A gifted singing actor, Schrott shaded the role with robust vocalism and keen comic timing. Uruguayan bass-baritone Erwin Schrott, also making his company debut, was a brilliant Leporello.

Despite general director Matthew Shilvock’s pre-show announcement that D’Arcangelo was “under the weather,” the singer projected a sense of unbridled lust tempered by seductive allure Act I’s “Là ci darem la mano,” sung to the peasant girl Zerlina, and his tender Act II serenade, “Deh, vieni alla finestra,” beautifully accompanied by Craig Reiss on mandolin, exuded considerable charm. Making his San Francisco Opera debut, he’s an appealing Don Giovanni: The Italian artist merges the character’s distinguishing traits - sensuality and sexual swagger, a rapacious appetite and an undeniable sense of entitlement - with a vocal performance of dark, muscular sound and smooth Italianate phrasing. Heading the cast was bass-baritone Ildebrando D’Arcangelo. But “Don Giovanni” also requires a strong, resourceful cast, and at Sunday afternoon’s opening performance at the War Memorial Opera House, a vibrant ensemble, which included several company debuts, brought it to life with impressively dynamic results.ĭirected by Jacopo Spirei, the performance was strong where it mattered most, in the relationship between the title character and his beleaguered manservant, Leporello.

San francisco opera don giovanni