Suzanne Chaundy

Why does Don Giovanni still matter in 2026?

As offenders like Jeffrey Epstein, with his wealthy and powerful clientele, lead the headlines in 2026, it proves that there has never been a time when Il dissoluto punito, ossia Il Don Giovanni has not mattered. This is an opera by Mozart and Da Ponte about the punishment of the degenerate Don. He is presented as some kind of knockabout playboy is when it has mattered least. The abuse of power and class, misogyny, revenge... Sadly, these are not things which are becoming any less relevant as time goes on.

What is at the heart of your interpretation of this production?

At the heart of my production is the growth of female solidarity, including their male allies, as it becomes clear that justice is coming for Don Giovanni. The three women — Donna Elvira, Donna Anna and Zerlina — with their wonderful music and insightful characterisation are reminiscent of the heroines in an Almodóvar film: women in crisis who develop deep friendships. They are women driven by passion, desire and intense emotions, representing unlikely sisterhoods rather than being pitted against one another vying for the affections of this man.

What should audiences expect from this staging?

Expect the unexpected! Leaning into a period look, we will subvert tradition by breaking down the fourth wall and use the Athenaeum Theatre beyond its stage. The set is designed to echo the theatre, blurring the lines between the performance space and the auditorium. There will be a self-aware theatrical exuberance which is where much of the 'giocoso' in this 'dramma giocoso' lies. Achieving the balance Mozart and Da Ponte set — moving between the story's gravity and its downright playful, silly sections — will be a fascinating challenge. Our audiences should be moved and on the edge of their seats!

What makes this cast special?

Melbourne Opera has a long tradition of developing local singers. I am absolutely thrilled to have Christopher Tonkin briefly return from Germany, where he is currently singing with the Landestheater Coburg, to sing Don Giovanni. He sang his first Don Giovanni with Melbourne Opera in 2006. Lee Abrahmsen, singing Donna Anna, is another local singer who has developed into one of the country's leading sopranos; most of her role experience was gained working with Melbourne Opera. Henry Choo is an incredibly experienced Don Ottavio and I am thrilled to have him as part of this Melbourne ensemble cast. As the director of the Richard Divall Program, I am so thrilled to be working with Henry Shaw (Leporello), Eleanor Greenwood (Donna Elvira), Rebecca Rashleigh (Zerlina) and Stephen March (Masetto), all of whom are past members of the Richard Divall Program.

What do you want audiences to leave the theatre thinking about?

The more things change, the more they stay the same. But seriously, about how this is an opera about women — not a man.

If you had to describe this production in one sentence, what would you say?

Alive!