Don Giovanni (Melbourne Opera), at Athenaeum Theatre

Mozart’s delicious tale of skulduggery from inveterate womaniser Don Giovanni is given life anew by Melbourne Opera.

This is a man who can’t help himself when it comes to the fairer sex.

Large or small, pretty or plain, attached or single, from noble stock or otherwise, with the help of his hapless servant Leporello he readily collects notches on his belt.

In his mind, all women are fair game.

Photos by Robin Halls

His conquests in Europe literally read like a report card.

Six hundred and forty in Italy, 231 in Germany, 100 in France, 91 in Turkey and 1,003 in Spain.

In fact, they are putty in his hands, until he unceremoniously dumps them.

Mind you, he has gone too far by seducing Donna Anna and subsequently getting into a fatal scrap with her father, the Commendatore. 

Now, many have lined up to see Don Giovanni get his due comeuppance and they won’t rest until he does.

Even exchanging identities with Leporello won’t save him, merely providing temporary reprieve.

The fires of hell await after a statue of the Commendatore springs to life and challenges Don Giovanni to repent and change his ways.

First performed in Prague in 1787, Melbourne Opera’s production milks the comic, melodramatic and tragic appeal of Don Giovanni to stunning effect. 

That is thanks to the stirring performances of an adventurous cast impeccably led.  

Baritone Christopher Tonkin is suitably haughty as the imperious Don Giovanni.

Henry Shaw makes the frustration (and fun) of Leporello his calling card. I loved his free-wheeling portrayal. In fact, he was my favourite character.

Soprano Lee Abrahmsen casts a forlorn figure as the wronged Donna Anna, who wears her sadness as a cloak of despair.

Eddie Muliaumaseali’I is a towering figure as the Commendatore back from the dead as Don Giovanni reaches its conclusion.

There is a puppy dog sweetness about Henry Choo’s role as Donna Anna’s devoted fiancé and would be avenger Don Ottavio.

Hell hath no fury like a woman scorned and soprano Eleanor Greenwood turns that famous phrase into an art form as the gullible Donna Elvira.

Despite Don Giovanni’s wicked ways, she remains hopeful that he will redeem himself, which Don Giovanni exploits.

The love/hate relationship between attractive and naïve young Zerlina and her “ready to blow a woofer valve” jealous husband Masetto is yet another high point.

He quickly comes to realise that she is being played by Don Giovanni and isn’t afraid to take out his ire on Zerlina, who playfully wins Masetto back.

Soprano Rebecca Rashleigh and baritone Stephen Marsh revel in the to and fro instrumental in their parts.

Uma Dobia is dutiful (and briefly has her head turned) as Donna Elvira’s maid. 

Mozart’s extravagant, dramatic and, alternately, joyous score is magnificently realised by conductor Raymond Lawrence and the Melbourne Opera Orchestra.

Sumptuous period costuming by Rose Chong Costumiers enhance the experience.

Director Suzanne Chaundy capitalises on the subterfuge, the power and passion, immorality and injustice of one of the world’s most beloved and popular operas. 

Melbourne Opera’s production soars.

Three hours plus interval, it is on at Athenaeum Theatre until 3^rd May, 2026.