a creation of Don Giovanni at the 2008 Salzburg Festival set Mozart’s opera in a stark, practical woodland. The Rome Opera has tried one thing likewise unconventional for the brand new manufacturing by making use of a collection (designed by Samal Blak) composed of a bit more than a skeletal tree, augmented by cartoon-like clouds as well as the shadows that the tree as well as the figures cast against a stage that is prevailingly beige.
Yet the setting that is unorthodox, at the worst, a small irritant set alongside the veteran director Graham Vick’s brazen therapy of this action. You might sense in early stages Vick’s dedication to get brand brand new methods for presenting the opera’s events that are familiar. A few of their some ideas were clever, some silly, some irreverent. However the cumulative impact was way too much. In my situation, one truly misfired: their choice to portray Donna Elvira as being https://rubridesclub.com/asian-brides 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 in the final 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 associated with the Lord from Michelangelo’s production of Adam showed up, using the hand pointed at Giovanni. He merely ripped the hand off and moved 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 as a souvenir of the encounter in the beginning of the opera.
It had been the final outcome of Act We, nevertheless, that provoked whistles and catcalls on October 5. Zerlina’s aria “Batti, batti” hinted at what was in the future once the singer delivered it on her behalf arms and knees, just as if anticipating a spanking for having yielded to Giovanni’s advances. The ensuing celebration at Giovanni’s household devolved into a veritable orgy by which principals and choristers alike participated—fully clothed, brain you, however with a good amount of rough sex. These as well as other details, some of which the opera may have tolerated had they perhaps 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 towards the name part from compared to Masetto, along with his depiction shall reap the benefits of more seasoning, but their Giovanni had been a pleasure to see and hear. Vito Priante, in splendid sound, made Leporello a full-fledged character; if you wondered, his riveting account regarding 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 portrayal of Donna Anna that made her every utterance count significantly. (But why did this lady that is aristocratic around some of those 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 pace,” ended up being omitted.
Salome Jicia’s performing as Elvira ended up being less consistent, therefore the sight of her as being a nun (Anna Bonomelli designed the up-to-date costumes) detracted from her otherwise acting that is strong. Beneath the circumstances, 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 could otherwise have already been. Marianne Croux brought a great, complete sound to Zerlina’s music, and Emanuele Cordaro had been an excellent Masetto. Whilst the Commendatore, who made their entry pressing a walker, Antonio Di Matteo had been sent 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 actually met with much benefit, and here he led the Rome Opera’s orchestra that is modern a smartly paced performance tuned in to period values. Assaults were sharp and textures transparent, in which he interacted well with all the vocalists. This Don Giovanni could have offered greater rewards with fewer intrusions from Vick.