San Francisco's Other Opera Does 'Don Giovanni'

By Eman Isadiar

During the long operatic dry spell until San Francisco Opera’s next production, a dose of Mozart brought relief to the city’s opera fans. San Francisco Lyric Opera managed to fit a larger-than-life “Don Giovanni" on a surprisingly small stage on the waterfront at Fort Mason’s Cowell Theater.

Appearing in the title role, Romanian bass-baritone Eugene Brancoveanu made a persuasive Don Giovanni with subtle acting and a powerful voice. Every last feature of Brancoveanu’s demeanor, gait, and gestures personified the Spanish nobleman of irresistible charm—otherwise known as Don Juan—whose amorous adventures by far outnumber those of any bachelor in history.

Scene at the Cemetery - Eugene Brancoveanu (Don Giovanni), Sergey Zadvorny (statue of the murdered "Commendatore"), and Razvan Georgescu (Leporello) in San Francisco Lyric Opera's "Don Giovanni" - Photo by: David Ransom

Brancoveanu was particularly brilliant in the aria “Finch' han del vino” (Until They Have Wine) near the end of Act 1, where Don Giovanni describes in lustful detail the twin joys of wine and woman.

The opera’s libretto was written by Lorenzo Da Ponte, who also penned the words to two other operas by Mozart, namely “Cosi fan tutte” (Thus Do All Women) and “Le nozze di Figaro” (The Marriage of Figaro).

Set in Seville, Spain, Mozart’s “Don Giovanni” is rather unsavory—at least by modern moral standards—in the way in which it mixes humor with such grim topics as rape, murder, and damnation. Yet the transcendent music of Mozart alone can justify even this most objectionable of plots.Don Giovanni’s past catches up with him when two of his past conquests seek retribution: Elvira for her unborn child, and Anna for her beloved father who was murdered by Don Giovanni while trying to avenge her rape. Anna’s young admirer Ottavio also vows revenge. A peasant girl named Zerlina, seduced on the very day of her wedding, joins the band of ill-wishers along with her fiercely jealous fiancé, Masetto, who also intends to kill Don Giovanni.

While Don Giovanni’s earthly enemies multiply, unearthly forces are also at work to settle the score. As he attempts to flee the angry mob, Giovanni and his servant Leporello accidentally wind up at the cemetery, where a marble statue marking the grave of Anna’s father comes to life and proclaims Giovanni’s impending doom. Perhaps out of both arrogance and fear, Don Giovanni mockingly invites the statue to dinner, which the stone figure accepts with an ominous nod.

The fateful hour strikes and the statue knocks on Giovanni’s door. A powerful trio ensues with Don Giovanni, the statue, and Leporello, accompanied by some of Mozart’s most fearsome music. Don Giovanni is then taken through the gates of the underworld in a fiery display of opera magic. In this version of the opera, the flames were portrayed by the perfectly choreographed serpentine movements of a group of monstrous, red-clad women—perhaps some of Don Giovanni’s own victims.

Pregnant and Abandoned - Gifted young soprano Kali Wilson appears as the heartbroken Elvira in "Don Giovanni" - Photo by: David Ransom

An especially gifted student of the San Francisco Conservatory of Music, Kali Wilson sang the part of Elvira with exceptional clarity and emotion. Wilson’s skillful runs and scales in the aria “Ah, fuggi il traditor” (Ah, Run Away, You Traitor) clearly promise a bright career ahead.American tenor Ashley Faatoalia was truly impressive as Don Ottavio, and Romanian bass-baritone Razvan Georgescu brought much depth to the role of Don Giovanni’s servant Leporello. Singing the parts of Anna and Zerlina, respectively, Duana Demus Leslie and Krista Wigle each gave a captivating performance.

Grieving Beauty - Soprano Duana Demus Leslie sings the part of Anna, who mourns her father's death at the hands of Don Giovanni. - Photo by: David Ransom

Ukrainian bass Sergey Zadvorny delivered the parts of Anna’s father “Il Commendatore” and his marble statue with great control and precision, while Brazilian baritone Igor Viera gave a worthy rendition of Masetto.With a remarkable cast of voices, the chorus directed by Chip Grant also deserves mention for playing an important part in this memorable production by the San Francisco Lyric Opera.

Finally, the music provided by a fairly small 25-piece ensemble rivaled the sound of a full orchestra under the capable direction of Barnaby Palmer, whose job was rather difficult given the lack of an orchestra pit and proper seating configuration for the musicians.

While the San Francisco Lyric Opera may be the city’s best-kept secret for well over a decade, it cannot remain so for much longer with high-quality productions such as the latest “Don Giovanni.” San Francisco Lyric Opera also takes pride in fostering future generations of opera supporters by offering free admission to children 12 and under, and reserving 10 percent of its seating capacity at every performance for the San Francisco Unified School District.

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Eman Isadiar teaches piano at the Peninsula Conservatory and writes about music in the Bay Area.