21 May 2011
Don Giovanni, Florida Grand Opera
By Leporello’s count (in the “Catalogue aria”), Don Giovanni tallies over 2,000 sexual exploits.
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.
Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.
Peasants revolt in a sea of Maserati and Ferrari’s.
Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.
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.