease of ingress and egress, especially for the large MO Chorus who add rousing musical padding to events. In addition to judiciously utilising the side balconies and incorporating their form on stage for select scenes, the concept lends itself to merging audience and action.
In the program notes, Chaundy mentions her intention to “emphasise the direct link between this opera and our world today.” In her challenge to present the work in a post #MeToo world – and for a work that feels remarkably untethered to historical events – it is, however, surprising that a reluctance was shown to give equal attention to a contemporary aesthetic. In doing so, might the audience more directly share in the judgement of the self-entitled figures of power and privilege today who believe themselves above the law?
The colourful mix of aristocratic and peasant costumes (Rose Chong Costumiers), under Tom Vulcan’s often brooding – though sometimes limiting – lighting, nonetheless have much appeal, while Chaundy clearly makes demands on her talented cast, often cheekily, that resonate in a modern context.
Over its lengthy but compelling two acts, the Don’s pitifully myopic quests contrast tellingly with those characters rendered with affecting emotional depth and affected by his actions. To Lorenzo Da Ponte’s rollercoaster libretto, it is to these characters, interestingly, that Mozart bestowed the most memorable music.
In the Finale of Act 1 – one of the vocal highlights of the performance the Don extolls Viva la libertà! (Long live liberty!) and is joined by Leporello, Zerlina, Masetto, and the disguised Donna Anna, Don Ottavio, and Donna Elvira during a potent and high-spirited party scene. It is a notable moment when (pre-Revolutionary associations aside), the Don’s interpretation emerges as one of audaciously flaunting a libertine, lascivious lifestyle.
He is a consummate sicko, a degenerate whom baritone Christopher Tonkin plays with effortless athleticism and suavity as the protagonist of the opera’s alternate original title, Il dissoluto punito (The Rake Punished). Tonkin matches good looks with handsome vocals, yet it is in the recitative style that his adeptness at sculpting character truly shines.
2025 OperaChaser Emerging Artist Prize winner Henry Shaw shows complete ease in his transition to a major role in a main stage production, ticking every artistic box with excellence – from the resonant vocal expressivity of the Don’s loyal servant to the uninhibited comic flair he brings. Expertly sung, I know of no other Catalogue Aria concluding with such suggestive pelvic thrusts.
Among the three sopranos at the core of the story – victims of the Don’s exploits, indeed crimes – Donna Elvira is the most curious, given the neediness she retains for the man she seeks to avenge. The role’s potential for comedy is rich, and soprano Eleanor Greenwood gives a wonderful, full-bodied account, with a sorceress-like intensity and fondness for a cigarette.
Lee Abrahmsen wears the grief of her father’s murder and the trauma of attempted rape by the Don with intense pathos as Donna Anna, though at times hampered by uncustomary sharpness in the uppermost notes.
Breezily sweet-toned, emerging artist Rebecca Rashleigh is a delightfully pert presence as the young peasant bride Zerlina. Baritone Stephen Marsh makes the most of the smaller role as her open-hearted, tested groom Masetto, and Henry Choo delivers a superbly authentic rendering of Donna Anna’s patient and valorous fiancé, Don Ottavio.
The Don’s ultimate fate is portrayed in one of opera’s most chilling scenes, as the cemetery statue of the Commendatore (Donna Anna’s murdered father) comes to life – an effect that commanding bass Eddie Muliaumaseali’i cements with haunting force.
Otherwise know as scarcity theory, it is said that the harder something is to access, the more desirable it becomes. I’m afraid that theory does not hold in the case of those of the Don’s calibre. Yet with tickets scarce for the final two performances —-which comes recommended – the desire to secure them should surely be ignited.
Don Giovanni
Athenaeum Theatre (1), 188 Collins Street, Melbourne
Performance: Sunday 26 April 2026
Season continues to 3 May 2026
Bookings: www.ticketmaster.com.au
For more information, visit: www.melbourneopera.com for details.
Images: Rebecca Rashleigh (Zerlina), Stephen Marsh (Masetto), Christopher Tonkin (Don Giovanni) and Company in Melbourne Opera’s production of Don Giovanni – photo by Robin Halls | Uma Dobia (Donna Elvira’s Maid) and Eleanor Greenwood (Donna Elvira) in Melbourne Opera’s production of Don Giovanni – photo by Robin Halls | Stephen Marsh (Masetto), Christopher Tonkin (Don Giovanni) and Company in Melbourne Opera’s production of Don Giovanni – photo by Robin Halls | Christopher Tonkin (Don Giovanni) and Henry Shaw (Leporello) in Melbourne Opera’s production of Don Giovanni – photo by Robin Halls | Eddie Muliaumaseali’I (Commendatore) and Christopher Tonkin (Don Giovanni) in Melbourne Opera’s production of Don Giovanni – photo by Robin Halls
Review: Paul Selar