The rake unpunished On Don Giovanni during the Rome Opera

The rake unpunished On Don Giovanni during the Rome Opera

a creation of Don Giovanni in the 2008 Salzburg Festival set Mozart’s opera in a stark, practical woodland. The Rome Opera has tried one thing likewise unconventional for the brand brand brand new manufacturing by making use of a collection (created by Samal Blak) composed of bit more when compared to a skeletal tree, augmented by cartoon-like clouds therefore the shadows that the tree as well as the figures cast against a stage that is prevailingly beige.

Yet the setting that is unorthodox, at worst, a small irritant set alongside the veteran manager Graham Vick’s brazen treatment of this action. You could sense in early stages Vick’s dedication discover brand new methods of presenting the opera’s events that are familiar. A few of their some ideas had been clever, some silly, some irreverent. Nevertheless the cumulative impact was way too much. In my situation, one truly misfired: their choice to portray Donna Elvira as a nun. Seeing this passionate girl, with such a giant convenience of intimate love, wearing a practice completely ukrainian brides for marriage blunted her character.

It had been additionally problematic that Don Giovanni totally eluded punishment that is divine.

We’ve seen productions for which he somehow pops up in the end, a reminder of this ubiquity of womanizers. But right here, whenever Giovanni is threatened by infernal animals, a representation that is giant of supply associated with Lord from Michelangelo’s production of Adam showed up, using the hand pointed at Giovanni. He just ripped the finger off and strolled away. Vick’s flippancy continued through the epilogue, as Giovanni came back, climbed up the tree, and received Donna Anna’s bra, which she tossed to him as a souvenir of these encounter in the beginning of the opera.

It had been in conclusion of Act I, nevertheless, that provoked whistles and catcalls on 5. Zerlina’s aria “Batti, batti” hinted at the thing that was in the future whenever singer delivered it on the fingers and knees, as though anticipating a spanking for having yielded to Giovanni’s advances october. The party that is ensuing Giovanni’s house devolved into a veritable orgy by which principals and choristers alike participated—fully clothed, head you, however with a good amount of rough intercourse. These as well as other details, a lot of that your opera may have tolerated had they maybe perhaps not been therefore many, sabotaged the fast-paced and drama that is often interesting Vick’s direction facilitated.

The young baritone Alessio Arduini sang with design and lyricism as Don Giovanni.

He recently graduated into the name role from compared to Masetto, and their depiction will take advantage of more seasoning, but their Giovanni had been a pleasure to see and hear. Vito Priante, in splendid sound, made Leporello a character that is full-fledged if you wondered, his riveting account associated with Catalogue Aria made no reference to a nun among Giovanni’s conquests.

Another first-rate performance arrived from Maria Grazia Schiavo, whom sang with radiant tone and brought a strength to her depiction of Donna Anna that made her every utterance count considerably. (But why did this lady that is aristocratic around those types of dreary plaid synthetic bags the thing is at European airports?) Schiavo ended up being matched preferably by Juan Francisco Gatell as Anna’s suitor, Don Ottavio, whom sang with liquid tone and offered an account that is memorable of mio tesoro,” its long coloratura run sung in one single breathing; considering the fact that the manufacturing accompanied the opera’s initial Prague text, Ottavio’s other aria, “Dalla sua speed,” had been omitted.

Salome Jicia’s performing as Elvira had been less consistent, therefore the sight of her as a nun (Anna Bonomelli designed the up-to-date costumes) detracted from her otherwise acting that is strong. Beneath the circumstances, the omission of Elvira’s great aria “Mi tradм quell’alma ingrata” (like “Dalla sua pace,” composed for the opera’s Vienna premiere in 1788) was less disappointing than it could otherwise have now been. Marianne Croux brought a pleasant, complete vocals to Zerlina’s music, and Emanuele Cordaro had been a superb Masetto. While the Commendatore, whom made their entry pressing a walker, Antonio Di Matteo ended up being sent effectively by Giovanni but sang imposingly.

Jйrйmie Rhorer’s performances of Mozart operas together with period-instrument musical organization, Le Cercle de l’Harmonie, have actually met with much benefit, and right here he led the Rome Opera’s contemporary orchestra in a smartly paced performance tuned in to duration values. Assaults were sharp and textures clear, and then he interacted well using the vocalists. This Don Giovanni could have offered greater rewards with fewer intrusions from Vick.