Bostonians finally got the chance to see Robert Carsen’s new production of Mozart’s Don Giovanni at Brookline’s Coolidge Corner Theater. The production, although not all together modern, was far from traditional. Lacking in a firm time period or setting, this esoteric production kept the focus on the characters, namely Don Giovanni.
Don Giovanni, as well as most of the cast, sport modern suits and dresses and Masetto and Zerlina’s wedding scene is punctuated with camera flashes that suggest a more modern time period; however, the costumes worn at the party at the end of Act I, red velvet frocks and gowns, that would not be out of place in a traditional production, make the time period ambiguous. The production also lacked any semblance of setting with its generally bare sets that often mirrored the theater hall.
Swedish baritone, Peter Mattei, starring in the title role swept the audience off their feet with his vocal charisma and charm. His svelte figure, smooth melodious voice, and seemingly lighthearted nature, blended seamlessly into a seductive, but genuinely likable Don Giovanni. Mattei’s Don Giovanni is epitomized in his rendition of “Deh, Vieni alla Finestra,” which he crooned delicately with a sly smile. He did, however, take advantage of the festivities in the latter half of Act I to show a more impassioned side of Don Giovanni; his exuberant “Fin ch'han dal Vino” exhibited both full vocal intensity and the truly lusty, grotesque side of Don Giovanni’s otherwise charming façade.
The lower male voices of the opera could not have been better. To counter the refined “cavalier” is the more robust Bryn Terfel in the role of Don Giovanni’s servant, Leporello. Terfel’s heavy voice was surprisingly agile in the upbeat role. The twisted, yet endearing friendship between Don Giovanni and Leporello and the chemistry between Mattei and Terfel gave their scenes a comic flair. From Leporello’s witty asides to Don Giovanni’s romp in a dress, the two made such a lively pair that the crowd was almost willing to forgive them their misdeeds.
Kwangchul Youn played a stately Commendatore in the opening scene of the opera. He appears in Act II, a terrifying spectre, in his blood-soaked tuxedo; this, coupled with is deep reverberating voice elevated this short, but dramatically loaded role to its full potential.
The couple, Masetto and Zerlina amused and brought a rustic sensuality that contrasted the aristocratic air of the rest of the characters. Štefan Kocán’s Masetto was ardent and his bass voice, full and resonant, conveyed all the energy of youthfulness.
Despite some overacting on Anna Prohaska’s part, in the role of Zerlina, her vocal work and intonation were consistently pleasant. Her voice, light and agile, blended well with those of most of the cast, but did not have the authority to bring the production’s saucy Zerlina to life in much of her solo singing.
Donna Anna and Don Ottavio made a far less dynamic couple. Currently one of opera’s most celebrated stars, Anna Netrebko sang a vocally powerful Donna Anna, but many of the more challenging segments of music seemed under-rehearsed and often faltered in tempo. The highlight of her performance was her Act I aria, “Or sai chi l'onore.” This dramatically saturated scene flattered both Netrebko’s voice and her acting abilities. Recounting the night of her father’s murder and calling for vengeance, Netrebko was able to contrast both vocally and physically between terror, relief, and a plea for vengeance.
The lack of dynamic stemmed primarily from Giuseppe Filianoti’s cold stage presence. Filianoti’s singing lacked depth or expression. His rendition of “Il mio Tesoro” began in the same calculated manner, but heated up towards the end of the aria, briefly evoking a tone worthy of La Scala and his audience.
Barbara Frittoli captured the pitiful Donna Elvira with heartbreaking perfection. Elvira’s desperation manifests itself in more than just the text; in Leporello’s famous Catalogue Aria, Elvira tries in vain to live up to each of Don Giovanni’s diverse tastes and is often seen wearing Don Giovanni’s discarded jackets and blazers. Vocally, Frittoli’s soprano voice is full and warm. The lush beautiful of her voice which characterized so perfectly Elvira’s loving, conflicted heart made her occasional tendencies toward the sharp side forgivable.
At the baton, Daniel Barenboim led the orchestra masterfully. He coaxed breathtaking dynamics and phrasing to compliment the vocal lines as well as the dramatic moments of the opera.
The opera comes to a close the same way it started: with Don Giovanni on top. As the rest of the cast chants “Questo è il fin di chi fa mal” Don Giovanni emerges from behind wearing his sly grin and smoking a cigarette nonchalantly. With a slight gesture he sends his antagonists down to hell before flicking his cigarette down after them and taking center stage contentedly. Despite some criticism, I cannot think of an ending more befitting of Mozart.
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