Don Giovanni, Dramma giocoso en deux actes
- Episode aired Mar 22, 2015
- 3h 1m
YOUR RATING
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Adrian Sâmpetrean
- Leporello
- (as Adrian Sampetrean)
Fernando Javier Rado
- Masetto
- (as Fernando Javier Radó)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Featured review
Unimaginative Don
'Don Giovanni' is not just one of Mozart's best but also one of my favourite operas of all time. Its story is dark, complex, suspenseful with a nice humorous touch at times, the characters are interesting (especially the titular character) and the music is wonderful, a case of not a bad aria, ensemble or note in the entire score.
There are better 'Don Giovannis' around than this 2015 production from Monte Carlo, primarily the Joseph Losey film (my personal favourite), the 1990 Met production, the Karajan-conducted performance and the production with Cesare Siepi. This said, there are also worse ones too, such as 2011's La Scala production, Gerald Finley's, the musically strong but visually and dramatically distasteful Netherlands performance and especially Calixto Bieito's disastrous-nearly-all-round production (apart from the Leporello and Elvira). This is not a bad production at all and has much going for it, being near-perfect musically. At the same time it could have been much better if it was more inspired and didn't appear to be as afraid to be bolder and darker.
With this 'Don Giovanni', nothing is done disastrously. It is not exactly a visual eyesore and there is nothing offensive or tasteless in the staging. Just that there was definitely much more room for imagination, too much of the drama veered on the too safe and static side which is disappointing when 'Don Giovanni' is one of the most dramatic operas on the planet. More flesh and blood was needed, not literally but meaning more depth, as well as more urgency and momentum. A notable example was the most unimaginative staging of the climactic Commendatore scene imaginable, whereas the staging shines most in the heart of the opera that is the chemistry between Don Giovanni and Leporello which has tension and funny humour.
Very little to fault the singing and musical values, near perfect apart from Giacomo Prestia's unsteady Commendatore. Also did not find him frightening or authoritative enough. Do think that some of the cast could have been better directed because dramatically some of the characters come over somewhat blandly. Ottavio is a thankless character already, but so under-directed here he is practically a cipher. Patrizia Ciofi really could have done with much more fire and emotion as Donna Anna, a shame because she is excellent vocally and copes with the punishing "Non Mi Dir" with no signs of being effortful.
Despite saying that it isn't an eyesore visually, the production was not so appealing on that front. One of the exceptions being the costuming for Elvira, very vivid and elegant. The set however was rather bare and dreary.
It does sound like this review is turning you off, but don't let it. The production's good things are a great many. And the best of these good things are phenomenal. It is a musically outstanding production, as said twice now the faults are next to none. The orchestra a vast majority of the time play beautifully and with power, energetic style and nuances, they also do a great job accompanying the arias and ensembles and are very accommodating to the singers. The chorus are strong and involved, and the conducting is done with sensitivity and energy.
One element in particular makes this production worth seeing, which is the performance of Erwin Schrott in the title role. Simply put, to me he is one of the best Dons in recent years and there is a reason as to why it has become a signature role of his. He positively smoulders here, and is every bit the seducer, black hearted murderer, sinister charmer, bringing an animalistic sexuality and an obsessiveness pitched just right. He also sounds wonderful (looks it too), a dark rich voice with many colours and shade used with subtlety.
It's not just Schrott though. Close behind is Adrian Sapatrean as a very funny and vocally resonant Leporello, his bumbling endears rather than being overdone and his rendition of "Madamina..." (the Catalogue aria, a bass/bass-baritone favourite in recitals, concerts and competitions) is a cracker. Sonya Yoncheva as an expressive and spiteful Elvira fares best of the ladies, have heard her quite a few times now (mostly in heavier roles, including being by far the best thing about the Met's 'Otello') and love her voice and how she commits to her roles, "Mi Tradi" is a production highlight.
Ciofi and Maxim Mironov sing very well as Donna Anna and Ottavio, it's their direction that lets them down. Loriana Castellano is charming as Zerlina. Massetto is more than competently sung and acted. Prestia's Commendatore for me was the only one who didn't do much for me.
Summarising, was expecting quite a bit more but it is not something to disregard, Schrott alone is worth the view. 6/10 Bethany Cox
There are better 'Don Giovannis' around than this 2015 production from Monte Carlo, primarily the Joseph Losey film (my personal favourite), the 1990 Met production, the Karajan-conducted performance and the production with Cesare Siepi. This said, there are also worse ones too, such as 2011's La Scala production, Gerald Finley's, the musically strong but visually and dramatically distasteful Netherlands performance and especially Calixto Bieito's disastrous-nearly-all-round production (apart from the Leporello and Elvira). This is not a bad production at all and has much going for it, being near-perfect musically. At the same time it could have been much better if it was more inspired and didn't appear to be as afraid to be bolder and darker.
With this 'Don Giovanni', nothing is done disastrously. It is not exactly a visual eyesore and there is nothing offensive or tasteless in the staging. Just that there was definitely much more room for imagination, too much of the drama veered on the too safe and static side which is disappointing when 'Don Giovanni' is one of the most dramatic operas on the planet. More flesh and blood was needed, not literally but meaning more depth, as well as more urgency and momentum. A notable example was the most unimaginative staging of the climactic Commendatore scene imaginable, whereas the staging shines most in the heart of the opera that is the chemistry between Don Giovanni and Leporello which has tension and funny humour.
Very little to fault the singing and musical values, near perfect apart from Giacomo Prestia's unsteady Commendatore. Also did not find him frightening or authoritative enough. Do think that some of the cast could have been better directed because dramatically some of the characters come over somewhat blandly. Ottavio is a thankless character already, but so under-directed here he is practically a cipher. Patrizia Ciofi really could have done with much more fire and emotion as Donna Anna, a shame because she is excellent vocally and copes with the punishing "Non Mi Dir" with no signs of being effortful.
Despite saying that it isn't an eyesore visually, the production was not so appealing on that front. One of the exceptions being the costuming for Elvira, very vivid and elegant. The set however was rather bare and dreary.
It does sound like this review is turning you off, but don't let it. The production's good things are a great many. And the best of these good things are phenomenal. It is a musically outstanding production, as said twice now the faults are next to none. The orchestra a vast majority of the time play beautifully and with power, energetic style and nuances, they also do a great job accompanying the arias and ensembles and are very accommodating to the singers. The chorus are strong and involved, and the conducting is done with sensitivity and energy.
One element in particular makes this production worth seeing, which is the performance of Erwin Schrott in the title role. Simply put, to me he is one of the best Dons in recent years and there is a reason as to why it has become a signature role of his. He positively smoulders here, and is every bit the seducer, black hearted murderer, sinister charmer, bringing an animalistic sexuality and an obsessiveness pitched just right. He also sounds wonderful (looks it too), a dark rich voice with many colours and shade used with subtlety.
It's not just Schrott though. Close behind is Adrian Sapatrean as a very funny and vocally resonant Leporello, his bumbling endears rather than being overdone and his rendition of "Madamina..." (the Catalogue aria, a bass/bass-baritone favourite in recitals, concerts and competitions) is a cracker. Sonya Yoncheva as an expressive and spiteful Elvira fares best of the ladies, have heard her quite a few times now (mostly in heavier roles, including being by far the best thing about the Met's 'Otello') and love her voice and how she commits to her roles, "Mi Tradi" is a production highlight.
Ciofi and Maxim Mironov sing very well as Donna Anna and Ottavio, it's their direction that lets them down. Loriana Castellano is charming as Zerlina. Massetto is more than competently sung and acted. Prestia's Commendatore for me was the only one who didn't do much for me.
Summarising, was expecting quite a bit more but it is not something to disregard, Schrott alone is worth the view. 6/10 Bethany Cox
helpful•10
- TheLittleSongbird
- Dec 29, 2018
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- Also known as
- Don Giovanni
- Filming locations
- Opéra de Monte-Carlo, Monaco(Opern house)
- Production companies
- See more company credits at IMDbPro
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