12 Jul 2010
A Magnificent Don Giovanni at Glyndebourne
Don Giovanni isn't new and most of the cast at Glyndebourne (led by Gerald Finley) are familiar.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
Don Giovanni isn't new and most of the cast at Glyndebourne (led by Gerald Finley) are familiar.
What is "news" however, is the amazing production of Don Giovanni at Glundebourne, a work of art in itself. Wonderful orchestra, wonderful set, fully supporting the music and drama.
Jonathan Kent and set designer Paul Brown created the astounding Purcell Fairy Queen at Glyndebourne in 2009, so there was no chance this new production of Don Giovanni would be dull. Think about who Don Giovanni is. He’s always one step ahead, adapting and changing, always on the move. Kent and Brown take their cue from the opera and its music.
Anna Virovlansky as Zerlina and Luca Pisaroni as Leporello
As we sat waiting for the performance to start, the theatre at Glyndebourne was suddenly plunged into total darkness. A power cut? No, this was theatre, in every sense. Gradually golden light picks out the orchestra. It’s a beautiful image, burnished instruments, musicians moving as in a ballet. Immediately, attention is focused on the music, as it should be.
The Orchestra of the Age of Enlightenment is one of the finest period orchestras in Europe. Historically-informed performance is valuable in Don Giovanni, not because it’s authentic whatever that might be, but because it creates lighter textures, reflecting the elegant, flexible movement in the music.
Then, instead of a conventional set, there’s a giant rotating cube, a square globe, so to speak, which contains “the world”. It unfolds, reshaping and reinventing itself: a box of tricks, like Don Giovanni himself. Because it’s meticulously designed the cube moves quickly and silently. it’s much less intrusive than conventional set changes. Major transformations take place during the interludes, so they don’t get in the way. This amazing set frees the action from technical limitations. allowing the drama to unfold, rapid-fire and free.
At first the cube reveals its secrets slowly. A crack appears. It’s a narrow alleyway. Don Giovanni is trapped like a rat, so he lashes out and kills the Commendatore..The cube closes again, its outer walls like a stone building. Later, the cube opens to reveal a sunlit garden, complete with trees. It’s the peasant wedding. So many shifts of focus. Garden transforms to ballroom, Zerlina’s loyalties shift, the masked visitors move in on Don Giovanni.
Conflagration ends the First Act. While the crowd converge on Don Giovanni, Don Ottavio points at objects, just like the Commendatore will later point at Don Giovanni. For now, it’s just the furniture that goes up in flames. Real flames, you can smell the gas. It feels dangerous, even though you know Glyndebourne (and its insurers) have checked it all out thoroughly. We know Don Giovanni will end up in hell, but seeing him circled by fire is dramatic. It’s entirely consistent with the turbulent music with which Mozart marks the beginning of Don Giovanni’s end.
Gerald Finley as Don Giovanni and Anna Samuil as Donna Anna
In the Second Act, the giant cube is transformed, as if it’s exploded. Don Giovanni’s clever stratagems are beginning to shatter. Instead of neat panels, wild diagonal planes, sharp angles, knife edges, if you will. Violence is implicit. The pace quickens, the orchestral playing with great agility. Some of the best singing all evening, too, the cast invigorated. Movement is well blocked, the cast nimbly negotiating the change of position (and costume).
Perched dangerously on the central diagonal plane, Gerald Finley (Don Giovanni) and Luca Pisaroni (Leporello) read the inscription on the Commendatore’s grave. No statue as such, but by this point in the performance the atmosphere of horror is so intense that a device like a talking statue would seem clumsy. As Finley teeters on the dangerous ledge, and Pisaroni cowers in terror, the Commendatore’s voice booms out. Invisible threats are much more frightening.
A golden candelabra on a luxurious table cloth. Don Giovanni’s showing off, trying to impress. . But the table’s on the spot that was the grave. Suddenly, the Commendatore pops up, a corpse in a rotting, blood-stained shroud. Death levels all, rich or poor. The corpse topples the table over, exposing its flimsy structure. Slowly, the corpse moves towards Don Giovanni and zaps him dead. Everyone gasps. A fantastic coup-de-théâtre!
It’s an overpowering image. Thank goodness for the final chorus “Questo è il fin”, where order is restored, and we’re reminded that theatre is glorious illusion.
Magnificent as the set is, this will also be a Don Giovanni to listen to for the orchestra. The Orchestra of the Age of Enlightenment are so good that they can generate almost demonic energy from the lighter timbres of period instruments. Vladimir Jurowski has rarely sounded more inspired, his tendency towards mysticism countered by the brightness of this playing. The music in the ballroom scene was particularly well defined. Trios move throughout this music, so defining the tripartite form in this orchestration is important.
Excellent flow between ensemble and soloists. Musicians of this calibre really make a difference This lutenist sounds truly seductive, and the harpsichord’s spiky interjections signal alertness, because there’s such sharpness of attack.
Gerald Finley’s Don Giovanni is smooth, even a little soft-grained to start with, but then he’s playing a man who achieves his aims by charm. His champagne aria “Fin ch’han dal vino”, didn’t fizzle but perhaps that’s a hint that Don Giovanni’s pursuit of pleasure is ultimately hollow.
When Don Giovanni’s trapped, he’s most lethal. In the Second Act, Finley’s voice darkens malevolently, yet he also manages to express the vulnerability in Don Giovanni’s character. Does he really enjoy seduction, or is it obsession? Perhaps women are attracted because they sense that need in him.
But the operas isn’t Don Giovanni’s alone. Luca Pisaroni’s Leporello made the dynamic between master and servant powerfully pungent. At Glyndebourne, you sometimes can’t tell patrons from waiters, they’re all in the same uniform, which adds extra piquancy to Mozart’s subversive undercurrents.
The interaction between Finley and Pisaroni is very carefully timed, superb vocal rapport. Pisaroni’s Leporello is no put-upon fool, he pulls the strings.. Very muscular, assertive singing, masterful in every way. At the end, Pisaroni’s Leporello takes a photo of his master’s corpse. Does he, too, have a “stud book” of past conquests?
Kate Royal as Donna Elvira
The friend with whom I attended this performance has heard Cesare Siepi, Elizabeth Schwarzkopf and many others in this opera, but he doesn’t judge singers in isolation as if they were lab specimens. Context matters, too. “These female singers are more like real women”, he said, “not divas doing a role”. It’s a generous comment, as Kate Royal’s Donna Elvira is just too big for her, and Anna Samuil’s Donna Anna, though good in general, won’t go down in history. Though given the performance history of this opera, that’s a tall order.
Anna Virovlansky’s Zerlina stood out, vocally firm and bright, physically vivacious and energetic..There she is, up against a wall with Don Giovanni, eagerly co-operating. Confronted by Masetto (Guido Loconsolo) she begs him to beat her. Virovlansky makes it sound wildly kinky, hinting at the darker aspects of Zerlina’s personality.
Glyndebourne performances sell out quickly, so there’s almost no chance of getting tickets other than returns. Get involved now, to be ready for 2011. But there’s a lot more to Glyndebourne than attending its summer season.
Glyndebourne’s significance is immeasurably greater than its seating capacity. It’s a small house, but it produces work of such high quality that it easily competes with many larger companies. Anyone seriously interested in European opera needs to be aware of Glyndebourne. These days, all opera houses need to extend their coverage beyond core live performance. Not everyone can attend in person, but broadcasts, DVDs, licensing, all help to ensure the financial health of the house., and extend its audience around the world.
Glyndebourne’s Don Giovanni is being screened on BBCTV2 at Christmas, and on Medici TV. A DVD release is likely.
For more information, please see the Glyndebourne site.