A glass of champagne without bubbles!
Marc Minkowski and Ivan Alexandre have set themselves a formidable challenge in staging Lorenzo Da Ponte and Mozart's trilogy. This production, created by the Slottsteater in Drottningholm and performed four times between April 8 and 24, 2022 at the Liceu, will be revived at the Opéra Royal de Versailles and the Grand-Théâtre de Bordeaux in June 2022. Conducted by the passionate, even dazzling Marc Minkowski, these three works become one. The major asset is the period orchestral vision offered by this conductor, an eminent specialist in the Mozart repertoire. This allows us to perceive musical theater in this century, displaying its colors and astonishing accuracy.
For this third performance of "Don Juan," it is clear that this version is quite different from Molière's drama, drawing its synopsis instead from the original Venetian folk tale. In a facetious atmosphere, close to comedy, the unrepentant sybarite, with his almost debonair air, fulfills himself through a light-hearted strategy of insults and seductions, even during his own downfall, with imperturbable stoicism. Without the artifice befitting his status as a lord, he makes a pact with his valet, a kind of libertarian double who slyly appropriates his identity.
The original set design is effective. It perfectly conveys the idea of theater within theater. Unity of place, time, and action, where a joyful drama more Buffa than Séria is played out. In a unique set designed by Antoine Fontaine, the scenes unfold continuously around a house on stilts. Removable brocade curtains, like precious parchments, constantly redraw the configuration of this central point. Inside this wooden theater, the characters wander around in unadorned period costumes, digging into a large trunk of tricks, from which they pull out the pranks and gags necessary for the action.
While the staging presents a demystified Don Juan devoid of artifice, volcanic but cheerful, it took all of Alexandre Duhamel's voice to give his character the necessary authority of a libertine lord. Unfortunately, the icy gusts of wind sweeping across the Rambla and the deadly line of flowering plane trees got the better of his instrument. His performance, delivered with incredible professionalism, was warmly applauded by an audience of connoisseurs. On the verge of vocal collapse, he saved a few biting recitatives here and there, a stunning legato throughout his serenade, and some utterly divine high pianos .
An unexpected advantage for the valet, Robert Gleadow, who enthusiastically seizes the opportunity to reap the honors. With his lanky appearance and fierce sex appeal, he casually sweeps his long hair back, Leporello is the archetypal buffoon, cowardly and vindictive. Very comfortable in his bass range, the Canadian supports the ensembles with powerful low notes. A regular on Mozartian stages, the hyperactive predator even manages to maintain a peremptory tone in the middle register, while displaying an invasive vocal and physical sensuality. Almost naked, he inflicts on Elvira, with a certain arrogance, beyond decency, the catalog of conquests he has tattooed on his body!
Donna Anna (Iulia Maria Dan) & Leporello (Robert Gleadow) | © Praskova
The pleasant surprise of the evening was Arianna Vinditelli's Elvira. With her fierce demeanor, the Roman soprano portrayed a bold character who disregarded the infamous machinations surrounding her. The dramatic intensity of her "Ha fuggi, il traditore..." (Flee, the traitor...), performed in perfect harmony with the conductor, was a highlight of the evening. Focused on her own quest, she exploits her sunny timbre in an ardent, muscular vocal projection, defending her words with remarkable vitality. Iulia Maria Dan's Anna also possesses great acting skills and infuses these recitatives with a palpable rhythm. Despite a good performance, it seems that her more ethereal style and the diaphanous clarity of her high notes at the top of her range are not quite sufficient in the ensembles. Don Ottavio (François Julien Henric) takes on the role with a sparkling and subtle vocal line. He is much appreciated in his aria "Il mio tesoro..." ." Alix le Saulx is a Zerline with a warm, amber timbre. Very persuasive, she delivers an adorable duet, ambiguous and lascivious, on the arm of a charming Don Juan. Finally, Alex Rosen (Mazetto) is a dashing and promising young bass. Without forcing his voice, he alternates between vibrant, warm articulation and a form of linear vocal maturity, particularly in his second static role as the Commendatore.
In the orchestra pit, Minkowski imposes his impetuous vision of the work with panache. He is not lacking in energy, living each role with intensity, breathing even louder than the music, and thus subjecting the vocal team to his will. His interpretation alternates between the caressing poetry of the tempi and scathing bursts verging on un tempo. (More than daring for the singers). From the outset, the conductor establishes a remarkable sonic balance, rendered on the one hand by the pianoforte, which gives an irresistible impetus to the recitatives, and on the other by the subtlety of a light string section and the incisive involvement of the soloists. This orchestral texture offers a few moments of grace, such as Zerline's aria "Batti, batti...", in a duet with the excellent solo cellist who weaves his ritornello.
The finale wins over a happy audience, sated with liveliness and joy, thanks to this playful, smooth-running stage version. The valet has replaced the lord, a triumphant libertarian Leporello who has captured everyone's attention. Nevertheless, the essential element is missing: Don Juan's deep, powerful, and seductive voice. It's like champagne without bubbles! ¶
Praskova Praskovaa
Don Giovanni, by Wolfgang Amadeus Mozart
Libretto by Lorenzo Da Ponte, Dramma giocoso
Premiered on October 29, 1787, at the National Theater in Prague
Musical direction: Mark Minkowski
Grand Theatre of the Liceu Symphony Orchestra
Grand Theatre of the Liceu Choir (Pablo Assante, conductor)
Stage director: Ivan Alexandre
Assistant stage director: Romain Gilbert
Set design: Antoine Fontaine
Choreography: Nathalie Van Parys
Costumes: Antoine Fontaine
Lighting: Ivan Alexandre, Nicholas Fischtel
Assistant stage director: Anna Ponces
Production: Drottningholms Slottsteater
Distribution
Alexandre Duhamel: Don Giovanni
Alex Rosen: Mazetto, il Commandatore
Iulia Maria Dan: Donna Anna
Julien Henric: Don Ottavio
Arianna Vendittelli: Donna Elvira
Robert Gleadow: Leporello
Alix le Saux: Zerlina
Grand Theatre of the Liceu * La Rambla, 51-59 * 08002 Barcelona, Spain
Phone:+34 934 85 99 00
https://www.liceubarcelona.cat/
Friday, April 8, Tuesday, April 12, Thursday, April 20 at 7 p.m. and Sunday, April 24 at 5 p.m.
Duration: 3 hours and 5 minutes, including an intermission
From $19.99 to $329.99
