Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

A sunny L'elisir d'amore at the Royal Opera House

Theresa May could do with a Doctor Dulcamara in the Conservative Cabinet: his miracle pills for every illness from asthma to apoplexy would slash the NHS bill - and, if he really could rejuvenate the aged then he’d solve the looming social care funding crisis too.

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

San Jose’s Bohemian Rhapsody

Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.

Fine Traviata Completes SDO Season

On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.

The Exterminating Angel: compulsive repetitions and re-enactments

Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”

Dutch National Opera revives deliciously dark satire A Dog’s Heart

Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.

María José Moreno lights up the Israeli Opera with Lucia di Lammermoor

I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.

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):