Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.

La Vestale, La Monnaie, Bruxelles

In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.

Shattering Madama Butterfly Stockholm

An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera

Theodora, Théâtre des Champs-Élysées

Handel’s genius is central focus to the new staging of Handel’s oratorio Theodora at Paris' Théâtre des Champs-Élysées.

Bostridge Sings Handel

1985 must have been a good year for founding a musical ensemble, or festival or organisation, which would have longevity.



Ina Schlingensiepen and Berhard Berchtold
18 Nov 2007

Karlsruhe‘s Don Gets Down

The Badisches Staatstheater seems to have borrowed with a vengeance the catch-phrase from John Waters’ recent “A Dirty Shame,” namely: “Let’s go sexin’!” I can’t recall ever seeing a “Don Giovanni” with more lip-locks, grinding torsos, leg-wraps, and groping embraces.

W. A. Mozart: Don Giovanni
Badisches Staatstheater, Karlsruhe

Above: Ina Schlingensiepen (Donna Anna) and Berhard Berchtold (Don Ottavio)

All photos courtesy of Badisches Staatstheater, Karlsruhe


And happily, unlike Waters’ film, this production scored all the right points for compelling dramatic relevancy.

The world’s most famous libertine (pace, Bill Clinton) is after all a sexual compulsive in need of a Twelve Step Program. Director Robert Tannenbaum has chosen to place heavy (though not heavy-handed) emphasis on the title character’s wanton and unfulfilling abuses of his prodigious sexual powers. Mr. Tannenbaum can always be counted on for a fresh and inventive, yet honest interpretation. True, he can perpetrate the odd moment here and there that doesn’t quite click; but mostly I find that he excels at telling the story, presenting the character relationships that the authors created, and staying out of the way of the music.

Indeed, the only character in this modern dress, minimalist production that is not presented as a sexually active being with a gnawing appetite, is the “Commendatore” The “Don” first appears in pantomime during the overture, disguised as a cleric who seduces “Anna” from her evening prayers in the chapel. She capitulates to his attentions quite willingly and is soon pinned against the wall, writhing in increasingly pleasurable foreplay until interrupted by daddy.

“Elvira” is presented as compulsive about all things: she reveals, and consumes a chocolate cake during “Mi tradi”; tipples wine immodestly from a bottle through much of the rest; and lengthily swaps some serious spit with a “Leporello” who appears quite happy to have his tonsils cleaned by his master’s sloppy seconds.

“Ottavio,” usually a cipher, was here a troubled divinity student who was very receptive to having an intimacy-starved “Anna” remove his Roman collar, and tear his cassock open to nuzzle his heaving bare chest during the allegro section of “Non mi dir.”

And the young and shallow Love Couple, “Zerlina” and “Masetto,” (mis-)behave like feckless horny wedding peasants from Nutley, New Jersey sporting the best polyester wedding apparel that money can rent. His coral prom tuxedo with ruffled shirt was just one of the many witty and telling costumes by Ute Fruehling.

Peter Werner’s wholly effective modern setting consisted of a series of high walls joined at disparate angles, creating a central hallway of sorts, mounted on a turntable, and trimmed in with walls as matching legs. The neutral textured ecru was an ideal surface upon which to project endless lines of countless names of “Giovanni’s” conquests, the image varying in intensity and legibility from scene to scene. No one was credited with the wonderful lighting design which alternately used isolated areas and spotlights, and mood- enhancing washes with excellent results.

Giovanni5.pngDiana Tomsche (Zerlina), Mika Kares (Masetto), Konstantin Gorny (Don Giovanni), Christina Niessen (Donna Elvira), Ina Schlingensiepen (Donna Anna) and Bernhard Berchtold (Don Ottavio) [Photo: Jacqueline Krause-Burberg]

The whole scenic structure rotated and spun with judicious directorial thought and attention. Only once did it seem to create unwanted dead space while we waited for a new positioning. In fact, the set facilitated many successful groupings and offered opportunities for meaningful dramatic reinforcement, none more so than the attempted party rape of “Zerlina.” The deed itself was happening on stage right with the roiling mob stage left, all the while separated from each other by a jutting piece of wall that came right to the stage’s edge. This was undoubtedly the most chilling and suspenseful staging of this moment I have yet encountered.

Later, at the “Don’s” final fateful party, he is portrayed much as the dissolute, impotent Jack Nicholson at the end of “Carnal Knowledge,” sitting in his designer leather easy chair, distractedly clicking his remote and viewing his own Mozartean “Ball Busters on Parade” slide show, with photo after photo of past conquests flashing on the wall.

Giovanni8.pngKonstantin Gorny (Don Giovanni), Stefan Stoll (Leporello) and Christina Niessen (Donna Elvira)

When the “Commendatore” finally nabs his arm in a death grip, hell arrives in the form of a sex-guilt-induced hallucination of these same images that now flood the stage, disorienting the audience with strobe-like rhythmic interweaving that make the “Don” appear to be floating in a visual hell of his own creation. This was emotion-laden, first-rate stagecraft.

Less effective was the closing sextet. The set did not quite turn in time for them to be singing full front at its opening, and all were sharing breakfast at a Victorian dining table, “Masetto” and “Zerlina” with baby carriage in tow and (judging from “Zerlina’s” Britney Spears bare bulging belly) another tot on the way. I guess they were all being hosted by the nun-garbed “Elvira,” now in her convent. It was a bit of a miscalculated visual, especially after an evening of utmost clarity.

For Robert Tannenbaum knows how to direct singing actors. He knows how to position them so they can be heard to maximum effect. He knows how to draw focus to the soloist when there are others on stage. He knows how to illuminate their relationships and enhance our appreciation of the piece. This is a director serious about serving the work at hand, and hey, I can live with an odd, well-intended dining table or two. Tannenbaum scores a significant achievement with memorably inventive work on this evergreen standard.

But no amount of fine design or direction could have saved indifferent music-making, and here, too, Karlsruhe came up with the goods in spades. At the center of it all, the fine (guest) international baritone Bo Skovhus was virile, potent, mesmerizing, and troubled; singing all the while with beauty of tone, dramatic fire, and star power. His effervescent, articulate “Champagne Aria” was as fine as I have ever heard.

One non-musical note about our star: the production should consider losing the long straight-haired wig he is made to wear until the final scene, when he is blessedly “au naturel.” It may be meant to convey a rock star image, but ends up looking a bit like Ali McGraw on a bad hair day.

Giovanni9.pngUlrich Schneider (Commendatore) and Konstantin Gorny (Don Giovanni)

Tenor Bernhard Berchtold literally stopped the show with a breath-taking, superbly controlled sotto voce rendition of “Dall sua pace.” His second aria was also sung very well, and if a couple of upward leaps sounded a bit squally, he nevertheless inspired his public to deserved rapturous ovations.

Guest bass Christophe Fel’s rather stock “Leporello” was well-served by a big, grainy voice of pleasing timbre, and ample projection. It must be said that his generally good comic timing lacked in subtlety, and his singing was marked by several patches of casual acquaintance with the downbeat. And upbeat. Or any beat.

“Masetto” found a pleasing physical/dramatic embodiment in Mika Kares, who produced a suave and rolling bass-baritone. His Partner in Peasantry was the delightful, petite Diana Tomsche as “Zerlina.” Her clear, free lyric voice wanted a bit more fullness in “La ci darem,” especially since she otherwise brought a delectable tone and substantial vocal presence to the stage.

Another guest star, Carmela Remigio offered us a beautiful, pointed, well-schooled soprano of ample size; always in command of “Anna’s” heroic music; wedded to a good realization of the role’s dramatic and directorial demands. While this was a very credible and enjoyable turn, I hope I may be forgiven if I say that she is not just yet in a league with my “Anna’s-of-Christmas-Past” including Leontyne Price, Carol Vaness, and Joan Sutherland. However, time and further experience could certainly bring her into that company, as she already has a lovely presence and considerable gifts. (She has recorded the role.)

“Elvira” was a bit of a mixed blessing in Christina Niessen’s competent hands. Hers is a unique, metallic sound that aptly suited the shrewish aspects of this role as she unrelentingly pursued her once and (she wishes!) future prey. I found that although she was always completely in service of the role and the director’s concept, her technique did not wear especially well on me, seeming almost strident by opera’s end. Perhaps some modulating of her heated dramatic zeal would correct some of this impression.

In his small role, Ulrich Schneider was an imposing, dark- hued “Commendatore.” The Badisches Staatskapelle played with stylish vitality and solid commitment under the sure hand of Jochem Hochstenbach.

This “Don Giovanni” strikes a welcome balance between “traditional” and “what-was-that-about?” and clearly pleased its public. The raw power of the libido-driven action, coupled with persuasive musical results made a great case for Mozart’s masterpiece. Not only would Wolfgang have approved, but he assuredly would also have giddily joined in this pleasurable evening of “goin’ sexin’.”

James Sohre

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):