The rake unpunished On Don Giovanni during the Rome Opera

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The rake unpunished On Don Giovanni during the Rome Opera

a creation of Don Giovanni during the 2008 Salzburg Festival set Mozart’s opera in a stark, practical woodland. The Rome Opera has tried something likewise unconventional because of its new manufacturing by utilizing a group (created by Samal Blak) comprising a bit more when compared to a skeletal tree, augmented by cartoon-like clouds additionally the shadows that the tree additionally the figures cast against a stage that is prevailingly beige.

Yet the setting that is unorthodox, at worst, a small irritant set alongside the veteran director Graham Vick’s brazen therapy of this action. You can sense in the beginning Vick’s determination to get new ways of presenting the opera’s events that are familiar. Several of their tips had been clever, some silly, some irreverent. Nevertheless the cumulative impact was in extra. For me personally, one truly misfired: their choice to portray Donna Elvira as being a nun. Seeing this passionate girl, with such a massive convenience of intimate love, wearing a practice completely blunted her character.

It absolutely was additionally problematic that Don Giovanni entirely eluded divine punishment.

We’ve seen productions by which he somehow arises during the end, a reminder associated with ubiquity of womanizers. But right here, whenever Giovanni is threatened by infernal animals, a huge representation associated with the supply regarding the Lord from Michelangelo’s production of Adam showed up, utilizing the hand pointed at Giovanni. He merely ripped the hand off and strolled away. Vick’s flippancy continued through the epilogue, as Giovanni came back, climbed up the tree, and received Donna Anna’s bra, which she tossed to him as being a souvenir of the encounter in the very beginning of the opera.

It absolutely was in conclusion of Act We, but, that provoked whistles and catcalls on 5. Zerlina’s aria “Batti, batti” hinted at the thing that was in the future whenever singer delivered it on her behalf arms and knees, just as if anticipating a spanking for having yielded to Giovanni’s advances october. The party that is ensuing Giovanni’s household devolved right into a veritable orgy for which principals and choristers alike participated—fully clothed, brain you, however with a good amount of rough intercourse. These along with other details, a lot of that the opera might have tolerated had they perhaps maybe perhaps not been therefore many, sabotaged the fast-paced and usually interesting drama that Vick’s way facilitated.

The young baritone Alessio Arduini sang with design and lyricism as Don Giovanni.

He recently graduated to your name part from compared to Masetto, and their depiction shall take advantage of more seasoning, but their Giovanni ended up being a pleasure to see and hear. Vito Priante, in splendid sound, made Leporello a character that is full-fledged just in case you wondered, his riveting account regarding the Catalogue Aria made no reference to a nun among Giovanni’s conquests.

Another first-rate performance came 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 significantly. (But why did this aristocratic lady carry around those types of dreary plaid synthetic bags the truth is at European airports?) Schiavo ended up being matched ideally 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,” ended up being omitted.

Salome Jicia’s performing as Elvira had been less consistent, additionally the sight of her being a nun (Anna Bonomelli designed the up-to-date costumes) detracted from her otherwise strong acting. Underneath 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 may otherwise have now been. Marianne Croux brought a good, complete sound to Zerlina’s music, and Emanuele Cordaro had been an excellent Masetto. While the Commendatore, whom made their entry pressing a walker, Antonio Di Matteo ended up being sent efficiently 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 right right right here he led the Rome Opera’s contemporary orchestra in a smartly paced performance tuned in to duration values. Assaults had been sharp and textures clear, in which he interacted nicely utilizing the vocalists. This Don Giovanni could have offered greater rewards with fewer intrusions from Vick.

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