Don Giovanni, English National Opera, ENO at the London Coliseum, November 2010Posted on 7 November 2010
In an interesting and informative essay in the programme, Richard Wigmore discusses this Mozart opera, and writes, “Don Giovanni revolves around the tensions of class, sex and aristocratic abuse of power”. I agree, but this production takes a different tack. The Don appears more as a bumbling academic, and the supper to which the Commendatore is invited at the end is a picnic of bread rolls served from a couple of small plastic shopping bags. Giovanni and Leporello have no table and chair, but sit on the stage and bread rolls are thrown.
During the overture men in strange masks prowl the stage while a circular and dramatically lit metal contraption is lowered from above, and an electric storm rages in the background. But despite the electricity this Don lacked magnetism. Iain Paterson, whom I recall singing a sympathetic and powerful Amonasro in the ENO’s Aida two years ago, and a strong Mr. Redburn in Glyndebourne’s Billy Budd this past summer, sang with warmth and strength, but lacked the cutting edge for the Don. And while his stage actions showed suitable nastiness, he gave the appearance of being too nice a guy to release his amoral testosterone-inspired aggression on the world. As the Don’s long-suffering servant Leporello, Brindley Sherratt sang very strongly and gave a fine depth to the evening, just as he did as Sparafucile in Rigoletto last year, and as the monk Pimen in Boris Godunov the year before. He also gave an excellent comic sense to the role, and while he is equally at home singing the murdered Commendatore — which he did at Glyndebourne this year — that small but important role went to Matthew Best who sang it superbly.
As the pretty Zerlina, whose wedding to Masetto attracts the Don’s amorously intrusive attentions, Sarah Tynan did a wonderful job. This is the same singer who was so good as Adina in The Elixir of Love earlier this year, and Ilia in Idomeneo this summer. She is a delight to watch, and I loved the Irish brogue of John Molloy as Masetto. The role of Donna Elvira, an ex-lover who won’t let Giovanni go, was to have been sung by Rebecca Evans, but she was suffering a bad throat, so Sarah Redgwick stepped in and made a fine substitute. As Donna Anna, whose rape by the Don starts during the overture, Katherine Broderick sang strongly but with a vibrato edge that I did not care for, and it affected her diction. Robert Murray sang her fiancé Don Ottavio, a rather thankless role that was not helped by his costume as the only man on stage wearing a business suit.
This production by Rufus Norris with sets by Ian MacNeil had some nice aspects — I liked the dripping water on the murdered Commendatore as he lies slumped in a drinking trough, I liked the Don’s wooing of Zerlina, and I thought the projected images that Leporello produces when he recounts his master’s conquests, warning Donna Elvira what a cad he is, were a clever innovation — but the plethora of good ideas was all a bit too much for me. The director, Rufus Norris is new to the opera world, though well-known as a theatre producer, and I think the ENO is reaching out to theatre-goers who are relatively unfamiliar with opera. This staging may appeal to younger audiences, though not so much perhaps to those familiar with other Don Giovanni productions.
In the orchestra pit, Kirill Karabits gave an enjoyable and well-nuanced performance of Mozart’s music. Singing in English demands good diction, and the singers did so well here that the surtitles became superfluous.
Further performances are scheduled for November 6, 11, 13, 17, 19, 23, 27, 29, and December 1, 3 — for more details click here.