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David McVicar’s highly celebrated production of Don Giovanni, the dramatic tale of the infamous Casanova’s final days, returns to the Sydney Opera House this January. Complete with murder, revenge, and paranormal intervention, this season of one of Mozart’s most highly regarded operas will feature a number of exciting debuts by local and international artists.
There are some exciting stars lined up to perform this new production. Ukrainian baritone Andrei Kymach will deliver his first performance in Australia as the malevolent anti-hero Don Giovanni. Kymach is no stranger to the torment of this malicious character, having performed the role with the Welsh National Opera earlier this year.
Celebrated French-Israeli bass Yuri Kissin will also make his Australian debut in the role of Leporello, having sung this role in Maribor among many other performances in opera houses and festivals across the globe.
Opera Australia Young Artist Sophie Salvesani will make her official mainstage opera debut for the Company in the role of Donna Anna, after stepping in last minute earlier this year as Violetta in La Traviata. Salvesani will share the role with OA Chorus member Celeste Lazarenko making her mainstage leading principal role debut.
Another Chorus member, soprano Bronwyn Douglass, will make her mainstage debut in the role of Donna Elvira, sharing with Jane Ede who received a fantastic reception in this role in 2020.
Reprising the role of Don Ottavio is Spanish tenor Juan De Dios Mateos who, in the 2020 production, “impressed with his striking, clarion clear tenor voice” according to the Canberra Critics Circle.
The cast will be rounded out by soprano Cathy-Di Zhang, baritone Andrew Williams and bass David Parkin in the roles of Zerlina, Masetto and Commendatore respectively.
The thrilling score will be realised by the Opera Australia Orchestra under the baton of two renowned conductors, starting the season with Guillaume Tourniaire followed by Paul Fitzsimon, with revival direction by award-winning Australian director Warwick Doddrell.
McVicar’s gothic reimagining of Mozart’s opera takes place at the end of the enlightenment age, using an eerie setting to foreshadow the tragic elements of the story. Designed by Robert Jones, the monumental set, beginning with an epic staircase lowering from the ceiling, will draw gasps from the audience at its sheer size, fully immersing viewers in this psychological thriller.
It’s the last day of Don Giovanni’s life, but he doesn’t know that.
For opera’s own Casanova, it’s just another day of pleasure seeking. Seducing a bride on her wedding day. Breaking into a woman’s bedroom in the dead of night. Killing her furious father.
Even before the curtain rises, Mozart reveals Don Giovanni’s fate. An earthshattering chord from the orchestra signals the gates of hell clanging open. The scoundrel’s debauched days are at an end.
When he hears a voice from beyond the grave, warning of impending punishment, Don Giovanni has no fear. Half-mocking, half-earnest, he invites the statue of the man he’s just killed to dinner.
Sir David McVicar’s production reveals the darkness in opera’s most compelling anti-hero. His Don Giovanni is a psychological thriller on a grand scale.
Monumental sets place the story in a gothic underworld inspired by the catacombs of Vienna. Monochromatic period costumes feature stunning embroidery. Can the characters keep their morals as tightly buttoned?
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Michelle is a musician and composer from the UK. She has performed across the UK and Europe and is passionate about arts education and opportunities for women and girls.
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