A Review of Robert Falls’ Opera Production of ‘Don Giovanni’ by Lyric Opera of Chicago

Director Robert Falls’ renowned maximalist style continues even after his departure from the Goodman Theatre in 2022. His collaboration with the Lyric Opera of Chicago in their 2014 staging of “Don Giovanni” showcases his substantial impact on the theatrical world, particularly during a period considered as peak Falls. This production, brought back for the 2026-27 season, is rich in intricate designs.

Walt Spangler, a collaborator of Falls, creates grand sets filled with massive props, reminiscent of Eugene O’Neill stagings. The production features elements like sprawling hedgerows and Moorish light fixtures, thematically tied to classical tragedy and human overwhelm. Costumes by Ana Kuzmanic reflect the seductive power dynamics present, while Duane Schuler’s lighting enhances the dramatic tension.

The opera’s focal character, Don Giovanni, is rendered vividly by Christian Van Horn, who enthusiastically embodies one of opera’s cheerfully despicable roles. The narrative explores themes of seduction across varied locations, as recounted humorously by his sidekick, Leporello, performed by Tommaso Barea.

Though the production embraces elements of historical excess, it invites reflection on modern sensibilities, questioning the libretto’s enjoyment of its principal character without apology. Falls, who worked in opera as a sideline, brought enthusiasm to the mediums’ indulgences, which revealed clearly as he took his bow on opening night. The production effectively balances theatricality and intimacy through strategic staging.

Soprano Mané Galoyan impressively portrays Donna Anna, leading the vengeful plot against Don Giovanni, echoing the power struggles present throughout the narrative. Nina Solodovnikova’s Donna Elvira and Anna El-Khashem’s Zerlina further enrich the stage with pivotal performances.

The opera’s musical composition by Mozart contributes uniquely to the drama, aided by conductor Enrique Mazzola, whose interactive style reflects the complexities within the music. This dynamic between the orchestra and musical narrative adds depth to the opera, echoing its thematic exploration of seduction and consequences.

The simplicity of the opera’s structure, evident since its first showing at Lyric in 1954, hinges on the line “That man murdered my husband,” sparking intrigue and progression. Galoyan’s portrayal of Donna Anna emphasizes essential empowerment against Don Giovanni’s advances, contributing to a multi-dimensional narrative on resistance and consequence.

This production inclines its audience to consider the broader implications of Don Giovanni’s actions, which Van Horn delivers compellingly through expressive performance. The opera stages a vivid narrative of cascading damage, emphasizing the pathetic returns of the protagonist’s libertine lifestyle.

Review: Don Giovanni (3.5 stars)
Running until November 1 at the Lyric Opera of Chicago, 20 N. Wacker Drive.
Running time: 3 hours, 25 minutes.
Tickets range from $48 to $402.
Contact: 312-827-5600 and visit lyricopera.org for more information.