WEB FEATURE Don Giovanni at NYCO

Three seasons ago the New York City Opera unveiled a well-cast yet woefully unimaginative and insipid new production of Don Giovanni. Gratitude is in order, then, that City has brought back their classic Harold Prince production in time for Mozart's big birthday. This is the Don to catch in Mozart's centenary year, in New York at least. The cast they have assembled is solid and impressive. Perhaps none more so that the Don himself.

It is unusual to find a singer who so completely fits into the Don's imposing shoes; but Christopher Schaldenbrand was such a Don. He made a devilishly fun-loving Don who swaggered and strutted with the assurance of a man known the world over as a great lover. He had a lovely voice too, even if he could stand to be a bit louder in crucial moments, including the champagne aria.

Making his City Opera debut as Leporello was the energetic and eager Robert Gierlach. His powerful bass and pleasant demeanor made him a stand out, if not the star of the evening. He had his share of weak spots early on, seeming shaky at times, which might have been due to nerves. Returning to city after his success last year in Bizet's "Pear Fishers" was the affecting lyric tenor Yeghishe Manucharyan as Don Ottavio. For pure vocal beauty, he undoubtedly won first prize. There was no moment more glorious than the slow, luxuriant lullaby of his "Dalla Sua Pace." Rounding out the male cast was Brian Mulligan as a lovable and bubbling Masetto and the commanding Brian Jauhiainen as a particularly stern Commendantore.       

The women didn't disappoint either. The Irish soprano Orla Boylan made an impact as a powerful and vindictive Donna Anna. In her debut, Elizabeth Caballero was a suitably tender yet weak-willed Donna Elvira. Both singers reached all their high notes admirably and managed to lend a human warmth and dignity to their characters. Hanan Alattar's Zerlina, while for the most part solid, seemed to be trying too hard with an overdone vibrato. She came through where it mattered, though, notably in "Là ci darem la mano."

Hal Prince's theatrically gloomy sets are a bit shaky but this classic, well-worn production still has a certain timeless charm. In the pit, Steven Mosteller led the musicians in a careful account of the score, highlighting the winds and softening the strings. Solid and assured musicianship rounded out a pleasant and satisfying evening.