A decade has passed since Vienna’s Theater an der Wien was reestablished as a full-time venue for opera, and marking the event is a revival of Mozart’s Don Giovanni which originated in 2006 and enjoyed a successful return in 2009, before now re-appearing with a new line-up of soloists (apart from two evenings in which Erwin Schrott returns to the title role).

HOTEL UNIVERSALE is the setting in this Keith Warner production - centred around a stylish Deco hotel lobby complete with active elevators and fitted with clever staging which transforms to long lines of bedrooms, a glittering ballroom, and eventually to a lonely dining room where Giovanni meets his end when thrust into an oversized glass coffin. This Giovanni, is the manager of HOTEL UNIVERSALE with Elvira and Anna among the well-heeled guests, and Leporello, Zerlina and Masetto cast as hotel staff members. There were certain production details which varied from earlier showings, but the evening spoke of well-rehearsed interaction and detail among the entire ensemble. 

In some respects this cast was less illustrious than past versions, but proved to be well-balanced with certain individuals scoring more through their artistic assets rather than paramount vocal substance.

For the record, this evening’s performance omitted Ottavio’s "Il mio tesoro," as well as the opera’s standard D major closing ensemble - bringing down the curtain instead with Giovanni’s demise (in keeping, incidentally, with Gustav Mahler’s preference).

Jane Archibald’s sleek and prodigious Donna Anna was the definite hit of the evening. A cool blond, yet glowing with fiery acrimony, the Canadian singer’s malleable soprano remained undaunted by both arias’ infamous passages while remaining amply capable of delivering the role’s recitativi with fearless venom. 

As an unusually vital Don Ottavio, Martin Mitterrutzner (decked out in a minister’s suit and dog-collar) sang with even-voiced finesse and ample dynamic range, making the exclusion of his second aria all the more regrettable.  

Mari Eriksmoen’s lip-biting Zerlina left no doubt as to her ideal first choice in her highly-charged, kittenish reading - while taking delight in handcuffing poor Leporello to test her instruments of torment. She furthermore not only kept Masetto under her thumb, but gladly wagged her “no” finger at a frustrated Giovanni when it so suited her. Vocally sailing through the part, this Zerlina whet one’s appetite for greater challenges to come.

As Masetto the newcomer, Tareq Nazmi, truly threw himself into the part - occasionally slipping into untenable gesture and grimace, but doing so with affable energetic charm while revealing an appealing lyrical bass-baritone with undoubted potential, in addition to a serious foot-fetish.

Jonathan Lemalu’s dapper Leporello also risked parody in certain moments, but again, won the day through his affability as the hectored hotel porter - nicely-contrasting with Giovanni’s inconsiderate Manager portrayal.

This year marked Jennifer Larmore’s 30th anniversary as a professional singer. She has retained a great deal of glamour, and intensity - too often overwrought in this Elvira reading, for which “vocal indisposition” was announced ahead of the show.

Lars Woldt gave an imposingly voluminous Commendatore.

Nathan Gunn was a slick Giovanni, spiking his guests’ drinks and deftly manipulating his victims at will. However his nonchalance rather backfired - leaving a somewhat understated and insipid impression in the long run. In addition, while vocally reliable, he tended to bark out the opening words in his lines, depriving the character of an elegance even a hotel manager should boast.

On the other hand, Ivor Bolton (conducting from the fortepiano) gave both the visual and audible impression of an erupting volcano, feverish in gesture and whipping the prestigious Mozarteumorchester Salzburg into emanating a plethora of colours and effects, undauntingly raucous at times, and often driving the stage protagonists to deliver their utmost. This year the orchestra celebrates their 175th anniversary - marking roots which directly extend to the “Dommusikverein und Mozarteum”, founded in 1841 by Mozart’s widow, Constanze and her two sons.

In all, an evening to well mark an illustrious 10 years of exciting opera events at Vienna’s invaluable Theater an der Wien.