Don Giovanni is the biggest “bad boy” of the opera world, and rightfully gets his comeuppance at the end of Mozart’s monumental opera of the same name. (At least this happens in most productions, anyway.) British baritone Simon Keenlyside made his American debut in the title role with the Cleveland Orchestra this week, and if all Dons were performed in such a seductive, playful and athletic manner as this, one could hardly blame those directors who wouldn’t like to see him done in by anyone, especially an irate father such as the Commendatore.
In this production, originally staged by the Zurich Opera, and marvelously conducted by Music Director Franz Welser-Möst, the Don meets his match in the Zerlina of soprano Martina Janková, who provides a new definition of “endearing goofiness.” It’s almost unfair to single out these two singers, as all the principals were excellent.
Cleveland favorite, soprano Malin Hartelius, demonstrated why she holds this position, in her multi-faceted portrayal of the hopelessly-in-love-with-the-scoundrel Donna Elvira. Of course she knows better, but in the face of such charming insouciance, how can she resist? Baritone Ruben Drole excelled as Leporello, no matter if he was servant or pretend-master. Ohio-born tenor Shawn Mathey portrayed Don Ottavio in a more stalwart manner than the usual, and his patience with his beloved seemed perfectly natural for his character. Although her voice in the coloratura and more florid soprano arias was more than up to the job, Eva Mei’s Donna Anna at times seemed somewhat hesitant, as if unaccustomed to the stage. As Zerlina’s much put-upon fiancé, Masetto, bass Reinhard Mayr was suitably frustrated throughout, while bass-baritone Alfred Muff sang his few lines of The Commendatore with authority and dignity.
Of course, opera is more than the voices, although it certainly fails or succeeds because of them, but in this instance, there could hardly be any complaints at all, other than the somewhat strange matter of the Commendatore, about which more later. Singers from the Cleveland Orchestra Chorus (prepared by Director of Choruses Robert Porco) and members of Verb Ballets were wonderful as townfolk, party guests and servants. The dancing was an especially important part of this production, and the addition of Verb was fabulous in this regard. Choreography was by Stefano Giannetti.
The art deco set, designed by Rolf Glittenberg, besides being gorgeous, utilized the stage space at Severance Hall about as well as any of the operas have done so far. Actually, the scenery here (by John S. Bukala) was mostly a batch of sofas in various configurations, plus a movable bar and a few chairs here and there. There was also a full-height curtain about mid-way that made its sinuous way from one side of the stage to the other when required to block off the rear portion for other changes. Zurich stage director Sven-Eric Bechtolf’s plan, executed in Cleveland by Julia Mathes, used the entire stage area, plus the apron and wings to tell the story, and the action flowed beautifully, no matter where it went.
The modern day costumes by Marianne Glittenberg were mostly in shades of black and white with an occasional touch of burgundy or a floral print using those colors. The men were mostly in tuxes of white or black, while the women wore full-skirted halter-top dresses. It was all entirely colorful and gorgeous, highlighted by the skillful lighting of Christopher Shick, based on the original by Jürgen Hoffmann.
The only element that didn’t work for me was the statue of the Commendatore. Rather than a full-size or even somewhat representative work, it was instead a primitive sort of wooden thing easily carried around the stage at various times. Hard to imagine the full-sized Commendatore appearing out of it. This also affected the final scene where the Commendatore comes to dinner. He did sit up to sing one time, but mostly just laid on the bier, where he was attended by the silent actress Sheffia Dooley. The opera was sung in Italian with projected English supertitles.
The orchestra was its usual silken self, sending some players on stage for the stage band in the first act party scene, while violinist Mark Dumm traded instruments for the mandolin solo late in the second. Throughout, Enrico Cacciari provided continuo on the fortepiano.
Sunday afternoon’s performance ( Sun 3/27) will be broadcast live on WCLV-FM (104.9) beginning at 1 pm. The rebroadcast will be Sat 5/21, also at 1 pm. For complete details, or to inquire about available tickets, visit the website: http://www.ClevelandOrchestra.com or call the ticket office at 216.231.1111. Go here for a slideshow of the production: http://www.ClevelandOrchestraBlog.com/2011/03/don-giovanni-photos.html.
[Photo by Roger Mastroianni]
From Cool Cleveland contributor Kelly Ferjutz, who writes: My most recently published book is Ardenwycke Unveiled (e-book and trade paper). Cerridwen has another contemporary romance from me, But Not For Love, currently available only as an e-book, but perhaps will be in print later this year. I hope to soon get around to completing some of the 30+ incomplete books in my computer!Actually, I’ve just re-issued my very first published book (from Berkley in NY 1993) Secret Shores which is available now in print, plus print and as a Kindle.
By the way, Cerridwen has also accepted two of my short stories in their Scintillating Samples (complimentary reads) area: Song of the Swan and Unexpected Comfort. I love photography as well, as you can see here. Occasionally I teach writing workshops and sometimes do editing or ghostwriting on a free-lance basis. But over and above everything else, there’s always been the writing. I can’t imagine my life without it.
And now, after more than a few requests, I’ve started a blog about writing. You can find it here.
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