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.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
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.