SEEN AND HEARD INTERNATIONAL

Mozart, Don Giovanni: Soloists, Chorus and Orchestra of Teatro Argentino. Conductor: Andrés Juncos, Teatro Argentino, La Plata. 2.5.2010 (JSJ)

 

Director: Daniel Suárez Marzal

Sets: Nicolás Boni

Costumes: Mini Zuccheri

Lighting: Manuel Garrido y Gabriel Lorenti

Chorus: Miguel Fabián Martínez

 

Cast:

Don Giovanni: Fernando Radó / Luciano Garay

Leporello: Ricardo Seguel / Christian Peregrino

Don Ottavio: Santiago Burgi / Gustavo De Gennaro

Donna Anna: María Bugallo / Daniela Tabernig

Donna Elvira: Carla Filipcic Holm / Graciela Oddone

Zerlina: Sonia Stelman / Ana Laura Menéndez

Masetto: Fabián Veloz / Mariano Fernández Bustinza

Commendatore: Mario De Salvo / Oreste Chlopecki

Don Giovanni’s “last supper”
L-R Fernando Radó (Don Giovanni), Ricardo Seguel (Leporello), Mario De Salvo (Commendatore) Picture - courtesy of the Teatro Argentino

The Teatro Argentino’s production of Don Giovanni, following hot on the heels of Lady Macbeth of Mtsensk, presented a stark contrast against the excellence of the latter. From the angular scenography to the dress of all periods through to a country bumpkin looking Leporello with a football, the production defied logical interpretation and the principals could provide only limited compensation.

First then, the scenery and the concept of juxtaposed angled vistas – when one’s eyes had adapted to them – was in principle good, giving the sense of a street or passageway extending into the distance. This then served for whole work, with just minor adaptations. But what were the model buildings that kept being brought in and out and moved around by stagehands? What about the dance behind a semi-lowered curtain, so that only the dancers bodies from the chest down were visible? And then there was the Commendatore’s appearance in the cemetery – with nothing else indicating the setting – suddenly rising up from the base of the set?

If the scenery was somewhat bizarre, so too was the dress, with some having a sort of fifties appearance and some later and some earlier, as if randomly selected from the theatre’s wardrobe.

What then of the singers? Don Giovanni was sung by the young Argentine Fernando Radó, who is making a career for himself in Europe. While he has a powerful voice with considerable promise, he is in his 24^th year, and this was exactly how he played Giovanni, as an immature playboy. Undoubtedly,  in time he will mature into the role but at present he is simply too young and neither looked nor acted like someone who could have made all the conquests enumerated by Leporello.

Leporello himself was played by Chilean baritone Ricardo Seguel and while vocally satisfactory, he came across as too simple – a characterization not helped by his dress or the football that preceded his first entry and became a regular prop.

As Donna Anna, María Bugallo was adequate, as was Santiago Burgi as Don Ottavio – he is very musical but his projection is not large, and this was recognised by the conductor. Likewise Mario De Salvo as the Commendatore lacked the vocal impact that is so important in this role.

Once again,  Carla Filipcic Holm gave a star performance as Donna Elvira, her voice rich and full. Sonia Stelman was a pert and pleasing Zerlina and Fabián Veloz was a masterly Masetto.

The orchestra under Andrés Juncos gave a business-like reading, but just not quite capturing the spirit in the music.
 

Jonathan Spencer Jones