The rake unpunished On Don Giovanni during the Rome Opera

a creation of Don Giovanni during 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 new manufacturing simply by using a collection (created by Samal Blak) composed of bit more compared to a skeletal tree, augmented by cartoon-like clouds while the shadows that the tree while the figures cast against a stage that is prevailingly beige.

Yet the setting that is unorthodox, at the worst, a small irritant set alongside https://myrussianbride.net/ukrainian-brides/ the veteran manager Graham Vick’s brazen treatment of this action. You might sense in early stages Vick’s determination to locate brand new methods of presenting the opera’s familiar occasions. Several of their tips had been clever, some silly, some irreverent. However the effect that is cumulative excessively. In my situation, one truly misfired: their decision to portray Donna Elvira being a nun. Seeing this woman that is passionate with such a massive convenience of intimate love, dressed up in a practice completely blunted her character.

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

We’ve seen productions by which he somehow appears in the end, a reminder associated with the ubiquity of womanizers. But right right here, whenever Giovanni is threatened by infernal animals, a huge representation of this arm regarding the Lord from Michelangelo’s production of Adam appeared, utilizing the little finger pointed at Giovanni. He merely ripped the little finger off and wandered away. Vick’s flippancy continued through the epilogue, as Giovanni returned, climbed up the tree, and received Donna Anna’s bra, which she tossed to him as being a souvenir of these encounter in the very beginning of the opera.

It had been the final outcome of Act We, nonetheless, that provoked whistles and catcalls on October 5. Zerlina’s aria “Batti, batti” hinted at that which was in the future once the singer delivered it on her behalf fingers and knees, just as if anticipating a spanking for having yielded to Giovanni’s advances. The party that is ensuing Giovanni’s household devolved into a veritable orgy by which principals and choristers alike participated—fully clothed, brain you, however with a great amount of rough intercourse. These as well as other details, some of that the opera may have tolerated had they maybe 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 to your name part from compared to Masetto, and their depiction will reap the benefits of more seasoning, but his Giovanni was a pleasure to see and hear. Vito Priante, in splendid sound, made Leporello a full-fledged character; 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 significantly. (But why did this aristocratic lady carry around some of those 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 fluid tone and offered an account that is memorable of mio tesoro,” its long coloratura run sung in one single breathing; considering 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, and also the sight of her as being a nun (Anna Bonomelli designed the up-to-date costumes) detracted from her otherwise strong acting. 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 great, complete vocals to Zerlina’s music, and Emanuele Cordaro ended up being a superb Masetto. Because the Commendatore, whom made their entry pressing a walker, Antonio Di Matteo had been sent efficiently 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 orchestra that is modern a smartly paced performance tuned in to duration values. Assaults had been sharp and textures clear, and he interacted well because of the vocalists. With less intrusions from Vick, this Don Giovanni may have offered greater benefits.