Not my favourite Mozart opera, even though 'the experts' claim it to be the greatest (they've obviously never heard Le Nozze di Figaro!).
It is a lovely work, but, relatively speaking, it has its longeurs.
Also, as I discovered as a result of two separate visits, it really can depend upon the conductor. The first time I attended it was conducted by Ivor Bolton. I might have been prejudiced by the reviews that I read previously ('not fit to conduct a bus') except that on the second hearing, I thought during the overture that it was much crisper and, generally, much better. I consulted my cast list and realised that the bloke with the baton was David Syrus. And even though I don't tend to notice - or at least can't really critique - the standards of conducting, I can definitely perceive a step-change in the performance of the orchestra and how the piece and the ensemble hang together.
I have already blogged my thoughts on the actual story of the opera. I do think that story-wise, it is in a small minority of non-Wagnerian operas with plots, story and characterisations that merit re-evaluation and discussion. I was struck by how the Don 's portrayal was slightly Aspergers/ADHD. A companion suggested that she found it difficult to believe that he would have just murdered the Commendatore. I think she was implying that he simply wasn't sufficiently evil, but I contend that it is a superb definition of amoral - a failure to understand the consequences of actions and how they impact others and, ultimately oneself. He killed the Commendatore because he got in the way. I read something recently about the spate of teenage gun/knife deaths and how these juvenile gang members simply do not understand that knives kill nor do they have any concept of the finality of death. And I felt the Don had that adolescent absence of empathy. Even his prolific shagging is not done with any thought as to whether it's right or wrong, it's just something he does.
I thought that in general the cast was excellent. Erwin Schrott as the eponymous hero was excellent. There is some debate about his method of delivering recitative. On the first occasion it was parlando, on the second less so. Unlike some others I don't think it detracts from his performance. I am certain it is a carefully considered interpretation. Vocally I could not fault him. I think he has a gorgeous voice and excellent musicianship,which are in themselves enough to make his performance a memorable Don. The fact that he also happens to be an excellent stage actor and somewhat aesthetically pleasing, too, is a bonus! Especially as his clothing gets less. In the scene when the stone statue of the Commendatore comes to life (except it doesn't in this production), he is dressed only in tight fitting crimson silk trousers, and insists on pouring wine down his chest and onto his trousers. which is just unnecessary, although perfectly pleasant to watch! And the very final shot is a glimpse of him in hell, almost certainly wearing nothing at all, although holding a woman in a position sufficiently strategic to retain an element of doubt. Very unnecessary but perfectly agreeable. Whether that really is hell, I doubt, unless hell is about continuing one's earthly mistakes: a character like the Don may never find happiness, peace or self-awareness because of his insatiable libido.
Kyle Ketelsen was superb as Leporello, a fine singer, and managing to convey quite a complex contradictory character, clearly disapproving of the Don's performance, but whether from any moral grounds or merely because of the inconvenience and practical implications, it is difficult to say. I loved the way he delivered Madamina, il catalogo è questo was particularly impressive, making me conclude that it probably is the best - or equal best - number in the work.
Of the women I thought that Ana Maria Martinez was outstanding. I am still not entirely convinced that she is not a mezzo. What I am sure of is that she is a tremendous singer and a great comedy actress. I had not really previously thought of Donna Elvira as a comedy part, but Ana Maria played her convincingly so. I happen to think that Donna Elvira is the leading lady anyway, with far more interesting vocal bits and a fuller character, even though I often find her a bit pitiful - in this interpretation it was still a bit sad that she wanted Don Giovanni despite knowing about him what she did. But at least it was logical - as if she had calculated that his social status was worth marrying into, and in nay case he was better than being left on the shelf.
The peasant leads were played by Matthew Rose and Sarah Fox. I felt Matthew was under-parted, even though I really liked the way he played the not-very-bright character. I tend to agree with the critics who feel that Sarah was a bit generic as Zerlina. That having been said, I do not think that she was helped on either occasion by the tempo in that very great duet La ci darem la mano which should have been much quicker. But it was obviously all about Don Giovanni, when it should have been partly about her.
Although Erwin Schrott was the lead role and clearly and unanimously the star of the piece, the star name was Anna Netrebko. She had missed the first couple of performances with a cold, and dropped out of the second half of my second performance, so I have to assume that she was cold-affected throughout the run, although I can't say I noticed. She was excellent, even though she obviously takes time to warm up. If you were judging solely on her first appearance, you wouldn't think much, but her big aria towards the end of Act I was a tour de force. Marina Poplavskaya was a splendid substitute in the second act of my second attendance. I would have liked to have heard her for an entire performance. She is clearly something special, and even though she is pretty wayward at the top of her range it doesn't seem to matter when the voice in general, the musicality, and the inhabiting the role are of such a high standard. I very much look forward to her Tatiana (Evgeny Onegin) and Elizabetta (Don Carlos) next season.
I had two different Commendatori; of the two Robert Lloyd was superb, and the other one wasn't.
I can't say I cared very much for the production. It did what it had to do, just about, but without anything particularly interesting. The set was a construction that dominated most of the stage, and for most of the time the singers were forced into a very small space at the front. There was nothing else in the way of set eg no furniture, abusable or otherwise. There was not much of excitement in the personenregie, I would dread to think how it would be if the cast were less instinctive actors. The final coup de theatre was fun,as the flames of hell rose up, but I don't think that one gimmick makes a production. I prefer Calixto Beito's English National Opera production by a degree of magnitude. One aspect that particularly annoyed me is what I refer to in my mind as the "Covent Garden Lower Orders Dance". It seems to me that the Royal Opera House Ladies Chorus, whenever they have to portray common people do so by a dance which involves holding their skirts. Just because it worked for "I'd Do Anything for You" in the film of Oliver! doesn't mean it has to be aped in every sodding opera. Stop it! Now!
There are lots of pictures at Playbill Arts and, of course at Arena Pal. My Stage Door Report
