I was lucky enough to attend one of the special events that Covent Garden have put on to compliment their season of opera. Having just seen Joyce DiDonato as Donna Elvira in Don Giovanni (see previous post) I was looking forward to hearing what this great mezzo-soprano had to say about her role and her career. For the last four months or so I have been following her career via her upbeat blog (http://yankeediva.blogspot.com); hearing about the challenging roles like Romeo in Bellini's Il Capuleti and her preparation for Don Giovanni......
Joyce DiDonato talked about singing techniques, American optimism and Frederica Von Stade amongst other things. I was struck by her humility in the light of such great success; she seems still like 'the girl next door'.... She touched on the role of Donna Elvira and her preparation. The role is normally sung by a soprano but Ms. DiDonato having scrutinized the score found that her voice could handle the range; especially when she found a transposed version of the last aria that Mozart himself had written. The transposition was only by half a step but this made all the difference and allowed her to sing the role comfortably. Indeed she noted that in the trios with Donna Anna and Zerlina or Donna Anna and Don Octavio a third voice of a different quality appeared to add extra colour. She had nothing but praise for the Maestro Sir Charles Mackerras who she thought was 'sunshine'; giving her the structure that she needed to prepare with limited rehearsal time and the flexibility to allow for some changes.
Asked about whether she thought there was a particular mid-western American style of singing (that is where she was brought up) she quickly diverted to expressing that there was an American optimism which often or not is coupled with an arrogance... her train of thought was sliding to the political which she tried to steer away from but not before vaguely bemoaning the intolerance of the Bible belt... I almost wish she had started to talk politics; she obviously had some strong views.
Joyce DiDonato just oozes humility and has none of the American arrogance she mentioned; she dislikes to hear her performances and visiably whinces through the extracts played from her numerous recordings. No wonder her favourite artist is Frederica Von Stade citing her generosity in performing; how Von Stade's work was all 'about giving'. Seeing her in Don Giovanni and during this talk you can tell that DiDonato shares this generosity of spirit.
This humility is highlighted when she talks about here training at Houston's young artist programme; she was brought down a peg or two by her singing teacher Steve Smith who said that if she kept singing like that she would have a very short career; she was was singing 'on youth and muscle'. She described how she spent a year or so 'learning how to sing'.
She still keeps her ties to Houston Grand Opera and will be back there later this month for a role debut in Béatrice and Bénédict. She has kept her ties with her singing teacher Steve Smith - expounding the virtues of technology by solving a tired voice over Skype with him (she is after all the blogger Yankee Diva).
On asked about her eclectic tastes of repertoire - take her Spanish repertoire or some of the obscure elements of her most recent Wigmore Hall appearance she acknowledges her curiosity. The Pasion recording with the pianist Julius Drake came about purely by chance whilst visiting Drake and perusing his record collection; they arranged the recording there and then.
The evening was finished off by a look at her performance in Handel's Hercules - 'Where shall I fly' - a little taster of her upcoming recording Furore, a collection of furious pieces indeed. Out in November in Europe and a definite buy I think.
Joyce DiDonato will be back in London come the spring as Rosina in the Barber of Seville with not so much angst and a whole lot of fun.
Showing posts with label Joyce DiDonato. Show all posts
Showing posts with label Joyce DiDonato. Show all posts
Monday, 6 October 2008
Thursday, 2 October 2008
Bear At The Opera: Don Giovanni
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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