a creation of Don Giovanni in the 2008 Salzburg Festival set Mozart’s opera in a stark, practical woodland. The Rome Opera has tried one thing likewise unconventional because of its brand new production by making use of a set (created by Samal Blak) composed of bit more compared to a skeletal tree, augmented by cartoon-like clouds in addition to shadows that the tree therefore the figures cast against a prevailingly beige phase.
Yet the setting that is unorthodox, at the worst, a small irritant set alongside the veteran manager Graham Vick’s brazen therapy of this action. You might sense in the beginning Vick’s dedication discover brand brand brand new means of presenting the opera’s familiar activities. A few of their a few ideas had been clever, some silly, some irreverent. However the effect that is cumulative excessively. In my situation, one truly misfired: their choice to portray Donna Elvira as a nun. Seeing this passionate girl, with such a giant convenience of intimate love, dressed up in a practice completely blunted her character.
It was additionally troublesome that Don Giovanni entirely eluded divine punishment.
We’ve seen productions for which he somehow arises during the end, a reminder associated with ubiquity of womanizers. But right right here, whenever Giovanni is threatened by infernal animals, a representation that is giant of arm associated with Lord from Michelangelo’s production of Adam showed up, because of the little finger pointed at Giovanni. He merely ripped the hand off and moved away. Vick’s flippancy continued through the epilogue, as Giovanni came back, climbed within the tree, and received Donna Anna’s bra, which she tossed to him being a souvenir of these encounter in the very beginning of the opera.
It had been in conclusion of Act We, nonetheless, that provoked whistles and catcalls on 5.