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

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

The Opera Box at the Brunel Museum

The courtly palace may have been opera’s first home but nowadays it gets out and about, popping up in tram-sheds, car-parks, night-clubs, on the beach, even under canal bridges. So, I wasn’t that surprised to find myself following The Opera Box down the shaft of Isambard Kingdom Brunel’s Thames Tunnel at Rotherhithe for a double bill which brought together the gothic and the farcical.

Proms at Wiltons: Eight Songs for a Mad King

It’s hard to imagine that Peter Maxwell Davies’ dramatic monologue, Eight Songs for a Mad King, can bear, or needs, any further contextualisation or intensification, so traumatic is its depiction - part public history, part private drama - of the descent into madness of King George III. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal.

Prokofiev: Cantata for the 20th Anniversary of the October Revolution: Gergiev, Mariinsky

Sergei Prokofiev's Cantata for the Twentieth Anniversary of the October Revolution, Op 74, with Valery Gergiev conducting the Mariinsky Orchestra and Chorus. One Day That Shook the World to borrow the subtitle from Sergei Eisenstein's epic film October : Ten Days that Shook the World.

OPERA TODAY ARCHIVES »

Performances

Iain Patterson as Don Giovanni and Sarah Redgwick as Donna Elvira [Photo by Richard Hubert Smith courtesy of English National Opera]
23 Oct 2012

Don Giovanni at ENO

Some especially puerile, needlessly irritating, marketing, involving pictures of condom packets — oddly chosen in so many ways, since few people find contraceptive especially erotic, and Don Giovanni would seem an unlikely candidate to have employed them — had attended the run-up to this revival of Rufus Norris’s production of Don Giovanni.

Wolfgang Amadeus Mozart: Il dissoluto punito, ossia Don Giovanni (KV 527)

A review by Mark Berry

Above: Iain Patterson as Don Giovanni and Sarah Redgwick as Donna Elvira

Photos by Richard Hubert Smith courtesy of English National Opera

 

In 2010, it registered as the worst staging I had ever seen: a fiercely contested category, when one considers that it includes Francesca Zambello’s mindless farrago across Covent Garden at the Royal Opera — now, may the Commendatore be thanked, consigned to the flames of Hell. (Kasper Holten, Director of Opera, is said to have insisted, having viewed it in horror, that the sets be destroyed, lest it never return.) There were grounds for the odd glimmer of hope; Norris was said to have revised the production in the face of its well-nigh universal mauling from critics and other audience members alike. Yet the marketing did little to allay one’s fears, especially when reading the bizarre description on ENO’s website of a ‘riveting romp [that] follows the last twenty-four hours in the life of the legendary Lothario’. Something really ought to be done about whomever is involved in publicising productions; for, irrespective of the quality of what we see on stage, they more often than not end up sounding merely ludicrous: in this case, more Carry On Seville than one of the greatest musical dramas in the repertory. Even if one were willing thus to disparage Da Ponte — and I am certainly not — does Mozart’s re-telling of the Fall in any sense characterised by the phrase ‘riveting romp’?

Don-Giovanni02.gifIain Patterson as Don Giovanni and Darren Jeffery as Leporello

How, then, had Norris’s revisions turned out? Early on, I felt there was a degree of improvement. The weird obsession with electricity — certainly not of the musical variety — had gone, but not to be replaced by anything else. Certain but only certain of the most bizarre impositions had gone, or been weeded out, yet not always thoroughly enough. For instance, there was a strange remnant of the already strange moment when, towards the end of the Act Two sextet, people began to strip off, when Don Ottavio — an ‘uptight fiancé’, according to the company website — carefully removed his shoes and socks. No one reacted, and a few minutes later — I think, during Donna Anna’a ‘Non mi dir’ — he put them back on again. Otherwise, the hideous sets and other designs remain as they were, though one might claim a degree of contemporary ‘relevance’ in that Don Giovanni’s dated ‘leisure wear’ now brings with it unfortunate resonances of the late Jimmy Saville. Alas, nothing is made of the similarity. The flat designed as if by a teenage girl, full of hearts and pink balloons, remains; as does the building that resembles a community centre. Leporello still appears to be a tramp. There are no discernible attempts to reflect Da Ponte’s, let alone Mozart’s, careful societal distinctions and there is no sign whatsoever that anyone has understood that Don Giovanni is a religious drama or it is nothing. Norris has clearly opted for ‘nothing’.

There is, believe it or not, a villain perhaps more pernicious still. Jeremy Sams’s dreadful, attention-seeking English translation does its best to live up to the ‘riveting romp’ description. A few, very loud, members of the audience did their best to disrupt what little ‘action’ there was by laughing uproariously after every single line: the very instance of a rhyme is intrinsically hilarious to some, it would seem. A catalogue of Sams’s sins — sin has gone by the board in the drama itself — would take far longer than Leporello’s aria. But I no more understand why the countries in that aria should be transformed into months — ‘ma in Ispagna’ becomes ‘March and April’ — than I do why Zerlina was singing about owning a pharmacy in ‘Vedrai carino,’ or whatever it became in this ‘version’. It is barely a translation, but nor is it any sense a reimagination along the brilliant lines of the recent gay Don Giovanni at Heaven; it merely caters towards those with no more elevated thoughts than Zerlina going down on her knees, about which we are informed time and time again, lest anyone should have missed such ‘humour’. The lack of respect accorded to Da Ponte borders upon the sickening.

Edward Gardner led a watered-down Harnoncourt-style performance. At first it might even have seemed exciting, but it soon became wearing, mistaking the aggressively loud for the dramatically potent. Where was the repose, let alone the well-nigh unbearable beauty, in Mozart’s score? A peculiar ‘version’ was employed, in that Elvira retained both her arias, whereas Ottavio only had his in the first act. On stage, Prague remains preferable every time, despite the painful musical losses its adoption entails; sadly, few conductors seem to bother.

Iain Paterson remains bizarrely miscast in the title role, entirely bereft of charisma. Darren Jeffery’s Leporello was bluff and dull in tone. (How one longed for Erwin Schrott — in either role, or both!) Katherine Broderick was too often shrill and squally as Donna Anna, and her stage presence was less then convincing, shuffling on and off, without so much as a hint of seria imperiousness. Her ‘uptight fiancé’ was sung well enough, by Ben Johnson, though to my ears, his instrument is too much of an ‘English tenor’ to sound at home in Mozart. Sarah Redgwick’s Elvira was probably the best of the bunch, perhaps alongside Matthew Best’s Commendatore, but anyone would have struggled in this production, with these words. Elvira more or less managed to seem a credible character, thanks to Redgwick’s impressive acting skills, quite an achievement in the circumstances. Sarah Tynan made little impression either way as Zerlina, though she had far more of a voice than the dry-, even feeble-toned Masetto of John Molloy: surely another instance of miscasting.

ENO had a viscerally exciting production, genuinely daring, almost worthy of Giovanni’s kinetic energy. It seems quite incomprehensible why anyone should have elected to ditch the coke-fuelled orgiastic extravagance of Calixto Bieito — now there is a properly Catholic sensibility — for Rufus Norris. whose lukewarm response at the curtain calls was more genuinely amusing than anything we had seen or heard on stage. Maybe the contraceptive imagery was judicious after all.

Mark Berry


Cast and Production:

Don Giovanni: Iain Paterson; Leporello: Darren Jeffery; Donna Anna: Katherine Broderick; Don Ottavio: Ben Johnson; Donna Elvira: Sarah Redwick; Commendatore: Matthew Best; Zerlina: Sarah Tynan; Masetto: John Molloy. Director: Rufus Norris; Set designs: Ian MacNeil; Costumes: Nicky Gillibrand; Lighting: Paul Anderson; Movement: Jonathan Lunn; Projections: Finn Ross. Orchestra and Chorus of the English National Opera (chorus master: Martin Fitzpatrick)/Edward Gardner (conductor). The Coliseum, London, Wednesday 17 October

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):