Mozart, Don Giovanni: Soloists, Orquestra de la Comunitat Valenciana, Cor de la Generalitat Valenciana, Lorin Maazel (conductor), Palau de les Arts Reina Sofía, Valencia, Spain, 16.12.2006 (NP)

 

Production

Musical Direction: Lorin Maazel

Scenery: Jonathan Miller

Costumes: Clare Mitchell

Choreography: Terry John Bates

 

Cast

Don Giovanni: Erwin Schrott

Donna Anna: Marina Poplavskaia

Don Ottavio: Francesco Meli

Commendatore: Vladimir Vaneev

Donna Elvira: Barbara Frittoli

Leporello: Alexander Vinogradov

Masetto: Nahuel di Pierro

Zerlina: Maria Grazia Schiavo

 

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