LHO 'Don Giovanni' Keeps Opera Relevant

“He doesn’t care if she’s rich, if she’s ugly, if she’s beautiful—provided she wears a skirt, you know what he does.” This subtitle perfectly encapsulates the motto of the title character in Lowell House Opera’s (LHO) production of Mozart’s Don Giovanni.

Under the guidance of Dan A. Cozzens ’03, a first-time operatic director, Don Giovanni promises to be a lush performance filled with sex, passion, and humor.

Founded in 1938, Lowell House Opera is the oldest continuously performing opera company in New England. In a testament to LHO’s extraordinary commitment to authenticity, a trait rare for college-based opera companies, LHO will perform Don Giovanni with a full orchestra (directed by Gund University Organist and Choirmaster Edward E. Jones) in the opera’s original Italian. Subtitles will accompany the opera, which debuted last Wednesday with a black-tie patrons’ gala.

Mozart’s masterpiece about a libertine, Don Giovanni has a long and storied past, earning it iconic status. “When people think of opera, they think of Don Giovanni,” explains Cozzens.

The well-known opera tells the story of one Don Giovanni (split-cast between professional actors Joseph Hammer and Graham Wright), who rapes a woman named Donna Anna (Lauren Woo/Alisa Cassola) and kills her father. Donna Anna makes her fiancé, Don Ottavio (Frank C. Napolitano ’04/Philippe Pierce) swear to take revenge on her behalf.

Meanwhile, Don Giovanni tries to take a new conquest and seduces newlywed peasant Zerlina (Caitlin C. Vincent ’07/Jessica G. Peritz ’06) from her husband Masetto (John F. Errington ’05/Oussama Zahr ’04-’05).

Cast members note that despite its seeming antiquity, Don Giovanni is remarkably enjoyable to modern audiences, even those not familiar with opera. “I think this opera is very accessible because it is funny, because the characters are entertaining, because there are aspects of sex and violence and all those kinds of things,” says Peritz.

Recently returning from the Philadelphia’s Enchantment Theatre Company’s The Snow Queen national tour, Cozzens brings experience to the LHO Harvard stage despite being a relative newcomer to opera. However, Cozzens has quickly warmed up to his new non-touring environment, and praises the openness inherent to opera.

“I love the fact that opera is so much more, essentially, theatrical than theater because [opera performers] are performing, they are singing,” he says. “They are not trying to replicate real life or pretend to the audience that they are real people.”

A MIXED CAST

Over the years, LHO has a carved itself a well-earned reputation for high-caliber presentations that producers credit to the society’s unique casting of both professional and student talents.

“The talent of LHO is undeniable; you’re bringing in these professionals, pre-professionals, grad students from Boston, and so the voices themselves and the artistry are at a higher level,” notes Zahr.

While Peritz and Zahr admit that they find it intimidating to work in a semi-professional rather than in a student-based company, both students praise LHO for providing valuable learning experience.

LHO also offers opportunities to professionals, as the conservatory-trained and professional singer Pierce reveals.

“As a young professional who’s just starting out in an opera career, [this LHO production] is really a tremendous opportunity for me to learn new roles that I hope to be singing for the rest of my career and to learn them in a low-pressure environment,” says Pierce.

James R. Salzmann ’02, a Crimson editor and co-producer along with Sarah S. Eggleston ’07, cites the advantages of a mixed troupe: “[The production] is great for those who love to sing but who don’t necessarily receive rigorous training… [Audiences will be] hard-pressed to tell the difference between the Harvard people and the professionals.”

Although LHO has recently relied heavily on Boston-area professionals, the group has made a concerted effort to include more Harvard students in the production. About half of Don Giovanni’s cast is in some way affiliated with the university—whether as a student, alumni, or otherwise. Although some casting preference is usually given to Lowell House residents, none of the cast members this year are house residents.

Salzmann sees the fact that LHO has been able to survive as a testament to the group’s value for the Harvard community. “I think that it’s wonderful that we’ve been able to keep going despite randomization [of the house lottery]. So many house-specific things have gone by the wayside,” he says.

Although there may no longer be many singers, directors, and producers to come out of Lowell anymore, the Lowell spirit has not been lost in Don Giovanni. “Together with Dunster [House Opera], I think we do a lot to continue that spirit of house theatrical tradition that could have been lost,” Salzmann says.

Don Giovanni will run on March 11, 12, 16, 18, and 19 in Lowell House Dining Hall at 8:30 p.m. General $12, students and seniors $8, Lowell House residents $6. Tickets are available through the Harvard Box Office.

—Staff writer Emily G.W. Chau can be reached at egchau@fas.harvard.edu.