Mainly Opera and Ballet
Mozart’s most renowned operas are the three he wrote in the late 1780s to libretti by Lorenzo da Ponte: Le nozze di Figaro, Don Giovanni and Cosi fan tutte. Sadly da Ponte’s benefactor, the Habsburg Emperor Joseph II, died in February 1790, bringing the writer’s income to an end and effectively terminating his collaboration with Mozart. One wonders what …
Welsh National Opera revived their excellent 2011 staging with a cast whose vocal abilities superbly matched the needs of Mozart’s opera. It was as near perfect a performance as one could wish in a production that eschewed over-clever ideas, and was well worth the trip to Cardiff — my review in The Article.
The Don is dead. Long live the Don. Such is the message of this new ENO production by Richard Jones where the Don personifies a force of nature on which women can hang their fantasies. It all starts during the overture where we see Giovanni taking innumerable women through a door guarded by Leporello, and …
This intriguing new production sets the action in the underground world of Vienna during the early 1900s, and a junction of two tunnels at the rear of the stage later becomes the memorial to the Commendatore. His dramatic appearance in ghostly silhouette towards the end well suits this subterranean world. Though slightly different from the …
The revival of this production by Rufus Norris has a cast very similar to its opening run in 2010 and works rather well this time. Paul Anderson’s excellent lighting helps create a sense of dark forces at work, and is particularly effective in Act II for the scene featuring Donna Elvira, and again towards the end …
Erwin Schrott was a remarkable Don, good looking, devilishly charming, but with a nasty streak hidden by an insouciant devil-may-care attitude. And his singing was equally remarkable, with an easy casualness as if he were simply talking. As his counterpoint and servant, Alex Esposito as Leporello sang and acted the part with utter conviction. His Madamina aria, where he recounts to …
For Don Giovanni lovers it doesn’t get much better than this. The Met’s new music director Fabio Luisi gave a sparkling account of the overture, and the performance never looked back. Mariusz Kwiecien combined noble aplomb with demi-world charm as the Don, and Luca Pisaroni was the perfect foil as his sidekick Leporello. Their early dialogue was …
After the presence has left, Johnny sees his life flash past him, and rushes out through the door. At the end we see an image of a man hanging by a rope — Johnny’s final experience, his own death.
This production by Rufus Norris with sets by Ian MacNeil had some nice aspects … but the plethora of good ideas was all a bit too much for me.
Gerald Finley is the perfect Don, suave and brutal … both he and Luca Pisaroni as Leporello performed with an insouciance that gave the impression either one would happily shop the other if push came to shove.
This production by Stephen Barlow gives a clear and convincing take on the story … and Robert Dean did a very fine job conducting the City of London Sinfonia.
