(reviewed at the Theatre Royal Norwich on 22 November)
This production for Glyndebourne’s 2016 tour uses the 1788 Vienna version of the score. That means, among other things, that Don Ottavio is shorn of “Il mio tesero” in the second act – a pity on many ways, as Anthony Gregory both sings and acts what is arguably the most frustrating part in the opera impeccably, giving a strong as well as lyrical account of “Dalla suo pace” in the first act.
What we do hear is the duet for Zerlina (Louise Alder) and the trussed-up Leporello (Brandon Cedei) just before the graceyard scene. Alder has a Marilyn Munro air of knowing innocence which serves her better as a Sweeney Todd in the making than it did at her slightly underpowered first entrance. Her Masetto is Bozidar Smiljanic who endows the part with the right aura of buccolic bullheadedness.
Ana Maria Labin’s Donna Anna carries off her complex arias superbly, investing them with great musicianship as well as the full force of Anna’s mental torment. That is true also of Magdalena Molendowska’s Donna Elvira; her own torment runs parallel to Anna’s but is subtly differentiated. Revival director Lloyd Wood and designer Paul Brown keep the contrast between the two women clear.
Their one meeting point, of course, is Don giovanni himself. This dras a bravura performance from Duncan Rock – “Finch’han dal vino” in particular fizzes along – but the sheer nastiness of the character’s attitude to women, those who cross him and his servant is underpinned by the suggestion of equal pleasure being taken in violence.
When Andrii Goniukov’s stentorian Commendatore arrives to exact his just vengeance, it is not just Brown’s decontructed set which makes Giovanni lose control. We are throughout in a vaguely pre-and post-Second World War Seville. Costumes, like most of the triangular set, are mainly grey and black; the exceptions are occasional accents of blood-red and the more pastel-clad wedding party.
At the beginning we see a baroque painting of Mary Magdalene, luxuriant tresses, swelling draperies and look of extasy at odds with the skull she clutches. Otherwise there are only tall, dark buildings fronting slightly sinister streets and surmounted by a moon which might have drifted in from a Lorca play or poem. If you are intrigued by how a production such as this is realised, then take yourself to Don Giovanni: Behind the Curtain which explores this in depth, focussing on the Act Two finale.
Don Giovanni can be seen at the Theatre Royal, Norwich on 25 November. Don Giovanni: Behind the Curtain is at the Theatre Royal on 24 November.