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Don Giovanni
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Erwin Schrott
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By Michael Van Duzer
Critics and musicologists usually cite Don Giovanni as Mozart’s crowning achievement in the operatic repertoire. Although I’ve always preferred the simple humanity of Figaro, there’s no denying that, with their retelling of the Don Juan story, both Mozart and his librettist Da Ponte found ways to delve deep into the dark side of the human psyche without sacrificing their customary wit and style. Previous Los Angeles Opera incarnations of Don Giovanni have always explored the Don’s downfall in a realistic manner but Polish director, Mariusz Trelinski had something else in mind. The occasional patron huffily fleeing the theatre mid-act and the heated conversations during intermission pointed to the fact that this was not your mother’s Don Giovanni.
Trelinski’s concept focused on exploring the iconography of Don Giovanni—the symbol of the eternal rake, constantly searching for the next conquest with no thought for the human being. The soulless nature of this predator was made clear from the Don’s first entrance wearing a red mask crowned with horns. This devil in the flesh presided over a bleak and shadowy universe (designed by Boris F. Kudilcka) made up of cleverly abstracted visuals that represented more a landscape of the mind than any literal setting. Carefully stylized movements did their part to distance the singers from the realm of realism while their brightly hued, idiosyncratic costumes (by Arkadius) brought a welcome flash of color and irony to the proceedings.
Musical values were not swept aside in favor of original staging. Erwin Schrott proved to be a commanding Giovanni with a voice full of silky insistence and solid technique. He even managed to display a smoldering sensuality during some of the director’s most robotic blocking figures. Rosendo Flores found Leporello’s music and comedy a comfortable fit and, if Andrea Rost’s voice is better suited to Zerlina, she brought an appealing youthfulness to Donna Anna. Adina Nitescu’s Donna Elvire revealed a harsh and dry tone, but used it wisely to delineate the character’s desperation. John Matz proved no pushover as Don Ottavio and managed his two arias with commendable skill. Anna Christy and James Creswell were an enchantingly human pair of lovers as Zerlina and Masetto while Kent Nagano proved, again, how lucky Los Angeles Opera is to have him as the Music Director.
In the end, this production will not be to everyone’s liking because of its’ complete fidelity to the director’s concept. But adventurous audience members will find much to enjoy and think about with Trelinski’s visually stunning deconstruction of Don Giovanni.
Dorothy Chandler Pavilion May 31- June 22, 2003 www.losangelesopera.com
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