21 May 2011
Don Giovanni, Florida Grand Opera
By Leporello’s count (in the “Catalogue aria”), Don Giovanni tallies over 2,000 sexual exploits.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.
One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
By Leporello’s count (in the “Catalogue aria”), Don Giovanni tallies over 2,000 sexual exploits.
Whether such a thing is possible (Wilt Chamberlain notwithstanding) or not is for others to debate. The more interesting question might be who DaPonte and Mozart had in mind as they set to work on unmasking the Spanish grandee.
Early in the 17th century, a Spanish monk by the name Tirso de Molina wrote of a certain Don Juan more reprehensible than is probable and so much less than worthy that he is cast into fiery hell pits. Scores of offshoots (Moliere, Byron, E.T.A. Hoffman, Pushkin, and Kierkegaard count among those that succeeded with adaptations) came out of Molina’s Don and it is probable that this is the historical figure from which Mozart’s Don Giovanni is derived.
About a century later, there appears on the scene Giacomo Girolamo Casanova de Seingalt. You know him simply as Casanova. Mozart’s take on Giovanni so interested Casanova — and his station as a man that set off on serial dalliances was so established - that he was said to have approached (unsolicited) DaPonte to advise him on the libretto; he may have sat in on the opera’s premiere to wit. But Casanova’s reputation was not that of a true libertine. By his own admission in his 12 volume mega-autobiography L’histoire de mon vie, he was but a mild womanizer: he lists a paltry 122 escapades and often the sole faculty he required from a woman was good conversation.
It remains that DaPonte and Mozart shaped Giovanni as a composite of these men, adding a soupcon of super-physical feats here and inflating the drollness (in the spirit of dark comedy, or drama giocosa) driving his depravity there. From this, productions and directors have room to play with the degree of redeeming value left their Giovanni. Florida Grand Opera’s production seeks to bend the picture of Giovanni to make him a more sympathetic anti-hero, to explain his actions as a function of psychodynamics and therefore something all men must trespass through: commitment-phobia or its less severe cousin, proverbial cold-feet.
The festive ambiance in the air on April 16, opening night, was the likes of which are felt when things are on an upswing and that is where FGO finds itself in recent seasons. The company’s operatic high notes peaked in 2010 with exciting new productions, interesting new talent and efforts to reach out to the opera community at large (opera luminary Ira Siff is on hand and this is John Pascoe’s Giovanni). So, opera interest is heightened this month with this Giovanni production (courtesy Washington National Opera) and, in repertory, David DiChiera’s Cyrano showing through the end of the month.
Ottavio and Anna (Bidlack and Wagner) by the fallen Commendatore (Robinson)
Before a single note played, the curtain rose to Giovanni (David Pittsinger) and the circling “ghost of girlfriends past” behind a soft screen — what resulted was a field-of-sight dark, smoky, hazy, and impressionistic — a feast for the eyes before other senses were tapped.
Pascoe’s sets (arid and rustic in flavor with corresponding studding and fittings on frames and doors), offset costumes (those of Masetto and Zerlina were especially decorative) and the wielding of revolvers gives the story extra personality and takes the audience to a Spain feeling the remnants of Ottoman influence. The final scene at Giovanni’s castle, with vault-like doors at the entrance, was another glance into Pascoe’s imagination: the Commendatore, forces of repent coursing through him, pulls Giovanni (and zaps a Leporello too close for comfort) in like a magnet. That strobe lights, so often a gimmicky excess, were trained at center of symmetrical doors had something to do with their effectiveness. Pascoe’s costumes were of gorgeously decorated heavy and reflective fabrics — in purples, blues, and blacks, embroidered and streaked in gold.
Leporello (Corbeil) recounts of Giovanni's conquest to Elvira (Jarman) in the “Catalogue Aria”
Pittsinger mostly fulfilled his promise to “inhabit” Giovanni, stylizing his performance satisfyingly. Giovanni does some pretty daft to risqué things per Pascoe — urinating on the Commendatore’s statue, performing cunnulingus on one of the members of the band in the last act — and Pittsinger went at these gamely. All the fight scenes came off well, with special kudos due the swordplay and tug-of-war (Fighting Director Bruce Lecure and Choreographer Sara Erde — in her first assignment with FGO - collaborating) with Ottavio and friends (four in total). Giovanni’s music sits very well in Pittsinger’s voice; he shaded and modulated compellingly and, at times, beautifully — his “Deh, vieni” placed in the latter category.
By the sound of it, Tom Corbeil — whose voice is phonogenic — is likely to make the switch from Leporello to Giovanni not far down the road. Corbeil had fun with Leporello’s music and the Pee-Wee Herman hairdo (Wig and Makeup by Chris Diamantides) he sported was in keeping with his anxiety-stricken servant. The Donna Elvira of Georgia Jarman was as irritating to the Don as could be imagined; Pascoe put a tool in the hand of Elvira for that purpose — evidence of the grandee’s misdeeds and complicating Giovanni’s relationship to Elvira and the Commendatore. Elvira carries a swaddled infant throughout the opera. Jarman, in her first outing with FGO, sang a “Mi tradi” with potent force and some lovely spun high notes.
The Commendatore (Morris Robinson) runs through Giovanni (David Pittsinger)
Morris Robinson is such a presence — he (and Pascoe) made the Commendatore a pivot point in this production. Right from the get go, he pulls out a pistol during the duel, grazing Giovanni on the arm (a wound that is hard to heal throughout the opera). Heard at other points in his career in other roles, Robinson’s voice is remembered for its sheer size; Mozart’s music exposes it as glorious.
In his arias, Andrew Bidlack (Don Ottavio) sang winning phrases with a pleasant sounding mid-section. As Ottavio’s betrothed Donna Anna, Jacqueline Wagner won the audience over with a strongly felt “Non mi dir.” The Masetto this evening, Jonathon G. Michie, exhibited exemplary acting, nonplussed and peeved as he was over his Zerlina’s infatuation for the Don. Brittany Ann Renee Robinson (Zerlina), in her FGO debut, was a distracted vixen with a light soprano that carried a light “Batti, batti.”
FGO resident conductor Andrew Bisantz — carrying an ultra-sensitive baton for vocalists this evening– and orchestra found their most select playing marks in the sweeping interplay of winds and strings. Caren Levine provided harpsichord continuo. FGO’s chorus (with John Keene as Chorus Master) did a fine job on all fronts — busy as they were in non-singing tasks (they riot across the stage to open the second act). Erde made things interesting for the minuet by turning the program into something of a dance school.
It’s hard to tell if Giovanni came off as more likable, or even more relatable, this time. This time, like most times, there is only one way to defrost Giovanni’s feet.