It must be a good decade since Melbourne saw Mozart’s Don Giovanni, which is far too long for one of opera’s greatest hits. Melbourne Opera tackles this dramma giocoso, or “drama with jokes”, with their usual plucky approach to grand opera that puts the focus on quality singing and clear storytelling.

Melbourne Opera’s Don Giovanni. Photo © Robin Halls

First performed in Prague in 1787, Don Giovanni follows the title character’s last days of remorseless philandering. Assisted by his servant, Leporello, the Don moves on from Donna Anna and Donna Elvira and starts seducing Zerlina. The women and their menfolk join forces to seek revenge, though justice is ultimately brought down upon him by otherworldly forces.

Melbourne Opera’s go-to director Suzanne Chaundy brings her usual respect for the libretto to this new production. She doesn’t shy away from the story’s sexuality; the cast make numerous suggestive movements for comic and occasionally dramatic effect.

In the program notes, Chaundy outlines her intention of delivering a female-forward, #MeToo Don Giovanni, but reality falls short. Her feminist flourishes include some of his victims wielding a sword and scales during the overture, and turning the insignificant role of Elvira’s servant into a frequent witness of his iniquity.

This 200-year-old opera’s misogyny overwhelms such gestures, however, most obviously by having Elvira return again and again to Giovanni, like a needy puppy craving his love.

Christopher Tonkin (left) and Eddie Muliaumaseali’i in Melbourne Opera’s Don Giovanni. Photo © Robin Halls

Whatever we think of Lorenzo da Ponte’s dated libretto, there’s timeless beauty in Mozart’s music, which is interpreted by conductor Raymond Lawrence and the Melbourne Opera Orchestra with surprising lusciousness for a small band.

The company is modestly funded, yet the cast is almost uniformly impressive both individually and in assured ensembles. Christopher Tonkin has just the right degree of swagger in the title role, and conveys everything from seductiveness to defiance with his confident baritone.

This production’s emerging artists include stand-out Henry Shaw as Leporello. His warm, mellifluous bass and ease with the role’s visual humour marks him as a singer to watch.

Stephen Marsh and Rebecca Rashleigh in Melbourne Opera’s Don Giovanni. Photo © Robin Halls

Soprano Eleanor Greenwood (a surprise packet in Melbourne Opera’s 2023 Maria Stuarda) is vocally and dramatically powerful as Elvira, while Rebecca Rashleigh reveals a bright soprano in her spirited interpretation of Zerlina. Baritone Stephen Marsh is solid in the minor role of her betrothed, Masetto.

Established soprano Lee Abrahmsen was not at her usually pleasurable vocal best as Donna Anna for the opening matinee. She was slightly shrill in her Act I aria, and struggled toward the end of Act II.

Tenor Henry Choo sings very sweetly as Anna’s fiance, Don Ottavio, while veteran bass Eddie Muliaumaseali’i has never sounded better as her father, the Commendatore. In avenging statue form for the finale, his rich voice oozes gravitas.

The Melbourne Opera Chorus are vocally sure-footed and, despite being 35-strong, always seem to be in the right place on the small Athenaeum stage. Their movement is aided by the simplicity of Dale Ferguson’s set: essentially two walls of humble period architecture, including one with large arches. This creates an upstage space that, together with an occasionally employed theatre box, layers the action.

Tom Vulcan’s lighting, from colour washes to chiaroscuro, enlivens the set, but visually this production throws its limited budget into costumes. Rose Chong Costumiers’ capes and puffy shirts, vibrant, swirling peasant skirts and the detail and texture of the nobility’s attire deliver plenty of 18th century appeal.

This Don Giovanni doesn’t knock it out of the park, but the paucity of fully staged opera in Melbourne these days makes it a very welcome return for the Mozart classic.

Don Giovanni is at the Athenaeum Theatre, Melbourne, until 3 May.