***RECOMMENDED*** For long-standing subscribers of Lyric Opera of Chicago, many may have been surprised to see that Mozart's "Don Giovanni" was slated to launch their 2026/2027 season. After all, it wasn't that long ago (early 2020) when Lyric had presented this very same production -- albeit with a completely different cast -- under the direction of Robert Falls, former Artistic Director of the Goodman Theatre. But, as they say, timing is everything. While this current production of "Don Giovanni" has allowed Falls to tinker once again with the machinations of this scandalously sordid seducer of women, it also features a bevy of talented artists in supporting roles and an absolutely ferocious portrayal of the title character by the indomitable Christian Van Horn. 3 SPOTLIGHTS
Perhaps the initial driving force behind Lyric's decision to remount this version of "Don Giovanni" was that it allowed them to complete what may be termed the "Mozart/Da Ponte trifecta." Lorenzo Da Ponte wrote the libretto to "Don Giovanni" in 1787 and collaborated with Mozart on several other operas. Following a frivolous production of "The Marriage of Figaro," Lyric backed it up with the enchanting "Cosi fan tutte" from last season. Of course, all three works prominently spotlight Mozart's glorious music, but it is the dark and somewhat puzzling libretto by Da Ponte, combined with Mozart's blazing score, which will illustrate why "Don Giovanni" nearly towers over those two other selections.
Tommaso Barea as Leporello and Christian Van Horn as Don Giovanni. Photo by Cory Weaver.
Speaking of towering, that's precisely how Van Horn's performance can be described here. His Don Giovanni is extremely confident, coldly calculating and filled with boundless vanity. Lest you forget that this is an outlandishly dangerous monster, Van Horn has wisely chosen to highlight some of the more "human" qualities of his character. Yes, his Don Giovanni is emotionally hollow and morally bankrupt, but Van Horn plays him as a man who has been at this game for far too long, and he knows that he can't sustain his lavish lifestyle for much longer. Vocally, Van Horn is in complete command. There is softness and nearly sweet affection in his rich bass-baritone during the first act, as we witness his nearly endless pursuit of new sexual conquests. By the second act, that volume gradually increases until things get very, very loud during the thrilling denouement.
Don Giovanni's loyal assistant Leporello is sung by Tommaso Barea, who very nearly steals the thunder from Van Horn. Barea has exceptionally strong acting abilities and he delivers a very physically demanding yet animated performance. His is an impressive Lyric debut, and let's hope that we will see this rising Italian star on the Lyric stage once again very soon.
The trio of sopranos in this "Don Giovanni" are all magnificent. Leading the way is Mane Galoyan as Donna Anna, one of Don Giovanni's latest victims and daughter of the Commendatore (bass David Leigh in his Lyric debut). Lyric patrons may remember Galoyan from her previous appearance as Gilda in Verdi's "Rigoletto" from two seasons ago. There she was an innocent and faithful daughter to the title court jester in an emotionally devastating performance. Here she seems to have greatly matured, and her Donna Anna is steely and bent on seeking revenge.
Mané Galoyan as Donna Anna, Lawrence Brownlee as Don Ottavio, Nina Solodovnikova as Donna Elvira. Photo by Cory Weaver.
Nina Solodovnikova is Donna Elvira, the fiery and spurned lover of Don Giovanni. Anna El-Khashem is Zerlina, a peasant girl whom Don Giovanni seduces on her very wedding day. Both are making their Lyric debuts.
Rounding out the ensemble are Lyric regulars Lawrence Brownlee as Don Ottavio, the eternally-betrothed partner of Donna Anna and Christopher Humbert, Jr. as Masetto, the expectant groom to Zerlina.
This is actually the third time that Falls has directed "Don Giovanni" for Lyric Opera of Chicago. The first was during the 2014/2015 season. Falls has stated that each time he returns to the work, he finds new nuances and clearer answers to Da Ponte's conflicted libretto. While he has succeeded in shoring up some of the more challenging scenes, particularly the second act duet between Donna Anna and Don Ottavio, he has also added some nearly salacious choices in his blocking of many of Don Giovanni's seduction scenes. What felt rather PG-13 in 2020 now borders on an NC-17 rating.
The Company of Don Giovanni. Photo by Cory Weaver.
One final note: If you want to see and hear the majestic Van Horn in this leading role, you had better hurry. His final performance will be on October 24. Kyle Ketelsen will be taking over as Don Giovanni for the final two performances, which will occur on October 30 and November 1.
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"Don Giovanni" continues until November 1, 2026
Lyric Opera of Chicago is located at 20 North Wacker Drive, Chicago, IL
Tickets: Please visit www.lyricopera.org or call 312-827-5600
Remaining performances are as follows:
Wednesday, October 21 at 2:00 PM
Saturday, October 24 at 7:30 PM
Friday, October 30 at 7:00 PM
Sunday, November 1 at 2:00 PM
Running time is approximately 3 hours and 25 minutes with one intermission