Splendid singing is the key attraction of this relatively understated staging of Mozart classic Don Giovanni, performed with a specific focus on the alternate title The Rake Punished. 

From the dramatic opening minor chords of the overture, the exacting work of maestro Raymond Lawrence is clearly evident, as is the warm acoustic tone of live classical music at the Athenaeum.   More than 40 musicians strong, the Melbourne Opera Orchestra is heard at their best, bringing expressive life to Mozart’s venerated score. Each of the eight perfectly cast principal singers is strong in solo work, with combinations of trios, quartets, and full ensembles being nothing short of glorious. 

Complementing the drama of the music, director Suzanne Chaundy takes a “deep reading of the female perspective,” successfully highlighting the humanity and individuality of the three main female characters. As Leporello sings the infamous “Catalogue Aria” (“Madamina, il catalogo è questo”), members of the female ensemble take to the stage, clearly demonstrating that each of these women in the catalogue are real people. One further tweak is the close attention paid by Donna Elvira’s maid to the abominable behaviour of Don Giovanni. Expressive actress Uma Dobia is perfectly cast in this role although the concept is used only minimally throughout the opera. 

Somewhat less impactful is the realisation of the idea that the stage “becomes a continuation of the Athenaeum Theatre to emphasise the direct link between this opera and our world today.” A single set makes financial sense for a three-performance season but a contextual painted scenic cloth (easily hired) would have been a far better backdrop for the two high arches than a dark curtain, and the inclusion of the theatrical lighting bars on the set is quite jarring. The recreation of one of the Athenaeum boxes is cute but its use in the two scenes makes little sense. Further, the period costumes by the team at Rose Chong Costumes make no connection to our present world, leaving the stark set by Dale Ferguson looking very basic.

Having placed those lighting bars in full view on the set, lighting designer Tom Vulcan still achieves only minimal illumination, with distracting shadows frequently at play. That said, optimal lighting effects are achieved for the Commendatore’s statue, which looks fabulous and completely realistic in both the cemetery and the climactic dinner scene. 

Projecting the swagger of an 18th century Don Draper, Christopher Tonkin capably demonstrates how Don Giovanni racks up the stats with the women of Europe, leaning into the love rat tendencies but going easy on the sinister selfishness of the role. Singing the role with seemingly effortless flair, Tonkin is heard at his tender best as the Don accompanies himself on mandolin for “Deh, vieni alla finestra.”

Emerging bass Henry Shaw brings merry humour to long suffering manservant Leporello, and although his physical comedy is occasionally too modern, Shaw ably underpins his hi-jinx with a beautifully disciplined vocal performance. 

Celebrated prima donna Lee Abrahmsen elevates the key role Donna Anna with her reliably lustrous and full bodied soprano, which rings out with gleaming power in vocal ensembles. Just before the dramatic final scene, Abrahmsen delivers a gorgeous rendition of “Non mi dir,” as Anna promises her love and loyalty to Don Ottavio. 

Experienced tenor Henry Choo is in smooth and sumptuous tone as Don Ottavio. Although Ottavio’s promises for revenge ultimately amount to nothing, to hear Choo sing the included arias is a pleasure indeed. 

As wronged wife Donna Elvira, soprano Eleanor Greenwood finds little to distinguish the character yet she sings the role with relish and golden gleam to her vocals. A clear highlight for Greenwood is act two aria “Mi tradì quell’alma ingrata,” sung from one of the boxes, giving the full range of expression as Elvira is torn between vengeance and compassion. 

Rebecca Rashleigh imbues young bride Zerlina with a playful presence, bringing to life the burgeoning woman’s necessary growth as she faces unwelcome temptation on her wedding day. Stephen Marsh gives well-meaning bridegroom Masetto a necessary spine as he comes to Zerlina’s aide and proves even more worthy of her hand. 

Seen all too briefly in act one as the ill-fated Commendatore, Eddie Muliaumaseali’i returns in full grey-scale make up as the terrifying statue, moving with ominous slow stride and singing the role with suitably rumbling low bass. 

A boon for lovers of Mozart’s music, Don Giovanni is a terrific showcase for this set of highly talented local singers.

Don Giovanni plays at Athenaeum Theatre, Melbourne until 3 May 2026. For tickets, click here.

Photo: Robin Halls