We sat down with Samuel Pantcheff, who is currently starring in the titular role of our Opera Project co-production of Don Giovanni.
Tell us a little about the character of Don Giovonni, and how you’ve approached the role?
It is an iconic role, and, actually, he’s a complicated chap. On the face of it, quite sort of one-dimensional in that he’s the classic womaniser, quite an unpleasant man, treats people very badly. And, from a personal perspective, I was wondering how to approach the role, because I don’t have anything in common with that kind of person. So, I was thinking, charm on toast was probably the way to go. You make him unbelievably charming, even though it’s in the context of him being so awful to people.
In doing that, have you had to search for any redeeming qualities in him?
There are basically none. That’s the hard part about it. You really have to look hard for those redeeming qualities, and I don’t see that in the text. So, I think the only thing you could say is, he is charming. Is it good that he’s charming? Perhaps it is. That would be a redeeming feature of the man, I suppose.
But he uses it for ill.
Yeah, he’s a real sleazebag.
On that note, what do you feel like Don Giovanni as a story has to say in this day and age?
Well, what’s interesting about the other characters in the piece is that particularly the women are very strong.
Donna Elvira, although she’s caught up in a very tricky situation that comes out in, I don’t want to say hysteria because I don’t like that word, but it is hysterical, the way she acts. She’s pushed into that corner, but she’s strong with it. She’s very resilient and she’s in love with Don Giovanni. Zelina, a little bit more innocent perhaps, but I think it’s nice to see strong women in an opera that’s ostensibly about sexual assault. So, I think that’s a positive for the story.
What is it about Tobacco Factory Theatres that makes performing opera here so exciting?
It’s the immediacy for the room, right up in [the audience] face, and I always think it takes the audience maybe a few minutes just to realise what’s happening because they are so close.
But, once you realise that and you can take advantage of that immediacy, a raise of an eyebrow or the tiniest hand gesture can be powerful, which you might not get in a bigger theatre. [And] it’s a really great acoustic. Strangely, it shouldn’t be, but it is. A very nice acoustic to sing in.
Are there any bits of the show that you’re like particularly excited for audiences to experience?
Well, like every Mozart opera, the set pieces are really exciting. There’s eight people in the cast and sometimes we’re all singing [at the same time], different words, different intentions, all doing our own thing. It’s very exciting. Those set pieces tend to go down really well.
And then, you know, it is fun to play a baddie sometimes. I can really lean into that. So, the seduction scenes are quite -although uncomfortable- quite fun to play. I think they should come across really well, if you see what I mean.
In an uncomfortable way.
What is it about this specific production of Don Giovanni that makes it different from other productions people might have seen?
We’re not rewriting the story or the rule book or anything like that. In a lot of senses, it’s quite straight down the line. But I would say [director Richard Studer’s] approach to characterization is quite detailed and he loves clarity of thought.
And, like I say, with the small space those small gestures, or turns of phrase, or looks, or thoughts even, make a big difference. So, I would say probably say strong characterisation makes it a unique product.
Any final thoughts?
Just that I’m really looking forward to it and that I’m always inspired by my colleagues. It’s an amazing thing going on, and it’s just lovely to see good people doing good work.
Posted on 29 September 2026
