Review: Don Giovanni, Bristol Hippodrome ‘a production that conjures majesty’

As a man who had been informed just hours earlier that he would be playing the lead character in Welsh National Opera’s Don Giovanni on press night, Aaron O’Hare puts in an impressive portrayal of this notorious character.

Usually played by Andrei Kymach or Duncan Rock, Don Giovanni spends most of the opera’s three hour runtime sleeping his way around Europe (he has, we are told, had over 2,000 lovers), manipulating friends and love interests alike, and flashing his nobleman status wherever it will gain him favour.

O’Hare imbues this serial womaniser with a self-important flair, striding about the stage in flowing robes that are swished at every opportunity. Beneath his hat, his eyes spark with greed and excitement at the world of lust he so patently believes is his.

This Giovanni is a man of such overwhelming confidence that he sees himself as the centre of the world, and everyone else just tools to be manipulated. He is a pathological liar and shamelessly throws others in the path of danger to save himself.

Perhaps the most striking thing about O’Hare’s performance is the complete self-belief his character has in his ability to get away with his actions: he never, even in his most perilous moments, shows a shred of fear that he might be caught out.

Cast of Don Giovanni, WNO – photo: Bill Cooper

And yet, this prolific romancer is being pursued from the very opening of the opera by those seeking vengeance on him. After raping Donna Anna, he is involved in the murder of her father. Alongside her fiancé, Don Ottavio, and shunned wife of Giovanni, Donna Elvira, Anna swears to bring her rapist to justice.

The relationship between Anna and Ottavio is beautifully portrayed. There is a real sense of the powerful bond between them, and yet it is one of dignity, gentleness and respect that stands so far apart from Giovanni’s sordidness.

Marina Monzo (Anna) is infinitely graceful in her grief, full of hurt that would fell others, but which somehow makes her stand up taller. She is beautifully paired by Ottavio (Trystan Llŷr Griffiths), who, full of equal dignity, sees it as his duty to avenge his wife of the sins inflicted on her, even if it means sinning himself.

Duncan Rock as Don Giovanni; Joshua Bloom as Leporello – photo: Bill Cooper

Alongside this graceful pair, Sarah Tynan as the wronged wife Donna Elvira is sharper and more fiery, but still majestic. She seems at first to be full of resolute drive, but ends up being the most changeable character in the play.

Contrastingly, young bride-to-be Zerlina defies early presentations of innocence to show a streak for manipulation and a desire for sex equal almost to Giovanni’s. The pair would make a good couple, one can’t help but think.

The most amusing character in the opera is Laporello (Simon Bailey), who displays a flair for comedy even amidst the austere grandeur of the production’s settings. As Giovanni’s servant, Laporello tries desperately to mimic his master, wooing women wherever he can and following the nobleman’s inadvisable plans, despite his propensity to get hurt doing it.

Yet he is a budget Giovanni, right down to his shabby, threadbare clothes; and nowhere is this shown with more comic touch than in the small dagger he wields in comparison to his master’s rapier. This is, after all, a play about sex.

Cast of Don Giovanni, WNO – photo: Bill Cooper

Mozart’s famous score is realised beautifully by this flawless cast, and by the live orchestra set in front of the stage. From thrilling moments of crescendo to lightly accompanied solos, the music is perfectly delivered.

John Napier’s set design casts an overbearing shadow of grandness on its characters. It is a monolithic creation of ornate carved blocks, etched with twisting naked bodies that reflect the play’s relentless focus on sex, on vengeance, and of course on statues.

Its imposition on the space can, however, create a sense of crowdedness that is not helped by the character positioning. A large ensemble people the stage, yet most of the time one wishes that they weren’t there at all. In many scenes, the disorganised mass of people lends an air of chaos to the stage, and distracts the audience’s gaze from crucial action.

It is also unclear whether the poorly executed stage fighting, sometimes so slow and passionless that it seems almost dreamlike, is meant to be a stylistic choice – but if it is, it doesn’t come off.

Yet there are also moments where the staging is executed beautifully, and the majesty that this production so clearly aims to produce is conjured.

The cast of Don Giovanni, WNO – photo: Bill Cooper

Don Giovanni is at Bristol Hippodrome until April 1. Tickets are available at www.atgtickets.com.

Main photo: Bill Cooper

Read more: Review: Carmen, Bristol Hippodrome

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