Mozart’s Don Giovanni at the ROH is a mixed bag of a production
Mozart’s Don Giovanni is famously difficult to stage, what with its intricate combination of comedy, tragedy, and a Don Juan who is so completely grotesque that he makes Daemon Targaryen look like a saint.
If you are thinking that no review that starts like this can signal a five-star show, you’re right. This revival of Kasper Holten’s Don Giovanni isn’t an absolute must see, but that’s not to say it’s an irremediable disaster– most of it is rather watchable.
This production is distinguished by Es Devlin’s revolving white set, a house that folds in and out of itself, pummelled by a series of lurid projections that display Holten’s vision for Don Giovanni as a philanderer driven mad by his pernicious exploits. Aside from making your eyes hurt, the projections are too obvious and too garish to work, distracting from some excellent performances.
The man himself is sung by Luca Micheletti, whose depiction is solid enough to give the production its backbone. Not only has Micheletti clearly perfected the licentious hair flick, but his baritone is as rich as brandy butter, marking himself as an absolute ladykiller.
However, Christopher Maltman as Leporello, the Don’s loyal servant, rather upstages his beloved master with his natural droll manner marking his debut performance in the role. Performances from the host of spurned women left behind by Giovanni are also top-notch.
Paula Murrihy makes for an excellent Donna Elvira, cleverly splicing comedy and severity, and her mezzo tone is warm and radiant. The tragic Donna Anna is sung by Maria Bengtsson, whose complex tragedy emanates through her every note.
In contrast, Christina Gansch nails her portrayal of the fun and flighty Zerlina, with her birdsong high notes able to sparkle through the Royal Opera House. It was a shame that conductor Constantin Trinks did not match the orchestra to the unambiguous high drama of the production.
It is all a bit subdued, with the action on stage running away from the music, not alongside it. Having said that, the famous ‘A cenar teco’, performed here by bass Adam Palka, was still spine tinglingly thrilling.
This is a mixed bag of a production, but you will have to decide for yourself whether it’s halfway bad or halfway good. Either way, I would avoid it if you suffer from sensitive eyes.