Modern Don Giovanni gets Mixed Reaction

When the Canadian Opera Company (COC) introduced a modern staging of Strauss’ Salome in 1996, directed by Atom Egoyan, the reviews were positive but cautious. Staged the following year in Vancouver, it was called “effective”, “tastefully erotic” and “a bold, modern look at the ancient tale.” Three years later the COC mounted La Traviata in a similar way. It was called “controversial” and the costumes likened to “Eurotrash.” But the production sold out in two separate runs, and very quickly. The audience had spoken.

The ensuing trend of modernizing old classics – Egoyan and fellow famous directors François Girard and Tim Albery mounted a stark, contemporary Ring Cycle in 2006, and in 2008 Hip Hopera (a blend of DJ turntables and memorable arias) was introduced – has provoked reaction both good and bad. Egoyan’s Die Walkure received both a standing ovation and loud, persistent boo-ing when it opened in Toronto.

“There are people who take tremendous pride in their ability to publicly disclaim something,” Egoyan said at the time, “I just couldn't help but boo back. It was just fun.”

The staging of Calgary Opera’s Don Giovanni then, which premiered last week as the final production in their 2009/2010 season, was not without precedent in this country or around the world. The minimalist, modern sets were inspired by CEO Bob McPhee’s recent viewing of European operas, which depicted costumes, context and sets as contemporary as the 1940s.

And while there wasn’t any boo-ing on opening night, there was no standing ovation either.