The Juilliard School successfully showcased a refined production of Mozart’s “Don Giovanni” that brought the 2018-2019 season to a close.

Emphasizing its relevancy to modern day societal awakening, the overall perspective was superbly defined by director Emma Griffin. With a psychologically insightful design and free-thinking based concept, Griffin cultivated an artistically impactful performance that gave as strong an impression as did the start of Juilliard’s season with Britten’s “The Turn of the Screw.” 

Redefining a Popular Mozart Opera

Scenic designer Laura Jellinek and costume designer Olivera Gajic masterfully created an atmosphere on stage that embodied a raw mix of internal turmoil, passion, love and hate. With a modern red and blue floral wallpaper that endlessly encompassed the streamlined walls and door on stage, one may have felt trapped within the walls themselves. Unable to escape the fiery drama and anguish unfolding. Gajic’s costumes acted as guideposts throughout the opera, as they took the audience on a cerebral exploration of each character’s psyche. 

“As a costume designer, when designing I often go researching directly into fashion and look for the equivalent of the character in today’s fashion. Especially when the story, as this one of Don Giovanni,  is so relevant to today. I appreciate Emma’s direction of timelessness that gave me a great starting point. So, by dressing the cast in today’s fashion, I wanted to bring the character closer to today’s audience. To keep the spectacle of the opera and to highlight the class difference, I gave the costumes an haute couture spin,” said Gajic.

The most shocking moments throughout “Don Giovanni” are when the Commendatore, played by William Guanbo Su, takes the stage. Both alive and deceased, Su was dressed as Karl Lagerfeld. 

When OperaWire asked Gajic for further details regarding her creative process and design for each costume, she explained how important it was for her creations to mirror the internal happenings of each character in every scene and relate them directly to modern day fashion.

“The MET exhibit ‘Heavenly Bodies’ inspired the entire show. And particularly Italian designers Dolce & Gabbana and Valentino, with their opulent creations. I was especially fond of and highly influenced by Dolce & Gabbana’s spring collection 2015 for this production.”

“Thinking of Italian designers, I decided to have the Commendatore in Karl Lagerfeld’s distinct look. However, when I designed in August 2018, I didn’t know that he would be deceased by the time we opened. It was pure coincidence. I am glad to capture such a great designer’s spirit in our opera,” said Gajic.

“For Donna Anna’s  silk taffeta and black velvet dress, I was inspired by Anita Ekberg in ‘La Dolce Vita.‘ I looked into Italian designers for fashion and added some of the Spanish traditional elements like matador capes, mantillas, and roses in the hair to give us reference for where the action takes place,” said Gajic.

Cast Members Evolved Their Own Characters 

Erik van Heyningen, as Leporello, set the bar high from the start as he sang his first aria “Notte e giorno faticar.” Van Heyningen’s immediate connection to the simple yet complex realm of mental duality based on this role was apparent as he sauntered around the stage and told the audience about his desire to be more than just a servant. Meanwhile, this is as he is keeping watch over Don Giovanni’s attack on Donna Anna. Playing the part of an enthusiastic enabler that casually shrugs off his leash every once in a while was exactly how van Heyningen portrayed Leporello. And it was spot on. Van Heyningen reveled in delight as a loyal pillar of sound and dutiful vocal consistency throughout the opera. He laid out a well-developed groundwork for Hubert Zapiór, as Don Giovanni, and aided most in each scene where Zapiór’s dramatic flourishes took center stage. 

However, it was Zapiór’s portrayal of Don Giovanni that acted as the leader for all cast members. Yes, he is the main character, however Don Giovanni is usually portrayed as an ultra-creep and very hard for one to digest overall. Especially for the entire length of an opera. Zapiór brought a feminine quality to this dominantly masculine role that seemed to balance out harsh aggression and sexually dark energy.

He redefined how Don Giovanni carried himself based on an artistically thoughtful vocal approach and demeanor. Zapiór was noticeably putting on a show, in a good way, that had the audience captivated by his combination of timely facial expressions, stylized mannerisms, and innate sense of self. Based on this, Don Giovanni was a manipulator viewed by all as a fancy catch that oozed a streamlined sex appeal, as opposed to an aggressive slob that stole what he could along the way. One might say that this new perspective alone was the opera’s strongest catalyst en route to evolutionary development within the cast of characters.

Dominant Anna

Donna Anna’s opening aria,”Non sperar, se non m’uccidi, Ch’io ti lasci fuggir mai!,” is known to clearly define a soprano’s vocal capacity within the first sung phrases. One can usually tell how the night will go for this character based on whether or not the soprano can keep up the fast pace and manage to hold the audience’s attention while singing such an emotionally laden aria. Confidently, Meghan Kasanders proved to be a master of her craft in every way as her voice resonated beautifully across the hall. And she especially pulled at the heart strings of listeners while singing “Non mi dir.” 

Kasanders is a second year Artist Diploma in Opera Studies candidate and was a 2019 finalist in the Met Opera National Council Auditions. She has a unique vocal quality that houses an array of exquisite overtones and colors.

As Donna Anna, Kasanders did not fall into the two common traps of this role by shying away from her voice as a victim or over-singing in moments when promising revenge on Don Giovanni. Instead, Kasanders displayed a fresh take on all of her arias and showcased originality throughout. She stayed true to her own voice, which in turn evolved her character’s voice.

A Mirror

Maritina Tampakopoulos, as Donna Elvira, was a mirror of Don Giovanni and therefore projected much of the same sex appeal. Tampakopoulos ushered the synopsis to life on a psychological level because she was Zapiór’s perfect match.

She looked stunning in every costume and wore a red brooch designed by Gajic to imitate a bleeding heart. This was fitting because Tampakopoulos’ natural talent is her ability to sing and act from an honest place.

She invited the audience to feel as though they were her confided companion and included all cast members in her mentally exploited plot, which lead to the eventual destruction of Don Giovanni. A self destruction that is inevitable to anyone leading such a toxic life.

The Beautiful and the Damned

Zerlina is a character that houses innocence and undisturbed good – a perfect victim for Don Giovanni. However, Jessica Niles vocally transformed this role into a thoughtful example of a woman that intends to rise above her predator.

“Batti, batti, o bel Masetto” was a defining moment for Niles as she sang with clear intention and thoughtful direction. She drew energy towards her in this aria by means of grace and natural affection, which created a space for one to observe her with genuine interest. Instead of singing this aria for the sake of sounding like a well-trained soprano, Niles intelligently detached her emotions and allowed for one of Mozart’s most beautiful arias to naturally come to life. It was apparent that she understood not only her character, but also how she could emote herself as an artist in this role.

Gregory Feldmann, as Masetto, was a great match for Niles and James Ley, as Don Ottavio, was perfect for Kasanders. Both men vocally paired well with their lovers on stage and let the leading women take front and center when necessary.

Ley was most memorable as he sang “Dalla sua pace.” His voice was projected with ease that allowed it to blossom into an array of beautiful overtones. Feldmann and Ley stayed grounded throughout the opera and when all chaos came to a head at the end, it was both men that one could relate to most, as they were forced to step back and let all hell break loose. 

The closing stage design revealed the insides of this opera’s internal mess of emotions on all levels. And when Don Giovanni was swept away to the back of the stage after the main wall collapsed, a set of swanky neon fish tanks were revealed. As his head was violently forced into the water and his death was caused by drowning, this overall production of “Don Giovanni” symbolically impacted more of one’s psyche than initially imaginable.

Putting an end to ambiguity at last and justice to the heart of an unjust trend.