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 for the brand new manufacturing making use of a group (created by Samal Blak) comprising a bit more than the usual skeletal tree, augmented by cartoon-like clouds in addition to shadows that the tree while the figures cast against a prevailingly beige phase.
Yet the setting that is unorthodox, 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 dedication to locate brand brand new methods of presenting the opera’s familiar activities. Several of his some ideas had been clever, some silly, some irreverent. Nevertheless the effect that is cumulative excessively. For me personally, one truly misfired: their choice to portray Donna Elvira as being a nun. Seeing this passionate girl, with such a giant convenience of intimate love, wearing a practice completely blunted her character.
It had been additionally problematic that Don Giovanni totally eluded divine punishment.
We’ve seen productions by which he somehow appears during the 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 supply associated with Lord from Michelangelo’s production of Adam showed up, utilizing the hand pointed at Giovanni. He just 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 beginning of the opera.
It absolutely was in conclusion of Act We, but, that provoked whistles and catcalls on October 5. Zerlina’s aria “Batti, batti” hinted at that which was in the future if the singer delivered it on the fingers and knees, as though anticipating a spanking for having yielded to Giovanni’s advances. 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, some of that your opera might have tolerated had they maybe maybe maybe not been therefore many, sabotaged the fast-paced and drama that is often interesting Vick’s way facilitated.
The young baritone Alessio Arduini sang with design and lyricism as Don Giovanni.
He recently graduated towards the title part from compared to Masetto, along with his depiction will 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; just in case you wondered, his riveting account associated with 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 an intensity to her depiction of Donna Anna that made her every utterance count considerably. (But why did this lady that is aristocratic around some of those dreary plaid synthetic bags the thing is that at European airports?) Schiavo had been 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 accompanied 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 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 are. Marianne Croux brought an excellent, complete vocals to Zerlina’s music, and Emanuele Cordaro had been a superb Masetto. While 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 significant link, have actually met with much benefit, and here he led the Rome Opera’s contemporary orchestra in a smartly paced performance aware of duration values. Assaults had been sharp and textures transparent, in which he interacted well utilizing the vocalists. This Don Giovanni could have offered greater rewards with fewer intrusions from Vick.