Review of Scottish Opera's Don Giovanni at Eden Court till Saturday which is set in swirling mists and dappled water reflections in a crumbling Venice is 'edgy and authentic'

A tale of aristocratic entitlement, a catalogue of lies and deceit, a party which isn’t all it seems and, tempting fate, an ill-advised social gathering with food and drink – how, oh how to make Don Giovanni seem relevant to our own times?

Set in a crumbling Venice, complete with swirling mists, dappled water reflections and visiting gondolas, all conjured up by Simon Higlett’s richly ‘distressed’ design and Mark Jonathan’s haunting lighting, Sir Thomas Allen’s production is a visual feast. Creating a maze of alleyways and secret doorways, which transform magically into lavish interiors, this is a set to die for, and the production makes superb use of its eerie potential.

With a clap of thunder, the stroke of a natural timpani and the brazen tone of natural trumpets this performance announced that it would be both edgy and authentic. This was complemented by the distinctive sound of narrow-bore trombones, while the strings of the ever-excellent Orchestra of Scottish Opera responded with idiomatic vibrato-free playing, all of which lent Mozart’s ingenious score a wonderful raw power and transparency. Stuart Stratford’s assured and precise direction ensured that the evening crackled with musical energy, and he was fortunate to have before him a first-class line-up of singers.

Standing in for the indisposed Hye-Youn Lee, Elena Xanthoudokis’s Donna Anna was vocally and dramatically striking, and if Keel Watson’s Commendatore, her father, lacked a little decayed vulnerability, his physical presence and rich voice served well in his later manifestation as the Don’s stony nemesis. In some productions Donna Anna’s fiancé, Don Ottavio, is a character overshadowed by events, but Pablo Bernsch’s dynamic characterisation and lovely lyrical tenor voice demanded attention.

Donna Elvira, one of the Don’s many jilted lovers who haunts his every move, was played with powerful pathos, but also sly wit, by Kitty Whately. If she occasionally sounded a little under-powered vocally, her complex arias were flawlessly sung and she blended beautifully into the vocal ensembles, which were a major highlight of this performance.

The peasant couple, Zerlina and Masetto were vividly evoked by Lea Shaw and Emyr Wyn Jones, while both were vocally extremely impressive.

At the heart of this engaging performance, Roland Wood and Zachary Altman had quickly established themselves as an utterly convincing master-servant team, both producing consummate dramatic and vocal performances, and in a beguiling blend of comedy and cynicism, they steered this production unerringly to its hair-raising dénouement. How satisfying to witness, in the world of opera at least, a misspent career rewarded with graphic fiery come-uppance!

D James Ross

The opera is at Eden Court – the Access performance on Friday, May 27 at 3pm – with the full opera staged again on Saturday at 7.15pm (this one is audio described). For more information visit www.scottishopera.org.uk/shows/access-don-giovanni/

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