Simon Keenlyside cut-off, Kyle Ketelsen and Joyce DiDonato
Joyce DiDonato as Donna Elvira
This is bears first Don Giovanni but definitely not for the Royal Opera House; this is the revival of the Francesca Zambello production from 2002 (definitely the same set). I had seen some reviews that suggest that this is a tired production with the old set and such but having not seen these I can come at it completely fresh. The set did seem to work - this semi-circle of wall that turned to display different scenes acted as a climbing frame for the athletic Simon Keenlyside, aterrace for Donna Elvira to opine on and a suitable spot for onstage musicians; it certainly led to a dynamic production.
I attended the fourth performance and found that the production had bedded down a little after all the furore of the first night. I was unlucky not to hear Ramon Vargas (due to illness) but Robert Murray from the second cast stepped in to play a very passable Don Ottavio; he sang very sweetly if a little strained at the top. According to my chatty neighbour, who had seen the second performance in the run, Robert Murray could act well and indeed preferred Murray over Vargas.... gracious terms indeed.
Robert Murray as Don Ottavio
Marina Poplavskaya as Donna Anna
Marina Poplavskaya was a suitably wronged Donna Anna but none of her arias stood out to me unfortunately (I just found her Desdemona from Otello on You tube which seemed infinitely better). The young Robert Gleadow proved to be an impressive Masetto; certainly worthwhile to keep an eye on his future performances. Apparently, again according to my chatty neighbour Miah Persson played Zerlina completely differently to her second performance and much improved; as if there was some complete re-think in how to play her. What I saw was a performance with verve and guts. I was impressed especially in the scenes with her bridegroom Masetto - I certainly raised my eyebrows with the forceful renditions of 'Batti, batti, o bel Masetto' (Hit me, hit me, my dear Masetto) ; I even went home to find the libretto to confirm the words..... this is strong stuff and I would have thought that a docile playing of the role would make this scene particularly hard to stomach. I was certainly glad that Persson changed her performance to sound provocative, gutsy and ultimately flirtatious.
Simon Keenlyside's Don Giovanni was impressively physical and gave a solid performance. This role must be like an old pair of shoes for him; he can slip them on and easily wow the ladies! Well that is if it wasn't for that wretched wig - some Michael Bolton hairdo or something out of that dire time of American soft rock- whoever created that wig should have been taken out and publicly shot (you can tell I did not like it). And poor old Kyle Ketelsen playing Laporello had to play his very amusing role in a Baldrick look-a-like wig.... Apart from having to grimace every time I clapped eyes on this duo the wigs could not detract from the enjoyment of watching them milking the more comedic moments. Great fun!
I attended the fourth performance and found that the production had bedded down a little after all the furore of the first night. I was unlucky not to hear Ramon Vargas (due to illness) but Robert Murray from the second cast stepped in to play a very passable Don Ottavio; he sang very sweetly if a little strained at the top. According to my chatty neighbour, who had seen the second performance in the run, Robert Murray could act well and indeed preferred Murray over Vargas.... gracious terms indeed.
Robert Murray as Don Ottavio
Marina Poplavskaya as Donna Anna
Marina Poplavskaya was a suitably wronged Donna Anna but none of her arias stood out to me unfortunately (I just found her Desdemona from Otello on You tube which seemed infinitely better). The young Robert Gleadow proved to be an impressive Masetto; certainly worthwhile to keep an eye on his future performances. Apparently, again according to my chatty neighbour Miah Persson played Zerlina completely differently to her second performance and much improved; as if there was some complete re-think in how to play her. What I saw was a performance with verve and guts. I was impressed especially in the scenes with her bridegroom Masetto - I certainly raised my eyebrows with the forceful renditions of 'Batti, batti, o bel Masetto' (Hit me, hit me, my dear Masetto) ; I even went home to find the libretto to confirm the words..... this is strong stuff and I would have thought that a docile playing of the role would make this scene particularly hard to stomach. I was certainly glad that Persson changed her performance to sound provocative, gutsy and ultimately flirtatious.
Simon Keenlyside's Don Giovanni was impressively physical and gave a solid performance. This role must be like an old pair of shoes for him; he can slip them on and easily wow the ladies! Well that is if it wasn't for that wretched wig - some Michael Bolton hairdo or something out of that dire time of American soft rock- whoever created that wig should have been taken out and publicly shot (you can tell I did not like it). And poor old Kyle Ketelsen playing Laporello had to play his very amusing role in a Baldrick look-a-like wig.... Apart from having to grimace every time I clapped eyes on this duo the wigs could not detract from the enjoyment of watching them milking the more comedic moments. Great fun!
Joyce DiDonato as Donna Elvira
Praise has to given to Joyce DiDonato's Donna Elvira who convincingly slowly unravels; at one point vengeful and protective, later conflicted and confused. Her last aria 'Mi tradi quell'almaingrata' (that ungrateful soul betrayed me) shows just how torn between his betrayal and her love for him she is. This for me stood out as the highlight aria... the truly heart-wrenching moment.
All in all an enjoyable night. Well, who couldn't enjoy a night where a huge fiery hand comes swinging from the the rafters to finally polish off Don Giovanni ... (well I laughed really). A great, if somewhat preposterous ending to the production.
Don Giovanni - Royal Opera House, Monday 15th September
Synopsis
Cast
Leporello Kyle Ketelsen
Donna Anna Marina Poplavskaya
Don Giovanni Simon Keenlyside
Commendatore Eric Halfvarson
Don Ottavio Robert Murray
Donna Elvira Joyce DiDonato
Zerlina Miah Persson
Masetto Robert Gleadow
Director Francesca Zambello
Conductor Charles Mackerras
Notes on standing, restricted view at the Royal Opera House
As an aside, Bear saw this production from the cheap-skate, standing places in the balcony. Sometimes if the seats are not all occupied you can sneak out and get better seats after the lights go out. Unfortunately this was a sell-out performance (even on a Monday night). The view was very restricted; hence the poor photos I managed to take at curtain call. And curses on those light sconces which blocked my meagre view. I might try my luck in the left balcony next time.
All in all an enjoyable night. Well, who couldn't enjoy a night where a huge fiery hand comes swinging from the the rafters to finally polish off Don Giovanni ... (well I laughed really). A great, if somewhat preposterous ending to the production.
Don Giovanni - Royal Opera House, Monday 15th September
Synopsis
Cast
Leporello Kyle Ketelsen
Donna Anna Marina Poplavskaya
Don Giovanni Simon Keenlyside
Commendatore Eric Halfvarson
Don Ottavio Robert Murray
Donna Elvira Joyce DiDonato
Zerlina Miah Persson
Masetto Robert Gleadow
Director Francesca Zambello
Conductor Charles Mackerras
Notes on standing, restricted view at the Royal Opera House
As an aside, Bear saw this production from the cheap-skate, standing places in the balcony. Sometimes if the seats are not all occupied you can sneak out and get better seats after the lights go out. Unfortunately this was a sell-out performance (even on a Monday night). The view was very restricted; hence the poor photos I managed to take at curtain call. And curses on those light sconces which blocked my meagre view. I might try my luck in the left balcony next time.
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