a manufacturing of Don Giovanni during the 2008 Salzburg Festival set Mozart’s opera in a stark, practical forest. The Rome Opera has tried one thing likewise unconventional because of its brand brand new manufacturing by making use of a collection (designed by Samal Blak) comprising bit more when compared to a skeletal tree, augmented by cartoon-like clouds and also the shadows that the tree and also the figures cast against a prevailingly beige phase.
Yet the unorthodox setting ended up being, at worst, a small irritant set alongside the veteran manager Graham Vick’s brazen treatment of this action. You can sense in the beginning Vick’s dedication to find brand brand new methods of presenting the opera’s familiar occasions. A few of their some ideas were clever, some silly, some irreverent. Nevertheless the cumulative impact was way too much. In my situation, one truly misfired: their choice to portray Donna Elvira as a nun. Seeing this woman that is passionate with such a massive convenience of intimate love, dressed up in a practice completely blunted her character.
It had been additionally problematic that Don Giovanni entirely eluded punishment that is divine.
We’ve seen productions by which he somehow appears during the end, a reminder for the ubiquity of womanizers. But right right here, whenever Giovanni is threatened by infernal animals, a representation that is giant of supply of this Lord from Michelangelo’s production of Adam showed up, with all the little finger pointed at Giovanni. He merely ripped the little finger 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 threw to him being a souvenir of these encounter in the beginning of the opera.
It had been in conclusion of Act We, nevertheless, that provoked whistles and catcalls on 5. Zerlina’s aria “Batti, batti” hinted at that which was in the future as soon as the singer delivered it on the fingers and knees, as though anticipating a spanking for having yielded to Giovanni’s advances october. The ensuing celebration at Giovanni’s household devolved right into a veritable orgy by which principals and choristers alike participated—fully clothed, head you, but with an abundance of rough intercourse. These as well as other details, some of that the opera may have tolerated had they maybe not been so many, sabotaged the fast-paced and frequently interesting drama that 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 that of Masetto, and their depiction shall reap the benefits of more seasoning, but their Giovanni ended up being a pleasure to see and hear. Vito Priante, in splendid sound, made Leporello a full-fledged character; in the event you wondered, his riveting account for the Catalogue Aria made no reference to a nun among Giovanni’s conquests.
Another first-rate performance arrived from Maria Grazia Schiavo, whom sang with radiant tone and brought an intensity to her depiction of Donna Anna that made her every utterance count considerably. (But why did this lady that is aristocratic around those types of dreary plaid plastic bags the thing 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 an account that is memorable of mio tesoro,” its long coloratura run sung in a single breathing; considering that the manufacturing adopted the opera’s initial Prague text, Ottavio’s other aria, “Dalla sua speed,” had been omitted.
Salome Jicia’s performing as Elvira ended up being less consistent, together with sight of her as a nun (Anna Bonomelli designed the up-to-date costumes) detracted from her otherwise acting hot ukrainian brides 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 vocals to Zerlina’s music, and Emanuele Cordaro ended up being a superb Masetto. Due to the fact Commendatore, whom made his entry pressing a walker, Antonio Di Matteo had been dispatched effectively by Giovanni but sang imposingly.
Jйrйmie Rhorer’s shows of Mozart operas together with his period-instrument musical organization, Le Cercle de l’Harmonie, have met with much benefit, and right here he led the Rome Opera’s orchestra that is modern a smartly paced performance aware of duration values. Assaults had been sharp and textures clear, in which he interacted well aided by the vocalists. With less intrusions from Vick, this Don Giovanni may have provided greater benefits.