21 May 2011
Don Giovanni, Florida Grand Opera
By Leporello’s count (in the “Catalogue aria”), Don Giovanni tallies over 2,000 sexual exploits.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
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.
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.