Jennifer Johnson Cano
Jennifer Johnson Cano
Janine Morita Colletti
R. Keith Brumley
Associate Lighting Designer
Wig & Makeup Designer
Composer: Wolfgang Amadeus Mozart
Librettist: Lorenzo Da Ponte
Premiere Date: October 29, 1787, Estates Theatre, Prague
The murderous Don Giovanni deceives women with impunity, leaving destruction in his wake. This Don Juan is not just a rakish cad but someone much more sinister. Mozart and Da Ponte’s masterwork explores vengeance and insatiable desire. Glamour, grit, and the glow of neon infuse this film noir production in which Kristine McIntyre directs the action on the stage. This production includes depictions of sexual assault and murder. Live gunshots will be used in this production.
Sung in Italian with English Supertitles
Setting: America, 1950’s
At night, in the street outside the Commendatore’s house, Leporello bemoans his fate working for the dissolute Don Giovanni. Suddenly Giovanni runs into the street pursued by Donna Anna, the Commendatore’s daughter, who accuses him of trying to attack her. The Commendatore rushes to his daughter’s aid and is killed by Giovanni. Anna asks her fiancé, Don Ottavio, to avenge her father’s death.
At a café the next morning, Giovanni and Leporello encounter one of Giovanni’s former conquests, Donna Elvira, who is still angry at Giovanni’s betrayal. Leporello tries to discourage her from pursuing Giovanni by showing her his catalogue with the name of every woman Giovanni has seduced.
Meanwhile, Masetto and Zerlina celebrate their upcoming wedding with friends. Don Giovanni asks Leporello to get rid of the groom. Alone with Zerlina, Giovanni persuades her to come away with him. Before they can leave, Elvira interrupts them and leads Zerlina away. Momentarily thwarted, Giovanni greets the mourning Anna and Ottavio, only to be embarrassed by the persistent Elvira, who denounces him as a seducer. Trying to dismiss her as a madwoman, he ushers Elvira off. Anna, in horror, recognizes him as her father’s murderer and calls on Ottavio to avenge her honor.
Later that afternoon, Giovanni looks forward to an evening of partying he has arranged in Zerlina’s honor. Zerlina begs the furious Masetto to forgive her. Anna, Ottavio and Elvira arrive in disguise, swearing vengeance, and Giovanni tells Leporello to invite them in.
Inside Giovanni’s nightclub, Leporello distracts Masetto while Giovanni dances with Zerlina, trying to drag her into an adjoining room. When Zerlina cries for help, Anna, Elvira, and Ottavio unmask and confront Giovanni, who escapes.
Under Elvira’s balcony, Leporello exchanges clothes with Giovanni to woo the lady in his master’s stead. Leporello and Elvira go off, leaving Giovanni free to serenade Elvira’s maid. When Masetto arrives with his friends to punish Giovanni, the disguised Don tricks Masetto and beats him up. Zerlina tenderly consoles him.
Elvira follows the disguised Leporello into a dimly lit church. Leporello tries to escape, but is discovered by Anna, Ottavio, Zerlina and Masetto. Mistaking servant for master, they join in denouncing the supposed Don. Frightened, Leporello reveals his identity and manages to escape. Ottavio asks Zerlina and Masetto to comfort the distraught Anna and go to the authorities for help. Left alone, Elvira thinks about her love for Giovanni in spite of everything.
Leporello finds Giovanni in a cemetery, where a statue of the slain Commendatore warns Giovanni of his doom. The Don forces the terrified Leporello to invite the statue to dinner only to be surprised by the Commendatore himself.
Ottavio urges Anna to stop grieving and accept his love. She implores him to wait until her father is avenged.
Late that night in the empty club, Giovanni orders Leporello to serve supper. Elvira arrives and attempts to persuade Giovanni to reform his ways, but he sends her away.
In a final confrontation with the Commendatore, Giovanni is finally forced to pay for his crimes.
– courtesy Kristine McIntyre
Operas on our mainstage are grand theatrical experiences. You can always expect the unexpected, and for our productions to be presented at the highest quality.
Many operas are in a foreign language. Supertitles are similar to subtitles in a film, except they are projected above the stage. These translations will help you follow what’s happening on stage.
What to Wear
There is no dress code at The Opera and you will see everything from jeans to evening gowns and formal suits. Most people use it as a chance to enjoy dressing up in their own style.
Arriving in Good Time
If you are late, you will be escorted to the nearest late seating area. At intermission ushers will show you to your seat. Plan ahead to arrive with extra time.
Learn about the history of the opera, the composer, and more from artists and opera aficionados. One hour prior to curtain. Free with your ticket!
Familiarizing Yourself with the Story
Because of the foreign languages, classical music, and often complex plots, you will very likely enjoy the performance better if you spend a few minutes familiarizing yourself with the story and characters in advance. Some people even like to listen to the music in advance and others prefer to let it wash over them during the show and perhaps look it up afterwards.
Actors ﬁrst audition for roles up to a year in advance, or for more experienced artists, directors also invite them to play a role.
Most of the rehearsals are held in our rehearsal hall, and not the actual theatre. The conductor begins orchestra rehearsals about a week and half before opening night. They have four rehearsals with the conductor, and then the singers are added into the mix.
Sets & Costumes
The Atlanta Opera Costume Shop alters the costumes to fit our singers. Sometimes they do have to make costumes if there aren’t enough, or if there is nothing that fits, etc. Once the sets are in place, the cast begins rehearsing at the theatre. The Opera production staff works with staff at the theatre to get all of the lighting and technical aspects of the production together.
Sitzprobe & Dress Rehearsal
The orchestra comes together with the singers in a special rehearsal called sitzprobe. There are no costumes during the sitzprobe, this is mainly to hear the voices with the orchestra. There is a piano dress rehearsal, when the singers rehearse in full costume for the first time so they can get used to wearing them. Finally, all of the pieces are put together for two full dress rehearsals leading up to opening night.
Wolfgang Amadeus Mozart was born in Salzburg, Austria on January 26, 1756. Though he did not begin to walk until he was three years old, Mozart’s talent for music soon became apparent. At the age of four, he could reproduce on the piano a melody played to him; at five, he could play the violin with perfect intonation; and at six he composed his first minuet.
As the young Mozart’s reputation grew, his father Leopold realized the financial rewards that could arise from increased exposure of his son’s talents. From that time on, Wolfgang and his sister Nannerl spent much of their childhood traveling through Europe. The rulers of Europe and England were astounded by Wolfgang’s abilities of composition, improvisations, and sight reading. While the public admired Wolfgang for his talents, they disapproved quite heartily of his father, saying extensive voyages and frequent exhibitions were no life for the child.Read More
Mozart become the concertmaster for the Archbishop of Salzburg in 1771. After spending frustrating and unproductive years serving the Archbishop, Mozart resigned. He promptly moved to Vienna where his creative energies flourished. There Mozart met and was influenced by Hayden, who came to love him like his own son. He told Leopold Mozart, “I consider your son to be the greatest composer I have ever heard.”
In 1782, Mozart married Constanze Weber, the sister of his long-time love Aloysia. His father disapproved of his son’s choice of bride and lifestyle. The newlyweds lived the carefree gypsy life constantly moving from house to house, spending money frivolously.
In 1784, Lorenzo Da Ponte presented Mozart the libretto for The Marriage of Figaro and a long collaboration between the two began. Figaro premiered in 1786 to an enthusiastic crowd. The two continued their initial success with another: Don Giovanni , which received its premiere in Prague in 1787. Later that same year, Wolfgang’s father died, leaving the 31-year old alone for the first time.
The success of a revival of Figaro in Vienna led to a commission from the Emperor Joseph II for Cosi fan tutte , again with Da Ponte, the premiere of which was a qualified success. In 1790, with the death of Joseph II, Mozart found himself out of favor with the new regime and plagued by his creditors. He was helped by Emanuel Shikander, who commissioned The Magic Flute for his theater. Another commission came at this time, for La Clemenza Di Tito , but it did not help his situation, as it received mixed reviews.
Mozart’s health waned and it was during this illness that he received his last commission. A mysterious stranger requested a requiem mass from the composer. Depressed and delirious, Mozart became convinced that the Requiem was for his own death. In 1791, Wolfgang’s pupil Sussmayer completed the work, as the composer was too ill. He was given a pauper’s funeral and was buried in an unmarked grave, in silence and unattended.
– courtesy Arizona Opera Virtual Opera House
In January 2023, Jan Latham-Koenig begins his tenure as Music Director of Teatro Colon, Buenos Aires.
Opera highlights of this year include his debut at Festival della Valle d’Itria, Italy conducting a new production of Prokofiev’s The Gambler directed by Sir David Pountney. A return to Teatro Colon for a new production of Weill’s The Seven Deadly Sins, Bartok’s Bluebeard’s Castle in September, Verdi’s La traviata in Dublin with the National Opera Theatre Brno and the RTE National Symphony Orchestra, and his debut at The Atlanta Opera with Mozart’s Don Giovanni.
As a symphonic conductor, Jan Latham-Koenig returns to the Zagreb Philharmonic and the Buenos Aires Philharmonic this autumn.
In recent seasons Jan Latham-Koenig conducted Carmen with Tokyo Nikikai Opera Foundation and collaborated with world-leading architect Santiago Calatrava first design for opera on a new production of Poulenc’s Dialogues des Carmélites in Turin. He directed the Arena di Verona Orchestra for Zefferelli’s last unrealized production of Verdi’s Rigoletto at the Royal Opera House Oman, and he guest conducted the Cape Town Philharmonic and Opera, performing Bizet’s The Pearl Fishers and Britten’s Turn of the Screw.Read More
Throughout his career, Jan Latham-Koenig has held many music director positions including most recently the Flanders Symphony Orchestra in Bruges, Belgium and the Filarmonica del Teatro Regio, Turin. Other positions include Artistic Director of the Orquesta Filarmónica de la UNAM, Mexico City Orchestra of Porto, Teatro Municipal in Santiago, Chile, the Orchestre Philharmonique de Strasbourg and Opéra National du Rhin.
In 2020 he was awarded the OBE in the Queen’s Birthday Honours List for services to music.
Stage director Kristine McIntyre has directed more than 100 operas across the U.S. with a focus on new, contemporary, and American works. Productions include Jake Heggie and Gene Scheer’s Moby Dick (Utah Opera, Pittsburgh Opera, Chicago Opera Theater, Opera San Jose); Dead Man Walking (Lyric Opera of Kansas City, Des Moines Metro Opera, Madison Opera); the world premiers of Louis Karchin’s Jane Eyre (Center for Contemporary Opera, New York), Mark Lanz Weiser and Amy Punt’s The Place Where You Started (Art Share, LA) and Celka Ojakanga and Amy Punt’s Mirror Game; new productions of Wozzeck, Billy Budd (regional Emmy award) and Peter Grimes as well as As One (Kaminsky / Campbell / Reed), Glory Denied and Soldier Songs (Des Moines Metro Opera, Urban Arias), Jonathan Dove’s Flight (Pittsburgh Opera, Des Moines Metro Opera, Austin Opera), Jake Heggie’s The End of the Affair (Lyric Opera of Kansas City) and Three Decembers (Des Moines Metro Opera); Florencia en el Amazonas (Madison Opera), Elmer Gantry (Tulsa Opera), Of Mice and Men (Utah Opera, Austin Opera, Tulsa Opera), the world premier of Kirke Mechem’s John Brown (Lyric Opera of Kansas City); new productions of Street Scene, The Tender Land (Michigan Opera Theater), Horovitz’s Gentleman’s Island (Utah Opera) and Lee Hoiby’s Bon Appétit; and updated English-language version of Poulenc’s The Human Voice (Utah Opera, Des Moines Metro Opera), a staged concert version of Vanessa (Toledo Opera) and the world premier of The Canticle of the Black Madonna (Newmark Theater, Portland).Read More
In the digital realm, Kristine has done staging and video direction for the Portland Opera’s Resident Artist Recital Series as well as the Women in Politics recital and the Portland Opera at Home concert; staged the Houston Grand Opera’s Studio Artist Showcase for filming and consulted with Atlanta Opera on bringing her Bilingual Barber to video for schools in the Atlanta area.
Other recent directing credits include a film-noir style Don Giovanni (Utah Opera, Palm Beach Opera, Lyric Opera of Kansas City, Kentucky Opera, and upcoming at Pittsburgh Opera); an Emmy-award winning production of Manon (Des Moines Metro Opera, Opera Santa Barbara); Otello, La Cenerentola, Tosca, Le nozze di Figaro, Il ritorno d’Ulisse in Patria and La clemenza di Tito (Pittsburgh Opera); The Pearl Fishers (Utah Opera); Jenůfa, Eugene Onegin and La bohème (Des Moines Metro Opera); Lucia di Lammermoor and Madama Butterfly (Arizona Opera); Così fan tutte, Norma, and The Turn of the Screw (Lyric Opera of Kansas City); Il ritorno d’Ulisse, Lucia di Lammermoor and La traviata (Portland Opera); The Tales of Hoffmann, Un Ballo in Maschera, Cavalleria Rusticana/I Pagliacci and Così fan tutte (Madison Opera); Verdi’s Un giorno di regno (Wolftrap Opera); La bohème (New Orleans Opera); Don Giovanni, Madama Butterfly, Cavalleria Rusticana/I Pagliacci, Carmen and Werther (Kentucky Opera); Don Giovanni and Rigoletto (Tulsa Opera); a new American setting of Hansel and Gretel (Skylight Opera Theatre); Lucia di Lammermoor (Anchorage Opera); Tancredi (Opera Boston); La Rondine (Oberlin in Italy); Béatrice et Bénédict and Viva la Mamma (Tacoma Opera), and Die Fledermaus, A Little Night Music, Nicolai’s The Merry Wives of Windsor, and seven Gilbert and Sullivan operettas for Mock’s Crest in Portland.
Kristine began her career at the San Francisco Opera and then spent eight years on the directing staff of the Metropolitan Opera where she directed revivals of La traviata, Il barbiere di Siviglia, and Luisa Miller, and directed La traviata on tour for the company in Japan and for HD broadcast as part of the Renée Fleming gala. Kristine has trained opera singers in the studio programs at the Santa Fe Opera, San Francisco Opera, Portland Opera, and Pittsburgh Opera and has written and directed operatic adaptations for Portland Opera To Go, a touring educational arts program that has reached over one hundred thousand people in Oregon, Washington and Northern California. Her recent bilingual adaptation of The Barber of Seville was produced to great acclaim at Atlanta Opera, Portland Opera, Fort Worth Opera, Houston Grand Opera/HGO CO and Chautauqua Opera.
With a background in theater, Kristine was the founder and artistic director of everyman, a San Francisco-based theater company for which she directed and designed critically acclaimed productions of works by Shakespeare, Ben Jonson, and Howard Brenton. She has also collaborated with Rebecca Salzer Dance Theatre where she co-created exciting new works which explore the boundaries of theatre, film and dance. Collaborations include Skywatch! and most recently Bird Lady, a piece of dance theater about street photographer Vivian Maier. Kristine has a Bachelor’s degree in English Literature from Georgetown University and a Master’s in Theatre from the University of Hull in England.