23 Jun 2008
Don Giovanni. No, the other one
No one has ever called Gazzaniga’s Don Giovanni an overlooked masterpiece.
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
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On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
No one has ever called Gazzaniga’s Don Giovanni an overlooked masterpiece.
It was composed to a typical buffo libretto by Giovanni Bertati, his collaborator on twenty farces, in Venice in February 1787, where its success inspired someone to send the score to Lorenzo da Ponte in Vienna. He rewrote and expanded the piece, borrowing many of Bertati’s ideas, and gave it to Mozart, who presented his version at Prague’s Tyl Theater on October 29.
One goes to hear Gazzaniga’s Giovanni for foretaste, a prediction, a glimpse of the glory soon to come — a hint of Mozart’s inspiration — but there is little sign of it. The piece opens with an attempted rape and a murder all right, there is a catalogue aria (someone has altered the numbers! Aha!), a peasant wedding, a statue invited to dinner, a ghostly return. There are many moments when you expect to be stunned, enlightened, exalted, shocked, as Mozart’s opera does even on the twentieth hearing — but Gazzaniga keeps missing the chance to startle, to amaze, to create wonder. Donna Anna has the perfect moment for an aria of vengeance when she finds her father’s body (or a duet of vengeance, as in Mozart), but in Gazzaniga … she simply departs, never to return. Don Giovanni has many moments for a seduction duet, but it does not enter his brainless tenor head. Elvira’s last entreaty for Giovanni’s repentance is not an outburst — it’s a full-length aria at a moment when the drama should be snap, snap, snap. The statue’s return sends no cold shivers — the experience of the afterlife has not transformed his vocal manner, as Mozart felt it should. And, having heard Mozart, we know he was right.
It is impossible not to make such comparisons, but it is most unfair to Gazzaniga, and to an evening pleasantly spent. There are lovely tunes in this opera, justifying a long and successful career (51 operas, all but this one forgotten), some elegant ideas, and … a lot that fizzles. With pretty voices, it is a delicious way to pass ninety minutes — ideally by candlelight in a baroque garden theater. (A remodeled warehouse in Toronto’s Distillery District will do in a pinch, and the acoustics are ace.) Gazzaniga was good but ordinary; attending his opera reminds one that Mozart was … extraordinary.
The most effective music, it seemed to me, was the scene of the peasant wedding: the chorus had a Spanish style to it that Mozart did not bother with, and the arias of Biagio (infuriated at his wayward girlfriend) and Maturina (the girl in question, who is falling for the tall, handsome stranger) were very fine and sung by the finest voices in the company, Canadian Opera’s Studio (i.e., their young artists’ program). Justin Welsh, a baritone of energy and smooth production, made the most of Biagio, who has rather more presence in this version — da Ponte and Mozart rightly abbreviated his protest in order not to interrupt the rush of the drama. Gazzaniga gives him a full da capo, and Welsh sang it beautifully — but it interrupts. Maturina was Lisa DiMaria, a sweet, clear, luscious soprano who will mature (no pun intended) into a splendid Susanna and Zerlina in a very short time. I look forward to hearing both of them again.
The other singers, all young, healthy and good actors, did not seem quite so polished, so ready for the major leagues. Jon-Paul Décosse had the most to do as the servant, Pasquariello — he opens the show (just as Leporello does) and sings the catalogue, and serves as his master’s foil in the tomb and dinner scenes. His baritone is strong and supple, but his vigorous antics — sometimes humorous, sometimes menacing — will make him a particular asset to the livelier school of buffo staging. Melinda Delorme, afflicted with a wig that would alienate any lover, made a poignant and energetic Donna Elvira — in this opera the unchallenged prima donna, with two ornamented arias and a comic duet in which she and Maturina fight over “their” man, who of course has set them on each other while he pursues another lady entirely. (That duet’s an idea Bertati might have stolen from Act I of Mozart’s Figaro, but it was probably a buffo staple.) The Commendatore of Andrew Stewart looked gaunt and (as a statue) immobile, but did not succeed in creating shivers where Gazzaniga had neglected to provide them in the score. Michael Barrett (Ottavio) and Adam Luther (Giovanni), the two tenors, sounded uncomfortable with the style of the music, forceful where they should have been graceful, sensuous, ardent. They bit off the ends of notes that should drift into the aether. I suspect both are aiming for nineteenth-century tenor roles, and I applaud that ambition, but precise vocal control always comes in handy.
The production by Tom Diamond was basic and clear, with one annoying, pointless touch: Instead of nobly killing the Commendatore face to face, Don Giovanni sneaked up behind him and stabbed him in the back. This did not suit the story or the personality of our antihero. A consort of nine musicians played the score — undoubtedly it would sound grander with a full orchestra, but the subtle touches of Mozart’s version would still not have been there.
Melinda Delorme as Donna Elvira and Adam Luther as Don Giovanni in the COC’s Ensemble Studio production of Don Giovanni. Photo © 2008 Michael Cooper
The second half of this double bill — for a rather larger band of musicians, tackling a self-consciously brilliant score with aplomb — was Stravinsky’s brief retelling of a couple of farmyard folktales, Renard, composed for the Paris salon of his buddy Princess de Polignac — that’s Winnaretta Singer, the sewing machine heiress, to you. The piece was not meant to be staged, merely sung by a quartet of male singers — but Mr. Diamond could not resist. His production derived from World Wide Wrestling matches (the witty costumes were by Yannik Larivée), and no doubt I missed a lot of in-jokes, but the four hammy singers hurled themselves joyously into it. (No limbs were broken — but it was close.) They sang well, too, in clearly pronounced English — again, I especially enjoyed tiny Mr. Welsh, but the standard was high across the board.