SEEN AND HEARD INTERNATIONAL

SEEN AND HEARD INTERNATIONAL OPERA REVIEW
 

Mozart, Don Giovanni: Soloists, Chorus and Orchestra of Teatro Colón. Conductor: John Neschling, Teatro Colón, Buenos Aires. 13.7.2010. (JSJ)

Director: Michael Hampe

Sets: Michael Hampe and Germán Droghetti

Lighting: Ramón López

Costumes: Germán Droghetti

Chorus: Marcelo Ayub

Cast:

Don Giovanni: Nicola Ulivieri / Daniel Okulitch

Leporello: Eduardo Chama

Don Ottavio: John Tessier / Carlos Natale

Donna Anna: Norah Amsellem / Virginia Wagner

Donna Elvira: Virginia Tola

Zerlina: Eliana Bayón / Ana Laura Menéndez

Masetto: Fernando Radó / Norberto Marcos

Commendatore: Ernesto Morillo

 

Eduardo Chama (Leporello) and Nicola Ulivieri (Don Giovanni)
 

For its second operatic production of the year the Teatro Colón turned to Don Giovanni, also marking the second local presentation of this work (following the earlier offering from the Teatro Argentino in May). And happy to say, this was a lot more successful. For a start this was a very traditional production from Michael Hampe, in every aspect. Scenically a basic setting of a building facade on either side of the stage formed the basis for each successive scene and this worked well, with quick changes from one scene to the next. With two levels it also offered on the upper level a natural location for the on-stage chamber groups to play from, without interfering with the action on stage.

Against this, the backdrop, when not covered by scenery, was plain, except for the penultimate – and only jarring – scene, when Giovanni descends into hell – in this case a rotating cosmic image, which seemed out of place. Indeed this scene in general was the least satisfactory with the statue being visibly pushed into place and Giovanni walking off behind it.
All round this was a fast moving production and Brazilian John Neschling led the orchestra at a good pace, and with dialogue and arias following one another with barely a break (also limiting the applause after each aria).

Italian Nicola Ulivieri made for a commanding Giovanni, both visually and vocally and pleased with his firm line. Argentine Eduardo Chama was a traditional Leporello and Canadian tenor John Tessier was a stylish Don Ottavio. Fernando Radó, who sung Giovanni in the Argentino production, impressed as Masetto, a role more suited to his young age and reinforcing his future potential, and Venezuelan Ernesto Morillo Hoyt was adequate as the Commendatore.

Norah Amsellem disappointed as Donna Anna, with too much vibrato and poor diction. Virginia Tola was a strong and characterful Donna Elvira, and Eliana Bayón was an engaging Zerlina. The chorus was also on good form.

Jonathan Spencer Jones

Picture courtesy of Teatro Colón, Buenos Aires

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