The staging overlaps the scenes to provide continuity (Elvira arrives early to find her hotel room, Giovanni keeps popping into scenes to see what’s going on), but there is a deluge of seemingly random fantasies which, though sometimes clever, do not help the story. The murder of Anna’s father the Commendatore (Jerzy Butryn) is rather clumsily staged on a staircase, and marks the beginning of Giovanni’s final downfall.
Panoply dress full#
Designer Julia Hansen places us in an old-fashioned three-storey hotel lobby, with a hen party for Zerlina and a stag party for Masetto in full swing, the room-swapping providing a good foil for Don Giovanni’s masked attempt on Donna Anna. Mariame Clément’s staging is brim-full of bright ideas, but they resolutely fail to connect. Alongside Michael Mofidian’s wiry Masetto, Victoria Randem's generous, flirty Zerlina causes some rhythmic problems for the excellent debut conductor Evan Rogister, who sets cracking speeds and coaxes fine sonorities from the Orchestra of the Age of Enlightenment.īut then you need a production that makes sense. The rhapsodic Anna (Venera Gimadieva) and the unusually forceful Ottavio (Oleksiy Palchikov) are a loving couple, not shaken by infidelity and loss, while Ruzan Mantashyan is a fiery Elvira, especially in her showpiece ‘Mi tradi'. In characterisation he is upstaged by Mikhail Timoshenko’s witty and clever Leporello, an awkward, servile chap in a raincoat, crisply and precisely sung. Thankfully, this new Glyndebourne production has that in an outstanding collection of voices mostly new to this stage.Īndrey Zhilikhovsky’s Don is forthright, agile, strongly sung (except in an overdriven Serenade), manic in his Champagne aria but then prone to bouts of depression, collapsing sleepily on stage. There are endless ways to stage Mozart’s inexhaustible opera Don Giovanni, but what you need above all is a committed, talented and preferably youthful cast, bursting with life.
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