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

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

Soldier Songs in San Diego

David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.

Barber of Seville [Hollywood Style] in Los Angeles

On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.

Madama Butterfly in San Francisco

A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.

Kiss Me, Kate: Welsh National Opera at the Birmingham Hippodrome

In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.

OPERA TODAY ARCHIVES »

Performances

Ildebrando D'Arcangelo (front) as Don Giovanni with Ievgen Orlov as the Commendatore. (Photo: Robert Millard)
09 Oct 2012

Don Giovanni, LA Opera

In our era of minimal cultural restraints Don Giovanni has been the opera of choice for presenting dissolution on stage. Rape, oral sex, drug use and urination have been portrayed to Mozart's melodies.

Don Giovanni, LA Opera

A review by Estelle Gilson

Above: Ildebrando D'Arcangelo (front) as Don Giovanni with Ievgen Orlov as the Commendatore. (Photo: Robert Millard)

 

How was the singing and conducting? It's hard to know. In such productions, the direction is the topic of interest.

Countering this trend, the Los Angeles Opera Company's second presentation of its season was a plain though not simple Don Giovanni. The production, borrowed from Lyric Opera of Chicago, was created for that company's 50th anniversary season in 2004, by the much-hailed German director Peter Stein with a view to adhering closely to Mozart's music and Da Ponte's words.

Although there's hardly an opera that doesn't — like Don Giovanni — have love, sex and death at its core, it is Da Ponte's unique libretto that has allowed this centuries old work to become a kind of touchstone of an era's cultural tastes. It's title — Il Dissoluto punito, ossia Don Giovanni — dramma giocosa — “The Profligate Punished or Don Giovanni — a playful drama” tells us that we will first see a a man's nasty behavior, then see him punished, and that we'll have a good time watching it all. And sure enough, when the curtain goes up we witness a scuffle after a probable rape, followed immediately by a murder. Subsequently we are exposed to two acts of the protagonist's unrelenting reprehensible conduct, with some laughs thrown in. At the very end we see him get his supernatural comeuppance, and are treated to a fairly merry fugue — a sort of victory song.

“I hate shows where the director is onstage,” Stein is quoted as saying. “I want to follow the intentions of the author as far as I can understand them.” And follow Mozart and Da Ponte he did. Rather than drag Don Giovanni into the 21st century, Stein's production takes its audience back to the time of the opera's creation, and allows us to see and hear what Mozart and Da Ponte were trying to tell us about the characters' words and hearts. Although Stein did not direct the Los Angeles production, director Gregory A. Fortner led the cast in a lively and well paced performance which illuminated the complex interactions between the characters.

The plain, and least attractive aspect of the production are the minimal, flat looking sets that featured occasional cutout doors and windows, and a tiny balcony that had me fearing for Donna Elvira's safety. None of it looked like it was taking place in Spain. Fortunately, the music making was bright enough to light the stage. As Don Giovanni, Ildebrando D'Arcangelo was a slim legged graceful, amoral seducer. His resounding bass-baritone, which reflected his enthusiasm for the role, faltered only once in a surprisingly listless “Fin ch' han dal vino.” Bass-baritone, David Bizic, making his American and Los Angeles debuts as Leporello, was a perfect partner. The two have played these roles opposite each other and it shows. Joshua Bloom, a young Australian bass, also was making his Los Angeles debut, was a properly bumptious Masetto. And Ievgen Orlov, yet another bass (it may surprise you to know that this dramma giocosa features four major bass baritone roles) had the requisite depth and darkness to cause chills in his last encounter with the Don. In the role of Don Ottavio, one of the more thankless in opera (two gorgeous arias, and mostly stand around) tenor Andrej Dunaev, another debutant with the company, demonstrated some lovely legato. The three female roles were equally well filled. Californian Juliana Di Giacomo, making her LA debut as Donna Anna, displayed the grim seriousness and easy coloratura necessary for the role. Finnish soprano Soile Isokoski's silken soprano and acting made her an almost lovable love stricken Donna Elvira. Mezzo Roxanna Constantinescu was appropriately pert and charming as Zerlina.

DnG4235.pngLeft to right: Soile Isokoski as Donna Elvira, David Bizic as Leporello, Roxana Constantinescu as Zerlina, Joshua Bloom as Masetto, Julianna Di Giacomo as Donna Anna, Andrej Dunaev as Don Ottavio. (Photo: Robert Millard)

For all the wonderful acting and singing, one of delights I have in seeing Mozart conducted by James Conlon, is watching him lead vocal ensembles when the soloists are stage forward. Conducting without a baton, it is a joy to follow as he weaves their voices into a gleaming musical fabric.

Quibble department? Only about some excessive humor, particularly a moment when Don Giovanni and Leporello exchange clothing and comically respond to the odors of each others' garments. It's a neat touch, but causes outright audience laughter that drowns out the first phrases of Donna Elvira's “Ah taci, ingiusto core.”

I attended the September 30th performance of Don Giovanni. Performances on October 10 and 14 will be led by Plácido Domingo, with Angela Meade and Micaëla Oeste, making their Los Angeles Opera debuts as Donna Anna and Zerlina, respectively.

Estelle Gilson


Production:

Leporello:David Bizic*; Donna Anna:Julianna Di Giacomo*/Angela Meade*; Don Giovanni: Ildebrando D'Arcangelo; Commendatore:Ievgen Orlov; Don Ottavio: Andrej Dunaev; Donna Elvira:Soile Isokoski; Zerlina:Roxana Constnatinescu/Micaëla Oeste*; Masetto:Joshua Bloom*

Conductor: James Conlon/Plácido Domingo
Original Production:Peter Stein*
Diector: Gregory A. Fortner
Set Designer: Ferdinand Wögerbauer*
Costume Designer: Moidele Bickel*
Lighting Designer: Duane Schuler
Chorus Master: Grant Gershon

*Company debut

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):