November 23, 2011
Upon taking our seats and casting a first look at the stage, it is clear that what we will witness will be a work of great magnitude. The stage is surrounded by towering walls of cast metal, the panels sculpted to depict bodies emerging from, yet trapped within, the structure. There are vast, imposing gates at the back and an ominously shrouded statue, almost centre stage. The overture gives us the time to marvel at both the realism and the symbolism of the stage. In addition, ghoulish, cowled figures emerge from the darkness, gliding into position, to lurk in the shadows- a foreboding warning of the dark end that our antihero will meet.
And what an antihero he is. We first encounter Don Giovanni, (played on this occasion by Duncan Rock, replacing David Kempster), in a state of half undress, as he flees the cries of his latest victim, Donna Anna. Swiftly following his first crime of rape, he then brutally murders her father, the Commendatore, as he rushes to her defence. In his death throes, the old man pulls away the shroud from the central plinth, to reveal his own statue – the statue which will eventually come to life and deliver Don Giovanni to his final punishment, in the fires of hell.
In his next appearance, Don Giovanni is dressed in the finery of a nobleman, and it is at this point that the true splendour of the costume design of this production shines. Don Giovanni himself is dazzling and larger than life, clad almost entirely in gleaming white, from the pointed toes of his boots, to the gilt trimmed edging of his oversized epaulettes, to the tip of the extravagant plume in his hat. The peasant girls are dressed in the muted colours and simply cut, fluttering materials of the fragile, moth-like beings they are – drawn to and destroyed by Don Giovanni’s light.
We are intended to find Don Giovanni’s character beguiling, as does the mistreated Elvira, who persists in her devotion to and pity for the scoundrel who has betrayed her (over 2000 times!). Like her, the audience are never sure whether to love or loathe Don Giovanni. However, perhaps in part due to the relatively young Duncan Rock's performance, I felt nothing but contempt for a man so devoid of compassion, honesty, care, respect or love, who has been brought so low so early in life.
I have no ability to truly judge the quality or skill of the singing, but I know that what I heard was moving, rousing, amusing and engaging. The pairings of voices seemed to complement each other well in the duets, the choruses were full and dramatic, but particularly notable were Donna Anna’s arias, sung by Camilla Roberts, in their power to move the listener and tell of the character’s inner anguish, grief and passion.
The Welsh National Opera are renowned, so stellar performances, impressive design, confident and polished music and assured direction are perhaps expected. Don Giovanni does not disappoint. This production skilfully accomplishes the daunting act of overcoming, dramatically, visually and musically, the same challenge that Mozart embraced: combining the darkest of themes with moments of real comedy and wit.
And what an antihero he is. We first encounter Don Giovanni, (played on this occasion by Duncan Rock, replacing David Kempster), in a state of half undress, as he flees the cries of his latest victim, Donna Anna. Swiftly following his first crime of rape, he then brutally murders her father, the Commendatore, as he rushes to her defence. In his death throes, the old man pulls away the shroud from the central plinth, to reveal his own statue – the statue which will eventually come to life and deliver Don Giovanni to his final punishment, in the fires of hell.
In his next appearance, Don Giovanni is dressed in the finery of a nobleman, and it is at this point that the true splendour of the costume design of this production shines. Don Giovanni himself is dazzling and larger than life, clad almost entirely in gleaming white, from the pointed toes of his boots, to the gilt trimmed edging of his oversized epaulettes, to the tip of the extravagant plume in his hat. The peasant girls are dressed in the muted colours and simply cut, fluttering materials of the fragile, moth-like beings they are – drawn to and destroyed by Don Giovanni’s light.
We are intended to find Don Giovanni’s character beguiling, as does the mistreated Elvira, who persists in her devotion to and pity for the scoundrel who has betrayed her (over 2000 times!). Like her, the audience are never sure whether to love or loathe Don Giovanni. However, perhaps in part due to the relatively young Duncan Rock's performance, I felt nothing but contempt for a man so devoid of compassion, honesty, care, respect or love, who has been brought so low so early in life.
I have no ability to truly judge the quality or skill of the singing, but I know that what I heard was moving, rousing, amusing and engaging. The pairings of voices seemed to complement each other well in the duets, the choruses were full and dramatic, but particularly notable were Donna Anna’s arias, sung by Camilla Roberts, in their power to move the listener and tell of the character’s inner anguish, grief and passion.
The Welsh National Opera are renowned, so stellar performances, impressive design, confident and polished music and assured direction are perhaps expected. Don Giovanni does not disappoint. This production skilfully accomplishes the daunting act of overcoming, dramatically, visually and musically, the same challenge that Mozart embraced: combining the darkest of themes with moments of real comedy and wit.