21 May 2011
Don Giovanni, Florida Grand Opera
By Leporello’s count (in the “Catalogue aria”), Don Giovanni tallies over 2,000 sexual exploits.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
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.
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.