Don Giovanni Entrances in Philadelphia
Opera Philadelphia Triumphs
By: Susan Hall - Apr 29, 2025
Opera Philadelphia is presenting Mozart’s original version of Don Giovanni at the Academy of Music in Philadelphia.
It’s a lively, visually striking production designed to showcase both the richness of Mozart’s score and Da Ponte’s intricate libretto. Don Giovanni is a complex work, and it’s no easy feat to capture all its nuances.
No one is more adept at this than Anthony Roth Costanzo. His work as an artist and as an impresario, honors a composer’s intent and resonates with modern audiences.
Costanzo, a top-tier singer himself, understands the demands of this art form. He also recognizes that in America, classical music often isn’t part of everyday education. Unlike in Europe, where children are taught music fundamentals like Kodály, classical music in the U.S. is an acquired taste. So, how do you engage an audience that’s new to opera? Costanzo’s answer is simple: he presents opera as it’s meant to be, focusing on character and relationships.
The voices are stunning. Olivia Smith as Donna Anna shines. The acting, especially from Nicholas Newton as Leporello, is superb. But it’s the direction from Allison Moritz that brings these relationships to life, making them feel real and compelling.
The production explores a wide range of emotions: Leporello is endlessly amusing, Giovanni, played by Sidney Outlaw, is both magnetic and vile. Elvira (Elizabeth Reiter) is unhinged as she oscillates between longing for Giovanni and fury at his infidelities. Donna Anna is elegant in her quest for vengeance, while Zerlina (Amanda Sheriff) is as clever and resourceful as any maid. The characters shift rapidly from one extreme to another—punching one moment, kissing the next—but they always carry the audience along with them. Corrado Rovaris conducts, and the orchestra beautifully underscores the drama, adding depth and intensity to every scene.
The audience at the Academy of Music reflects the diversity of the new opera-goers in Philadelphia—young and old, aficionados and the newly curious—crowding the opera house, all of them captivated by the performance. Remarkably, all shows have sold out, with tickets priced at just $11.
Though then opera's characters belong to a different time, their humanity—exuberant, scorned, and deeply flawed—feels timeless. You don’t need to reference scandals like Epstein or Weinstein to recognize the universal "seducer-cad." He’s been with us forever and will continue to be.
These characters feel real, and the production is rich with irony. A statue comes to life and tells a joke. The blend of farce, romance, tragedy, and the supernatural creates a polished and well-rounded experience.
Each of the eight principal performers has their own aria and key moments, so no one is left behind on stage.
The staging is minimal, but the lighting enriches the visual atmosphere. The design team (Cassandre Griffin and Jesse Wine) uses symbolic sculptures—like a moon, a giant outreaching hand, and a tree—to highlight themes in the story. They complement the production without overpowering it.
Opera Philadelphia has been a leader in American opera for two decades, pushing boundaries with new commissions and reinvigorating classic works. They have earned their place, and it’s clear they’ve found a way to balance honoring traditional opera while engaging a new, diverse audience. Bravo, Philadelphia!
Performances continue on May 2 and 4.