This wouldn’t have been possible without the stage designer’s
collaboration: Jonathan Miller showed an immense ability
to adapt to the new situation and, within a few days,
had worked out how to transform his scenery. The solution
was to take the orchestra pit forward into the stalls
and to build a new platform of a few meters´ width over
it; the singers and the chorus would perform on it and
would enter the small space from the sides. A black wall
with cut out doors and windows created a second area at
the back of the platform. The furniture was extremely
simple, reduced to each scene’s essential elements. Even
so, the stage design worked : the quintet was sung from
the pit and Don Giovanni’s entrance to hell was represented
by a group of pale young ladies who cornered him and took
him with them out through the right-hand exit.
The performance was faultless musically, held together
by the masterly entries of the baritone Erwin Schrott.
Completely immersed in his role as Giovanni, his interpretation
was full of passionate expression and sinister attraction.
His powerful voice flowed freely, achieving a wholly successful
characterisation.
Any co-leading or secondary role wasn’t quite in his league
but Marina Poplavskaia (Donna
Anna) flooded the hall with the power of her voice, Barbara
Frittoli (Donna Elvira) joined technique with considerable
charm in an effective interpretation, and Maria Grazia
Schiavo (Zerlina) showed off her well-developed gift for
acting.
Among the male characters, Francesco Meli (Don Ottavio)
sang well with emotive phrasing, Nahuel di Pierro was
convincing as Masetto and Vladimir Vaneev made a stern
Commendatore. It was Alexander Vinogradov's Leporello
however, who stimulated the audience’s greatest enthusiasm.
Lorin Maazel once again was responsible for the efficacy
and beautiful sound of the “Orquestra de la Communitat
Valenciana”. His perfectionist baton paid attention to
the singers during the whole performance and he masterfully
united freedom of phrasing within the general tempo of
the work. Special mention should go to the continuo player
precision during the recitatives. The chorus “Generalitat
Valenciana” showed great style throughout and adapted
splendidly the narrowed space of the staging, moving around
it with great ( and possibly risky) dynamism.
Another excellent performance despite the stage restrictions:
unforgettable!
Nieves Pascual
