DON GIOVANNI

Though Nov. 22, Academy of Vocal Arts; Nov. 29, Centennial Hall, Haverford; Central Bucks High School South, Warrington, www.avaopera.org

Don Giovanni is, to use the modern parlance, a black comedy. It is also a highly pliable drama, and can be staged in shades of humor and darkness. The superb current AVA production leans well toward the dark side, in every way. Even the stage is mostly shrouded in shadows and mist, and the sets and costumes range from ecru to murky browns and charcoal.

Director Lee Blakeley's stark vision makes for an unusually vivid depiction of the story. Mozart, and his librettist da Ponte, draw the title character as an unyieldingly base personality, and one without much depth. The great dramatic interest in the opera takes place in the relationship of those whose lives he affects, especially the triumvirate of women, Donna Anna, Donna Elvira and Zerlina, who, to various degrees, are both morally repelled and sensuously attracted to the Don. It is still rather shocking, after over two centuries, to see Donna Elvira, after repeated humiliation and even physical abuse, reiterate her lust for the monster just before his descent to hell, and even after he is gone, declare her desire to join a convent, as if the Don has spoiled her for any other man.

As Don Giovanni, first-year student Octavio Moreno, a native of Mexico, makes a remarkably suave and self-assured debut. He captures the combination of unctuous charm and simmering menace with a supple and virile baritone. The three ladies are well cast to type. Takesha Meshé Kizart radiates dignity and aching sorrow as Donna Anna, whose father is killed by Don Giovanni as the opera begins. Elspeth Kincaid plays Zerlina as sweetly innocent yet sexually playful, and Evelyn Pollack brings Donna Elvira to life as emotionally befuddled, but always exuberant.

Mozart invests less energy in the male companions, and even ridicules them; Don Ottavio, always rebuffed by Donna Anna, is a chump, and Masetto, Zerlina's newlywed, is a blustery rube. In those roles, Bryan Hymel and Jes&250;s Ibarra, respectively, do not wander from those stereotypes.

Keith Miller's Leporello, Don Giovanni's thankless servant, on the other hand, is positively revelatory. This character is often portrayed as a cowering dupe, even as another victim of the Don. Not here; Miller makes Leporello an acolyte to his boss, with no small measure of the master's cruel tendencies. It helps that Miller, a former pro football player, projects an imposing physicality onto the role. If he played football as well as he sings opera, perhaps the Eagles should give him a look. Rumor has it they have a couple of openings.