a manufacturing of Don Giovanni in the 2008 Salzburg Festival set Mozart’s opera in a stark, practical woodland. The Rome Opera has tried one thing likewise unconventional because of its brand brand new manufacturing simply by using a group (created by Samal Blak) composed of little more than the usual skeletal tree, augmented by cartoon-like clouds as well as the shadows that the tree additionally the figures cast against a prevailingly beige phase.
Yet the unorthodox environment had been, at worst, a small irritant set alongside the veteran manager Graham Vick’s brazen therapy of this action. You can sense in the beginning Vick’s determination to locate brand brand new methods of presenting the opera’s familiar occasions. A number of their a few ideas had been clever, some silly, some irreverent. However the cumulative effect was way too much. For me personally, one truly misfired: their decision to portray Donna Elvira as a nun. Seeing this woman that is passionate with such a giant convenience of intimate love, dressed up in a practice completely blunted her character.
It was additionally problematic that Don Giovanni entirely eluded punishment that is divine.
We’ve seen productions by which he somehow arises during the final end, a reminder regarding the ubiquity of womanizers. But right here, when Giovanni is threatened by infernal animals, a giant representation associated with supply regarding the Lord from Michelangelo’s production of Adam showed up, with all the little finger pointed at Giovanni. He just ripped the hand off and strolled away. Vick’s flippancy continued through the epilogue, as Giovanni came back, climbed within the tree, and received Donna Anna’s bra, which she tossed to him being a souvenir of the encounter in the very beginning of the opera.
It had been in conclusion of Act I, but, that provoked whistles and catcalls on October 5. Zerlina’s aria “Batti, batti” hinted at the thing that was in the future once the singer delivered it on her behalf fingers and knees, just as if expecting a spanking for having yielded to Giovanni’s advances. The ensuing celebration at Giovanni’s household devolved right into a veritable orgy by which principals and choristers alike participated—fully clothed, head you, however with an abundance of rough intercourse. These along with other details, a lot of that your opera might have tolerated had they maybe maybe perhaps not been therefore many, sabotaged the fast-paced and drama that is often interesting Vick’s way facilitated.
The baritone that is young Arduini sang with design and lyricism as Don Giovanni.
He recently graduated into the name part from compared to Masetto, along with his portrayal will reap the benefits of more seasoning, but their Giovanni was a pleasure to see and hear. Vito Priante, in splendid voice, made Leporello a character that is full-fledged if you wondered, his riveting account for the Catalogue Aria made no reference to a nun among Giovanni’s conquests.
Another performance that is first-rate from Maria Grazia Schiavo, whom sang with radiant tone and brought a strength to her depiction of Donna Anna that made her every utterance count considerably. (But why did this aristocratic lady carry around some of those dreary plaid synthetic bags the truth is at European airports?) Schiavo ended up being matched preferably by Juan Francisco Gatell as Anna’s suitor, Don Ottavio, whom sang with fluid tone and offered a unforgettable account of “il mio tesoro,” its long coloratura run sung in one single breathing; considering that the manufacturing observed the opera’s original Prague text, Ottavio’s other aria, “Dalla sua speed,” had been omitted.
Salome Jicia’s performing as Elvira had been less consistent, additionally the sight of her as a nun (Anna Bonomelli designed the up-to-date costumes) detracted from her otherwise acting porn movies that is strong. The omission of Elvira’s great aria “Mi tradм quell’alma ingrata” (like “Dalla sua pace,” composed for the opera’s Vienna premiere in 1788) was less disappointing than it might otherwise have been under the circumstances. Marianne Croux brought an excellent, complete sound to Zerlina’s music, and Emanuele Cordaro ended up being a superb Masetto. Once the Commendatore, who made their entry pressing a walker, Antonio Di Matteo ended up being sent effectively by Giovanni but sang imposingly.
Jйrйmie Rhorer’s performances of Mozart operas together with period-instrument musical organization, Le Cercle de l’Harmonie, have actually met with much benefit, and right right here he led the Rome Opera’s contemporary orchestra in a smartly paced performance tuned in to period values. Assaults had been sharp and textures clear, in which he interacted well with all the vocalists. This Don Giovanni could have offered greater rewards with fewer intrusions from Vick.