Customer Reviews

Mozart - Don Giovanni / Drabowicz, Youn, Schorg, Reijans, Kocherga, Bou, Martins, de Billy, Bieito (Gran Teatre del Liceu, Barcelona)

5 star:		(0)
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2 star:		(1)
1 star:		(3)

 

 

Modern productions have the potential to be illuminating and refreshing, effectively eliminating both ennui and routine. However, in this particular production, updating Mozart's sublime masterpiece to the late twentieth century, all of the pathos, humor, and even sweetness inherent in one of the world's greatest operas is stripped away. In its place is a malicious, vicious, and, dare I say, ugly adaptation from Calixto Bieito. Since this production is so far removed from traditional stagings, there are several blatant inconsistencies. For example, Donna Anna is raped in the backseat of a car, but later sings in her dramatic recitative from da Ponte's famous libretto how Don Giovanni stole into her ROOM and violated her. Another curiosity includes the scene in which Leporello escapes from Masetto and the others by 'hiding' in a trash can that he was stuffed into by his pursuers as his pursuers exclaim how he has simply vanished. When Don Giovanni attempts to seduce Donna Elvira's maid under her window, he does so by serenading into a telephone. The worst violation yet must be the events that unfold near the end of Act Two. Leporello and Don Giovanni encounter a non existent statue of Donna Anna's father in a bar, not a cemetary, and of course invite the non existent statue to dinner. Huh? What's more, in the final dinner scene, the Commendatore arises from the trunk of a car, covered in blood, and is repeatedly stabbed and mutilated by Don Giovanni before Don Giovanni collapes. In this production, he is not dragged down to hell unrepentant. When the vengeful victims all rush on stage to tell the moral of the story, they, including Leporello, place Don Giovanni in a chair and take turns plunging a knife into his chest or slicing his throat.

The performance, as a whole, is very good. Bertrand de Billy conducts a forceful and dramatic reading of the score and the cast is quite effective. Unfortunately, Bieito's controversial staging is a distraction and, even more, quite ineffective at conveying the joys and delights that make Don Giovanni such an incredible and one of a kind theater experience. I will advise that you would do best to rent or borrow this DVD from the library before purchase if you tend to enjoy modern productions, no matter how out of tune with the original intentions of writer and composer. Others should beware!

I agree with most of what the other reviewer has to say, but I have one major difference of opinion. The casting of this production is awful. There are some good voices, Gens in particular, but no one seems quite right. The Zerlina and Masetto are both swallowed up and leave a lot to be desired in terms of acting. The Ottavio is awful, and the commendatore took his time finding the beat. The only performers worth seeing are the Donna Elvira and Don Giovanni, both are fine, but not special and the people I haven't mentioned are utterly forgetable.

I don't have a problem with Modern productions, in fact, at times I perfer them, but this doesn't work and isn't worth the disc it's burned onto. If you want a modern Don, get the Salzburg with Hampson and D'arcangelo, or the new release with Keenlyside. There are some awesome traditional Don dvd's like the Met's with Terfel. Steer clear of this unless you are collector, and if you are a collector make sure you have every other version before this one.

I will admit I was curious about this DVD in as much has written about the director, Beito, mostly negagive; I am not allergic to "konzept" versions, regietheater, et. al. But this DG is clearly on the bottom of my Don DVD's and I have (currently) eight! I have a number of DVD's that emanted from the Liceu and for the most part they do have some distinction that makes them worth having. Not so the set under consideration. The setting is a seedy night club, which is altered slightly as needed. For the most part the set is never really lit, making any effect seriously reduced. This is probably a good idea since what you can see is usually dismal.

The edition used is the Prague which means that we are spared one of Ottavio's arias and Mi tradi. I could find no mention as to the text nor any reason given. Only two singers bring distinction to their roles, Veronica Gens and Youn, a Korean (I believe) who sings a superb Leporello; that we are denied the Mi tradi is unfortunate since I have no doubt that Gens would sing it superbly. The Ottavio is mediocre,clearly unable to sing the music. Possibly in another context, the Don could be more effective. Regina Schorg is an adequate Anna, but her singing is edgy and frequently shrill.

There are a number of Dons available, the most traditional would be the Karajan, but the performance is stodgy and never takes off. The TDK set under Muti is very well sung. Its conceit is in changing the costums from 18th century to Victorian era. The singing is uniformly excellent, indeed, vocally it is one of the best. The Don from a recent Salzburg production (part of the M22 set on Decca)is also well sung and for those who want a "take" can rest easy with sliding panels and doors for entrances and exits: no, there is no mention of geography in this set, but then neither do most of the other sets.

I think I could deal with the Liceu production if it were better sung and a conflation of the Prague and Vienna editions were used. However, as things stand this is a DG that I will probably never revisit.

For some reason this DVD shows much later in the list where there are three reviews, one of mine included. It also indicates that the item has been discontinued by the manufacturer. This would be in contradiction to the informaion provided for #41, the placement on page 4 (5?). No matter: this might be the poorest DG I have in my collection. Only the Elvira and Leporello represent major voices. Perhaps the Don (Drabowicz)in a different production could be evaluated more positively in as much as the voice is a good one. The Anna is simply adequate--no more. The voice has an unpleasant edge and tends toward shrillness. The Ottavio is unspeakably bad. He is lucky that the Prague Version is being used so we are spare one of his arias. Unfortunately this prevents us from hearing Gens' Mi tradi; I have no doubt that she would sing it well.

I enjoy most "regietheatre" and I would like to see more of Biexto (sp?)but this production is barely intriguing, played out in stygian darkness--perhaps wisely? The new Zurich production which is as outre as this is well lighted, making its silliness all the more evident.