Play on, Players

Don Giovanni, Nov. 22, Curtis Opera Theatre

by David Shengold

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Published: Nov 25, 2008

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Curtis Opera Theatre double-casts its main-stage shows — so while I was glad to have caught the bracing Saturday night performance of Don Giovanni at the Prince, I wonder what I missed from the company's second ensemble.

Conductor Ari Pelto's firm leadership was impressive from his first phrase of a taut Overture, Lisa Keller accompanying him sensitively on harpsichord. Ned Canty's direction was full of insightful touches, and Andrew Lieberman's 1950s set, quite remarkable.

Dapper Elliot Madore, clearly channeling Rat Pack-era Sinatra, has all the assets for the role of Don Giovanni and sang his set pieces quite well. But rough-and-tumble Sinatra was no gentleman (unless we're talking about a gentlemen's club) and the piece's class-based content went for little. Madore tended to rush his recitatives (perhaps he was imitating the great Don Giovanni portrayer Erwin Schrott?) and pulled too many faces too fast to fully register his own emotions.

As drolly characterized Leporello, Evan Boyer's mellow bass flowed well, but was occasionally somewhat hollow. The three contrasting women's roles merit praise. In full command of a fine, bright soprano, Amanda Majeski made a remarkably assured and impassioned Donna Anna. Charlotte Dobbs embodied Elvira's vulnerable soul in body and voice; there's a poignantly open quality to her tone, although she needed occasional extra breaths in the most difficult runs. Majeski and Dobbs both boast a recognizable personal timbre of their own, which is quite a fine career asset.

As Zerlina, Elizabeth Reiter gave a nuanced, neatly voiced performance; I am convinced that this young Roberta Peters is fully ready for any professional stage. Kevin Ray matched her well in stature, doing full justice to the role of Masetto. Joseph Barron, the only singer performing in both casts, showed a cavernous bass as the Commendatore, most impressive at its top. But his appearance in the scene of Giovanni's punishment was curiously ordinary: He's just a guy in a military uniform, so why would Elvira — who never met him in life — have screamed upon seeing him?

Giovanni writhing to death (a seeming heart attack) also underwhelmed after so much creative direction. But despite missteps, the work of Canty, Pelto and their young musicians did Mozart proud with this lively, well-sung staging.

(d_shengold@citypaper.net)

Don Giovanni | Sat., Nov. 22, Curtis Opera Theatre at Prince Music Theater

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