From the Newest Opera Ensemble in Music City:
Canto615: Don Giovanni Laid Bare
Don Giovanni in a church – sounds a little ironic, don’t you think? I wasn’t sure what to expect coming into this performance. I knew that the opera was taking place at Trinity Presbyterian, located off Hillsboro Pike, and I knew that there were some wonderful singers involved in the production. Canto615 is a group of talented vocalists comprising Ryan Bede, Sara Crigger, Claire Paschal, Ivy Calvert, Won Cho, Kevin Salter, and Andrew Plotnikov. They were accompanied by the gifted pianist Stephen Carey, who is the chorusmaster and pianist, among other things, for the Nashville Opera.
Canto615’s debut performance highlighted Don Giovanni’s villainous actions through its concert opera format. Played by Baritone Ryan Bede, Don Giovanni, which translates to “the rake,” is precisely that. Though he has many liaisons and isn’t too selective in them either, the opera revels in humorous and sometimes poignant ways that the only person Don Giovanni truly loves is himself. Each character has some complaint to bring against Don Giovanni. From mistreating employees to fiancée stealing to murder, Don Giovanni does it all.
Like each character, Don Ottavio is affected by Don Giovanni’s careless actions. Kevin Salter as Don Ottavio was given the spotlight in performing “Il mio tesoro”. This aria, like so much of Mozart’s work, is made incredibly challenging by long phrases that require expert breath control and mastery of melismatic passages – a challenge that Salter took on with aplomb. Don Giovanni kills Donna Anna’s father, causing outrage, heartbreak, and – perhaps most importantly for Don Ottavio – a delay in the couple’s marriage. Meanwhile, Donna Anna, played by Claire Paschel, is not only traumatized by Don Giovanni attempting to rape her, but is also heartbroken at the loss of her father, who was killed protecting his daughter’s honor in Act I. Paschel sang a rousing rendition of “Non mi Dir” in the second act that brought the house down. Her robust high notes echoed in the church as she explained to Don Ottavio why she could not yet marry him.
Second on the list of Don Giovanni’s victims is his manservant, Leporello. Though no saint himself, Leporello takes the brunt of Don Giovanni’s cruelty and is often forced into misadventures by his master. Cast member Won Cho absolutely stole the show for me and many others on Saturday afternoon. He fully embodied his character, Leporello, the entire time he was on stage and while waiting in the wings. A true showman, he was the complete package: perfect comedic timing, a rich voice that echoed through the sanctuary, and a commitment to detail and excellence that I cannot help but applaud. I loved every second he was on stage. This will come as no surprise when you see his extensive performance and directing career. Currently on faculty at the University of Alabama at Birmingham, Cho’s rendition of The Catalog Aria, “Madamina, il catalogo è questo,” left the audience in horrified stitches as he told Donna Elvira (Sara Crigger) of his master, Don Giovanni’s amorous conquests –1003 Spanish women, for a start. Though not staged in the traditional sense, Cho made sure that we’d understand every word of his aria without needing to look at the supertitles – I’ll leave the rest to your imagination. Seeing someone so in control of timing and artistry was inspiring.
Third on the list of Don Giovanni’s victims is the abandoned Donna Elvira, played by Sara Crigger. Crigger is a familiar face in the Nashville opera scene, most recently having performed the role of Alisa in Lucia di Lammermoor. In her role as Donna Elvira, Crigger is one of Don Giovanni’s conquests. Dishonored and heartbroken, she seeks revenge on Don Giovanni, but after showcasing her rich voice in “Mi tradì quell’alma ingrata”, she has a surprising change of heart, forgives Don Giovanni, and pleads with him to change his wicked ways – to no avail, of course.
Next up is Don Giovanni’s almost (willing) victim, Zerlina, played by coloratura soprano Ivy Calvert. Before she can be seduced on her wedding night by none other than – you guess it – Don Giovanni, she is saved by Donna Elvira. Zerlina’s willingness to be seduced by Don Giovanni brings up some questions for her husband, Masetto, played by Andrew Plotnikov. The two fight and make up during the couple’s duet and Zerlina’s questionable method of apology, the aria “Batti, batti, o bel Masetto,” which translates to “beat me, beat me, handsome Masetto”. Plotnikov has multiple roles to play in this opera and was also cast for the role of the Commendatore. Originally, the opera ends with a sextet condemning Don Giovanni, but in the version most frequently performed today, the Commendatore rises from the grave to invite Don Giovanni to a cozy dinner in hell, and thus, the tale of Don Giovanni ends on a happy note.
In some closing remarks, Bede says, “Nashville is ripe for a group like this,” and I couldn’t agree more. Highlighting some of Nashville’s local artists and offering an accessible way for the public to engage with classical vocal works is precisely what Canto615 did and is a valuable addition to the Nashville scene. I eagerly await their next musical endeavor.
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Sarah Queener is a soprano currently based in Middle Tennessee. Her interest in music began at a young age, starting with taking piano lessons. She later transferred her musical interests to pursuing voice and earned her bachelor’s in Vocal Performance. She currently resides in the Murfreesboro area and is a second-year vocal performance master’s student at Middle Tennessee State University.
