Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

OPERA TODAY ARCHIVES »

Performances

Erwin Schrott as Don Giovanni [Photo © ROH 2012 / Mike Hoban]
20 Feb 2012

Erwin Schrott’s Don Giovanni, ROH

Erwin Schrott triumphed as Don Giovanni in the Mozart/da Ponte series at the Royal Opera House, overcoming the limitations of the staging.

W. A. Mozart: Don Giovanni

Leporello: Alex Esposito; Donna Anna: Carmela Remigio; Don Giovanni: Erwin Schrott; The Commendatore: Reinhard Hagen; Don Ottavio: Pavol Breslik; Donna Elvira: Ruxandra Donose; Zerlina: Kate Lindsey; Masetto: Matthew Rose. Conductor: Constantinos Carydis. Director: Francesca Zambello. Revival Director: Bárbara Lluch. Designs: Maria Björnson. Lighting: Paul Pyant. Fight arranger: Natalie Dakin. Original choreography: Stephen Mear. Revival choreographer: Duncan Macfarland. Royal Opera House, London, 16th February 2012.

Above: Erwin Schrott as Don Giovanni

Photos © ROH 2012 / Mike Hoban

 

DON-GIOVANNI-10155_0224.gifAlex Esposito as Leporello

Schrott exudes charisma, which gives him an advantage not every singer can muster, for Don Giovanni is a larger-than-life personality who needs to be expressed in the grand manner. It’s pointless to nitpick a portrayal as passionate as this. Schrott creates Don Giovanni in all his malevolent glory — virile, confident, arrogant. bursting with animal sexuality, yet manages to hint at the manic obsession that drives the character. Schrott hints at these fears in brief, quieter moments, and slips back into macho mode with increased vehemence. Stunning. To match the well-toned voice he also has a well-toned body. At last, director Francesca Zambello’s bizarre idea that Don Giovanni should dine semi-naked with the Commendatore makes a little sense. You’re hypnotized by Schrott’s biceps and pecs, and forget, for a moment, how silly it is that he should be costumed like this for a banquet that he knows will be the biggest confrontation in his life.

DON-GIOVANNI-10155_0602.gifCarmella Remigio as Donna Anna and Pavol Breslik as Don Ottavio

Schrott is brilliant but even he has to work within the limitations of Zambello’s brainless staging and untypically leaden playing from the Royal Opera House Orchestra, conducted by Constantinos Carydis. Also the more reason in this production to appreciate the efforts of the singers, who rise above what they have to deal with. Leporello, for example, should give Don Giovanni a run for his money. He’s a servant, but not entirely subservient. He’s also to some extent culpable for Don Giovanni’s crimes. But in Zambello’s production, he’s portrayed as a buffoon, even more peasant-like than Masetto’s peasant friends. Why would a sophisticate like Don Giovanni hire someone this bucolic? Nobody could possibly be fooled by this servant in his master’s clothes. So the production plays against anything Alex Esposito might make of the role. He sang in the 2008 version of this production, and has done the part many times, so he should have been aware how the production takes the bite out of whatever Mozart and da Ponte may have meant it to be.

Ruxandra Donose is a fiery Latin Donna Elvira, with a spirited edge When Donna Elvira sets out to confront Don Giovanni, she wears what looks like a dirty dress, hem ruched up over her calves in a way no aristocratic lady would dare to be seen. It’s probably not the way to play power games with Don Giovanni, master of intrigue, but Donna Elvira is no strategist. Donose’s “Mi tradi” takes on a wild air, expressing Donna Elvira’s emotional trauma. Donose has a very strong background in French repertoire, so imbibes its values of intelligence and clarity. This enhances her feel for the fundamental elegance of Mozart’s style, even in an opera which should be as dangerous as Don Giovanni.

DON-GIOVANNI-10155_0675.gifKate Lindsey as Zerlina and Matthew Rose as Masetto

Carmela Remigio was making her Royal Opera House debut as Donna Anna, though she’s taken the part of Donna Elvira many times (Please read this interview in which she speaks about the challenges). She specializes in 18th century opera, so brings a late baroque sensibility to what she does. She’s far closer to the spirit of Mozart than this maudlin production deserves. She sings with tight focus, suggesting Donna Anna’s tension, struggling with feelings she can’t articulate. Her sexuality is aroused, but she’s trapped by what society expects of her.

Fortunately, Pavol Breslik’s Don Ottavio is sensitively portrayed and sung with more authority than the role usually gets. Donna Anna might luck out, after all. Breslik’s tender “O mio tresoro” was interrupted by the loudest snort I’ve ever heard from any audience. I don’t condemn coughing as it’s involuntary, but it’s not funny to choose to blow one’s nose with such violence at this point. It sounded like a boo, and was not at all fair on the singer.

Throughout this opera, Mozart plays with the idea of identity switchers, expressed through the balance of voice types. Kate Lindsey’s Zerlina was pert and bright, almost strident, but a good foil for Matthew Rose’s deep, authoritative Masetto. Inspired casting! (Click here for an interview of Kate Lindsey.) Rose’s Masetto is big in every way, not simply because he’s so tall : this is a resonant voice, one can imagine him taking on Don Giovanni, at a stretch, and certainly the Commendatore. As for the Commendatore he was hardly present at all. Instead, a huge golden object kept swaying in the background, eventually revealing itself as a giant hand, its finger pointing at Don Giovanni. One of the truly horrific moments in the whole repertoire, reduced to something out of Monty Python, worse still prettified and shiny. Whatever Reinhard Hagen might have done with his role, he was completely upstaged, for no obvious dramatic or logical reason whatsoever.

DON-GIOVANNI-10156_0548.gifReinhard Hagen as Commendatore and Erwin Schrott as Don Giovanni

Judging from the audience reaction, this Don Giovanni should be a great hit, though not necessarily for the best artistic reasons. Many burst out laughing at the subtitles, as if to prove they got the joke. Yet if they really know the opera, they’d know it’s not a comedy. Its wit is savage irony, for the story is essentially tragic. Don Giovanni’s sex addiction is a sign of weakness, a symptom of the corruption of a power structure held together by exploitation. In this world of peasants and aristocrats, everyone gets screwed. Instead, Zambello’s production ignores these fundamentals, and plays up irrelevancies like the Madonna, crucifixes and the random objects Masetto’s friends carry for no clear purpose. This trivializes the drama by introducing an inordinate amount of stage noise, further encouraging new audiences to think of Don Giovanni as merry slapstick. This is Regie-opera at its worst, but because it’s scenic, those who don’t like directors will be fooled. So thank goodness for the singers in this cast, who have salvaged what they can, and used their experience and instincts to present a wonderful evening of song. For the singers, and for Erwin Schrott, this production should not be missed. (It runs to 29th February)

Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):