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.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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.