The rake unpunished On Don Giovanni in the Rome Opera
a manufacturing of Don Giovanni during the 2008 Salzburg Festival set Mozart’s opera in a stark, realistic forest. The Rome Opera has tried one thing likewise unconventional for the brand brand new manufacturing by utilizing a set (created by Samal Blak) composed of a bit more than the usual skeletal tree, augmented by cartoon-like clouds while the shadows that the tree as well as the figures cast against a prevailingly beige phase.
Yet the unorthodox environment had been, at the worst, a small irritant set alongside the veteran director Graham Vick’s brazen therapy of this action. You could sense in the beginning Vick’s determination to locate brand new methods for presenting the opera’s events that are familiar. A number of their some ideas 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 a nun. Seeing this passionate girl, with such a massive convenience of intimate love, dressed up in redtube a practice completely blunted her character.
It had been additionally problematic that Don Giovanni entirely eluded divine punishment.
We’ve seen productions for which he somehow arises during the final end, a reminder associated with ubiquity of womanizers. But right right here, whenever Giovanni is threatened by infernal animals, a representation that is giant of arm associated with the Lord from Michelangelo’s development of Adam showed up, using the little finger pointed at Giovanni. He just ripped the little finger off and wandered 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 as being a souvenir of these encounter in the very beginning of the opera.
It absolutely was the final outcome of Act We, nonetheless, that provoked whistles and catcalls on 5. Zerlina’s aria “Batti, batti” hinted at that which was to come if the singer delivered it on the fingers 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 into a veritable orgy for which principals and choristers alike participated—fully clothed, brain you, however with a great amount of rough intercourse. These along with other details, lots of that your opera may have tolerated had they maybe not been so 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 role from compared to Masetto, along with his 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 if you wondered, his riveting account associated with 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 thing 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 one single breathing; considering the fact that the manufacturing implemented the opera’s original Prague text, Ottavio’s other aria, “Dalla sua speed,” 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 strong acting. 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 may otherwise have now been. Marianne Croux brought an excellent, complete vocals to Zerlina’s music, and Emanuele Cordaro had been a superb Masetto. Since the Commendatore, whom made their entry pressing a walker, Antonio Di Matteo ended up being sent effectively by Giovanni but sang imposingly.
Jйrйmie Rhorer’s shows of Mozart operas together with 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, and then he interacted well with all the vocalists. This Don Giovanni could have offered greater rewards with fewer intrusions from Vick.