SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD UK OPERA REVIEW
 

Longborough Festival 2010 - Mozart, Don Giovanni : Longborough Festival Opera, Conductor Gianluca Marciano 17.6.2010 (RJ)

Director Jenny Miller

Lighting Wayne Dowdeswell
 

Can you imagine Don Giovanni is a stove-pipe hat - like Isambard Kingdom Brunel's? Or his side-kick Leporello dressed as a fairground barker? And ladies with over-the-top hairstyles wearing bizarre clothes? Good Heavens! Is nothing sacred these days - even Mozart's renowned tragi-comic opera? Yet I have to admit that Jenny Miller's new production for Longborough Opera works surprisingly well. Set in the Dickensian era, it is the most original version of Don Giovanni I have seen for a long time, and is peopled with odd characters who crawl out of the woodwork and emerge from the shadows to create a bewildering, dreamlike atmosphere.

In this regard it seems to capture perfectly the essence of Mozart's opera, which is impressionistic rather than realistic. (You don't come across talking statues in the real world, do you?) Jane Bruce's surreal set, Hannah-Lauren Whitham's costumes inspired by Victorian travelling circuses and fairs, and atmospheric lighting effects by Wayne Dowdeswell complement the production well.

Jenny has also managed to assemble a predominantly youthful cast, all of whom fit the characters they portray like a glove and have good singing and acting skills. Nicholas Merryweather in the title role affects an air of nonchalance and thinks nothing of resorting to trickery and worse to save his own skin. Byron Jackson is superb as the down-trodden Leporello constantly trying to escape his master's clutches.

Of the other singers Stephanie Corley is especially impressive in the role of Giovanni's cast off lover, Donna Elvira. Whether demanding vengeance for his treachery or hoping to rekindle love's flame she is a strong dramatic presence, not least when she reflects on her recent past in the heartfelt soliloquy Mi tradi quel alma ingrata.

Elizabeth Donovan as Donna Anna also puts in a noteworthy performance, but our sympathy for her is perhaps less intense. After all, she has Don Ottavio to fight her battles and lend her support. Most Don Ottavios I have seen come over as wimps - all bluster and no action - but Mark Milhofer is an honourable exception. Looking like an Italian matinee idol he possesses an amazing tenor voice which he exercises to excellent effect in the aria Il mio tesoro intanto.

Martene Grimson is a very plausible Zerlina, the working class girl who is swept off her feet by Giovanni. She quickly realises her mistake and gently seeks to reassure Masetto, her fiance, nicely portrayed by a stroppy and gauche Michael Davis, of her loyalty to him. And in Sasa Cano the production has an awesome Commendatore.

Musically this was a highly satisfying evening with a decent sized orchestra directed by the much travelled maestro Gianluca Marciano and some impressive ensemble singing. Credit must also be given to the supporting cast of four who represent a hundred different characters and shove heavy scenery around between the scenes.

Every director aspires to shed new light on the work he or she is interpreting, though not all succeed. Jenny Miller's imaginative attempt is surely one of the more successful ones providing plenty of spectacle, humour combined with pathos, plus food for thought. It certainly provided a strong start to this festival which gains in stature with the passing of every year.

Roger Jones