Robert Falls, renowned for his maximalist approach, left a lasting imprint on Chicago theater before exiting the Goodman Theatre in 2022. His influence is still palpable at the Lyric Opera of Chicago. The 2014 staging of “Don Giovanni” exemplifies an era I deem peak Falls. The Lyric recently opened its 2026-27 season with this grand production.
The stage sets, created by Walt Spangler, a frequent Falls collaborator, are sprawling and majestic. The design includes plentiful tables, lush hedgerows, large Moorish light fixtures, and imposing stone exteriors. These elements echo Falls’ notable Eugene O’Neill productions, evoking classical tragedy.
Costume designer Ana Kuzmanic contributes to the atmosphere with eclectic outfits reflecting a sense of seduction and power. The lighting by Duane Schuler adds intensity, shedding accusatory beams on the audience during the opera’s climax. It provokes reflection on the protagonist’s descent into hell, visualized here as a chute resembling one from “Sweeney Todd.” It serves as a reminder of our own potential downfalls.
Christian Van Horn, a long-standing Lyric favorite, adeptly portrays one of opera’s most notorious characters. Although the production showcases Falls’s expansive approach, it is unlikely a production like this would originate today.
Opera was a side passion for Falls. He thrived on these extravagant spectacles. During Saturday’s performance, he reveled in merging theatrical and intimate elements. The soprano Mané Galoyan stands out as Donna Anna, driving the revenge plot.
Other performers shine too. Nina Solodovnikova brings sophistication to Donna Elvira, while Lawrence Brownlee’s Don Ottavio and Anna El-Khashem’s Zerlina each have their moment in the limelight. El-Khashem particularly impresses with her portrayal of a peasant girl swept into seduction.
While watching “Don Giovanni,” the brilliance of Mozart’s music becomes apparent. It seems to move almost independently of the story, underscoring the chaotic notions that the composer might have explored. Mazzola’s orchestra captures this essence, with segments that veer delightfully off-course, adding complexity and depth to the performance.
At its heart, “Don Giovanni,” a staple at the Lyric since 1954, maintains a simple structure. Donna Anna, portrayed with strength by Galoyan, is pivotal as she seeks to upend the infamous libertine. Van Horn’s commanding performance highlights why the title character’s endeavors are ultimately doomed, marred by declining success and inevitable repercussions.
“Don Giovanni” runs through November 1 at the Lyric Opera of Chicago, showcasing a compelling blend of theatrical grandeur and timeless music. Tickets range from $48 to $402 and are available through the box office or at lyricopera.org.