Now in its 40th year of operation, the Regina Opera Company in Bay Ridge, Brooklyn opened this benchmark season in grand style with a decidedly wonderful choice of operas – W.A. Mozart’s Don Giovanni. First performed in 1787 in Prague as Il Dissoluto Punito ossia il Don Giovanni Dramma giocoso in due atti, it was received with tremendous success and, thankfully, the title was shortened.
As the infamous heart-breaker, Don Giovanni, Bryce Smith was irresistible and delightfully devilish with an elegantly resonant bass voice that evoked images of the great Cesare Siepi and Ezio Pinza. He chose to play the Don with a carefree jollity and sexual energy that the privileged nobility would have enjoyed. 
This handsome young singer would make any young lass swoon and it was obvious why Zerlina would fall for him so easily in their duet “La ci darem la mano.” His serenade, “Deh vieni alla finestra,” was remarkable and hinted at the major career for which he is destined. He attacked the “Fin che dal vino” with charm and bravura.
His expressive face later showed the frailty hidden deep within the Don’s lecherous heart when confronted with his demons. During the famous death scene, Smith took the audience on a ride of purely passionate pleasure as he was literally overcome by the Commendatore’s powers and defiantly dragged to hell. The uproarious applause during his bow was testament to the fact that Smith is one of the rare acting-singers whom audiences adore and enjoy seeing on stage.
John Schenkel as his short and lovable sidekick was a joy to watch. The role seemed to sit a little low for his baritone, but he handled the demands perfectly with a comic timing that one would expect from larger companies. He simply was Leporello – funny but jaded, loyal and despising, pathetic yet lovable. Schenkel acted the part to perfection and the audience ate it up. His “Madamina! Il catalogo e questo” was light and humorous. The contempt he harbored towards Don Giovanni was evident from his first step into the spotlight and just as comical to the last shriveling cower as his master disappeared into hell.
Donna Elvira, sung here by Camille Gifford, was finally an interesting character. Gifford was elegant and delightfully comical as the vengeful jilted noblewoman. Her first aria, “Ah, chi mi dici mai,” was like no other, hilariously stalking the wretched Don cross-country and taking out her anger on her poor manservant. Her “Mi tradi” was deftly sung in a brilliant soprano voice that took no prisoners; no wonder she made the Don think twice about leaving her before his untimely death.
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Article comments
1 - roger nowosielski
I'm still in awe of Don Giovanni's rendition - excerpts only - in Amadeus. It was breathtaking.