Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

OPERA TODAY ARCHIVES »

Reviews

W. A. Mozart: Don Giovanni
16 Mar 2008

MOZART: Don Giovanni

This an intriguing two-disc DVD set. The primary disc is the opera itself, while the other disc is a film called “Adieu Mozart” that tells us about the unique relationship Mozart had with the City of Prague.

W. A. Mozart: Don Giovanni

Don Giovanni (Andrei Beschasny), Il Commendatore (Dalibor Jedlicka), Donna Anna (Nadezhda Petrenko), Don Ottavio (Vladimír Dolezal), Donna Elvira (Jirina Marková), Leporello (Ludek Vele), Masetto (Zdenek Harvánek), Zerlina (Alice Randová), Prague National Theatre Chorus and Orchestra, Sir Charles Mackerras (cond.)
Live on 1 December 1991 at the Estates Theatre, Prague

Supraphon SU 7012-9 [2DVDs]

$29.99  Click to buy

The setting for the opera is The Estates Theater in Prague. It existed in Mozart’s time where he conducted two world premieres — Don Giovanni and Clemenza di Tito. Between 1983 and 1991, the theater was reconstructed to look just as it did in Mozart’s time.

The opera as we see it on the DVD’s is a film of the first opera performed in the reconstructed theater. There is an interesting aspect of the film of the opera production that seeks to connect the present production to the past and vice versa. In a day where we see opera houses and directors looking to update and to be more innovative with traditional operas, there is still another way of touching the audience with the historic and respected works of this master composer.

The first scenes of the film are of Andrei Beschasny, who is our Don Giovanni, walking to the opera house through the cobblestone streets of Prague. He is wearing a navy blue jogging suit and white tennis shoes and has an apple in his hand. The first scenes of the opera, following the overture, show Beschasny in full makeup entering the stage from the rear and the action then begins. We have made the transition from now to then.

For the next two and a half hours I was thoroughly entertained by a well-done production of the opera with all the lush period costumes and sets that might have been similar to what Mozart himself used. In the scene where the Commendatore ( sung by Dalibor Jedlicka) interrupts the liaison between the Don and Donna Anna we see a shirtless Don who is indignant at having his pleasure cut short. The death scene continues as he struggles into his red shirt and then kills the Commendatore.

Ludek Vele is an amazing Leporello. I hasten to mention here that I am not familiar with any of the singers so this was an adventure in listening to them and having no preconceived ideas of what they should sound like. But, back to Vele. He has a nice baritone voice, a bit more rugged sounding than that of Beschasny, which works well. He is a convincing actor who leaves no doubt about his conflicted relationship with his master.

Nedezhda Petrenko is Donna Anna. This is a soprano with a voice that can go shrill at times but is not unpleasant to listen to for the most part. She had a good grasp of the role. Shock at first when her father is killed and then determined to bring down the perpetrator. Ottavio and Elvira sung by Vladimir Dolezal and Jirina Markova, respectively, made a good couple. Markova is a passionate singer who I found engaging.

If there was, in my opinion, a weak link among the singers it was with Zerlina and Masetto ( Zdenek Harvanek and Alice Randova). There did not seem to be a good “connection” between these two and until the very end I thought they were singing “at” one another rather than “to” one another.

The banquet scene, always a highlight for me in Don Giovanni, was exquisitely done. The opulence of the Don’s palace was all there and the tables were laden with food. The production does a very good job of showing how the mood of the people changes from the beginning of the scene when they are all in “banquet” mood until the end when the Don has to escape.

But as we all know Don Giovanni is not to be deterred from his need to conquer even more women and add to his “catalogue”. The opera proceeds with great skill and lots of good emotional singing until its inevitable end. Anyone watching this production cannot help be intrigued by the timeliness of this old opera and its relevance to today’s audiences. Mozart was the rarest of men…one who gave us his very soul in his legacy of music.

Cheryl Dowden

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):