Opera Review of the Metropolitan Opera’s Production of Don Giovanni
The Metropolitan Opera presented a dark and erotic interpretation of the new production of Wolfgang Amadeus Mozart’s Don Giovanni. The production premiered on October 29, 2011 at 12: 55 in New York City with a HD simulcast that took place in theatres throughout the country.
Don Giovanni, which is separated into two acts, is named after a nobleman and seducer Don Giovanni, who is said to have affairs with women all throughout Europe. The first act begins with Fabio Luisi entering the stage and conducting the mysterious and vivid “Overture.” The orchestra and Luisi exaggerated the drastic dynamic changes to emphasize the changing moods throughout the work. Additionally, Luisi took liberty during the whole note passages and sped up during the moving note passages, I believe to reveal the rise and demise of Giovanni. Despite that Luisi never conducted Don Giovanni prior to this performance, he was very meticulous in regaining the tempo whenever he slowed down.
The “Overture” seemingly moved to Leporello, a servant to Don Giovanni, standing outside the Commendateore’s palace complaining about his duties to Giovanni. During this production of Don Giovanni it’s clear that Michael Grandage, producer of the opera, wanted to emphasize the fact that ‘Giovanni’ is a comic opera. In the first act, especially during Leporello’s first aria, his frustration of working for Don Giovanni is presented in a very exaggerated and comical way. Additionally, Don Giovanni tries to seduce Donna Anna and kills her father who is the Commendatore during a duel. It’s obvious that from this point forward is the beginning of the end of Don Giovanni and the rest of his seduction attempts only placed him in worse predicaments. Don Ottavio, who is engaged to Don Anna, then promises her that he will seek revenge on the person who has murdered her father. “Ah, vendicar, se il puoi, giura quell sangue ognor.” Don Ottavio had a very beautiful tone and phrased and used dynamic contrast to create a memorable performance during his two arias.
Giovanni later goes to a tavern where he flirts with Donna Elvira who is also a woman that he once attempted to seduce in the past. Giovanni has Leporello distract Elvira as he escapes from the tavern. Giovanni then runs into a set of his friends, Zerlina and Masetto, who are planning to exchange their vows. Masetto sings with richness that helps to set the dark and pensive mood. Giovanni flirts with Zerlina until Don Elvira breaks her away. Despite that Giovanni knows that he is getting deeper into trouble, he still remains very smooth and charming while he flirts with women. Although Don Elvira removes Zerlina from the situation, Giovanni is most suave and elegant at this point as he attempts to ‘woo’ her. As Donna Elvira returns to tell everyone that Giovanni attempts to flirt and seduce a lot of women, he runs into Donna Anna and she recognizes his voice as the person who killed her father. Don Elvira was breathtaking during this scene. She presented a sensual performance that makes it clear that although she wants Giovanni punished it is clear that she loves him.
Everyone who is at the feast in celebration of Zerlina and Masetto overindulge in champagne as Zerlina is outside trying to convince Masetto to forgive her for her infidelity with Giovanni. Giovanni appears and convinces everyone to wear mask to the festivities. Eventually, Donna Elvira, Donna Anna and Don Ottavio recognize Giovanni. At this point of the opera, it becomes very confusing to keep up with all of the characters and everything going on. At times it becomes overwhelming to even watch the performers because they are each over exaggerating both their singing, their acting and motions: partly for the fact that this is a peak of the opera and mostly because the performers have to produce in a massive hall. Also, there were moments when the soprano Donna Anna seemed as though she was straining to be heard over the orchestra. The act ends with Ottavio and Giovanni sword fighting and Giovanni escaping.
The second act opened up with Leporello and Giovanni underneath Elvira’s balcony exchanging coats. Giovanni has Leporello to distract Donna Elvira as the Don attempts to flirt with Elvira’s maid. I was hoping for Donna Elvira to be more assertive during this portion of the scene, rather she was just very submissive and didn’t take control. Masetto passes with a group of peasants that want to help bring down Giovanni but Masetto is eventually beaten up. Elvira and the disguised Leporello end up running into Masetto, Zerlina, Anna and Ottavio. They all think that Leporello is Giovanni and threaten to punish him. Leporello reveals his true identity and breaks away to tell Giovanni what has happened and the two return home. Leporello was an impressive singer. He had to walk a fine line between being a servant, friend and peasant and in combination with his singing, his acting really helped to distinguish between each of these personas. As Leporello serves dinner the Commendatore’s statue is announced at the door. He gives Giovanni the opportunity to repent for all of his sins but because he is too proud, Giovanni refuses. Giovanni’s house catches on fire and he is dragged to hell.
I found the last scene to be the most melodramatic of the entire opera. Especially at the point when the Don grabs onto Donna Elvira, he held on so tightly that it was apparent that she was unable to move. I really liked when the flames burst as Don Giovanni was dragged to hell. Although I was watching the opera through a movie screen, it added to the fact that Don Giovanni was to be tortured and live a life of pain and despair.
I absolutely loved the set and that fact that there was a lot of attention placed on detail during each of the scenes. Although there was a lot of materials towards the back of the stage, it was still constructed and strategically placed in a way that pushed all of the action downstage while still allowing the opportunity for things to take place behind the singers. I also liked how the lighting was placed that supported the mood of each of the scenes, for example the gloomy street scenes. Although the production didn’t seem to take many risk from the other productions that I have seen of Don Giovanni every single thing from the choreography to the music to the committed cast seemed to have a clear point of view.
