Utah Opera, about as good as it ever gets, stands as a living memorial to Glade Peterson in its present production of "Don Gio-vanni." And this is no miniature tribute, mind you. The opera's length and difficulty, its demands for style and control all set it far above most.
It's a hard piece to carry off, but Utah Opera has assembled the distinctive singers needed to make the most of it. Indeed, the cast is as consistent as one can remember, in an ensemble piece that allows no weak links.Though the small-scale rotating set is only passable, frequently cramping the singers, the visuals are generally good, and the many scene changes flow smoothly, with expert lighting by Kay Barrell and smashing
costumes by Sue Memmott Allred. Lou Galterio's staging is generally clever and believable, bringing out the humor and naughtiness that befit this tale of the world's most compulsive womanizer.
Among staging challenges, the final scene is handled about as well as one can remember; red light, a little flame and plenty of smoke suggest the Don's descent to hell quite adequately, without the gimmicks that often make this scene awkward or even ridiculous.
Conductor Henry Holt has a fine vision of this work, from the first portentous and ominous chords of the overture. He keeps good control of the orchestra, and he lets the music unfold naturally, in an unhurried way, as one treasurable aria, ensemble or scene follows quickly upon the last. Holt's tempos are ideal in most respects, he brings out the emotion in the tender arias, and the fast things he takes at an uncompromising clip - which fortunately everyone seems to be up to, both in technique and diction.
Dean Peterson makes an excellent debut in the role of the fickle, oversexed Don. His deep baritone voice is fine and virile, his appearance dashing; he assumes the requisite heart-smashing flirtatiousness to carry it off, and a way with a woman that ranges from coaxing to threatening. As befits one with such a short attention span, Don Giovanni has few arias; yet those he has, Peterson acquits nobly, tossing off the Champagne Aria with insouciant dispatch, and the Serenade with mocking devotion.
Kallen Esperian sings her first Mozart role here as Donna Elvira, and the heft and color of her pretty voice is right for it, well controlled and nicely phrased, and technically correct. The role challenges her to be a spitfire, quite different from the placid Mimi she did here last. Elvira seemed a little heavy going for her on opening night, and she used too many big gestures. By "Mi tradi" she had settled into the comfort zone, with some authoritative singing that promised much for further performances.
Kay Paschal as Donna Anna displays ideal Mozart style and a substantial, silvery voice of just the right quality and weight. Hers is a dignified and touching presence throughout; her Vengeance aria rings clear and true, and her "Non mi dir," taken at a taxingly slow tempo, is an irresistible entreaty. Thus Paschal fulfills the promise of her Countess in last year's "Figaro."
Utahns have waited too long to hear Michael Ballam on the Utah Opera stage. The Utah tenor makes a handsome and spirited Don Ottavio, managing his light, bright voice so skillfully that it carries beautifully. He too displays brilliant style in a throbbingly slow "Dalla sua pace," nor does he cheat the long, demanding phrases of a totally smooth "Il mio tesoro."
Michael Gallup is the Leporello, full of tricks and funny business, with a robust, full throated bass-baritone, and a captivating Catalog aria. Elizabeth Paniagua plays the shrewd servant girl Zerlina fetchingly, and sings two of the opera's favorite arias ("Batti batti" and "Vedrai carino") beautifully; and Michael Delos responds to her predictably as the bumptious, jealous Massetto. Completing the cast is Roy Samuelson as a stentorian, sepulchral Commendatore. The excellent small chorus is prepared by music director Byron Dean Ryan.