When a theatre has the name of Constantin Stanislavsky, one expects to find acting of a certain level in any of its performances – and I have not been disappointed this evening. Although sets and costumes in Alexander Titel new production makes one think of stagings as one would find in European theatres in the 1970’s, the approach sounds fresh in the detailed Personenregie and the attention to Lorenzo da Ponte’s text rendered in a way that makes complete sense for audiences nowadays. Although I dislike the idea of Donna Anna as a hypocrite who would overlook the murder of her own father for a fatal attraction, this has been shown in a way that at least makes some sense. It is also very courageous to show Donna Elvira as the mezzo carattere role she really is, even if the seriousness in Mi tradì felt somewhat contrived. I have never seen such an all-round convincing portrait of Zerlina as today: here she is definitely earthy, ready to have fun and streetwise: she plays the victim to Don Giovanni as long as she believes that she can profit from that. Even Don Ottavio has some nuance here, his lack of alpha-male quality combined with a repressed aggressiveness when his fiancée refuses him his intent to marry her as soon as possible. All this is made possible in a staging that focus the actors – the single set is a structure that shows a staircase covered by grapevine on one side and a wall of upright pianos on the other side. Don Giovanni’s final feast is a bit overdone with all those plastic grapes, but the effect of the Commendatore dragging his prey inside the wall was very striking and original.
This performance has been conducted by the assistant director, Timur Zangiev, who showed a very good grasp of rhythmic flow in his forward-moving beat dictated by needs of structural clarity and a good ear for matching the Hauptstimme in the orchestra with his soloists on stage. I wonder how the results would be with a truly adept orchestra.
My main source of interest this evening was the Donna Anna of Hibla Gerzmava, a soprano I have first heard in the solo of Mozart’s Vesperae Solennes de Confessore. Her singing in this recording impressed me so much that I decided that I wouldn’t miss an opportunity to hear her live. It is a voice of unusual creaminess and homogeneity used with seamless legato, but either she was not in a very good day or she has become a little careless since that Laudate dominum. Whenever things got high or fast or loud or all those, her soprano would acquire a metallic edginess that jars with her usual smooth vocal delivery. It is praiseworthy that she had tackled the stretta of Non mi dir a tempo in a fast pace, but the sound could be a bit Mara Zampieri-esque. In terms of interpretation too, although her Italian is very clear and well-pronounced, the impression was rather generalized, especially in a very tame Or sai chi l’onore. In any case, she sounded like a paragon of Mozartian singing in comparison with the sour-toned and gusty Donna Elvira. Although Inna Klochko had her unfocused moments, her bell-toned soprano is tailor-made for Zerlina. Vedrai carino was particularly lovely, graceful and sexy. She is a very good actress and knows who to use music and text to create a complete performance.
When it comes to Artem Safronov’s Don Ottavio, one must praise his extraordinarily long breath and flexibility, but his voice has very strange placement, his high register matte and bottled-up. Dmitry Zuev (Don Giovanni) too has long breath, but the tonal quality is too open, metallic and unvaried. His idea of interpretation was basically keeping you on the edge of your seat while he spitted out long stretches of text without breathing pauses in uninflected Italian. Although Denis Makarov’s Italian is very poor too, that is all I can fault in his Leporello – the voice is warm and pleasant and he is funny without exaggeration. Maksim Okosin too was a pleasant Masetto, richer toned than unsual. Finally, Dmitry Stepanovich was a very powerful Commendatore, a bit eerie in his straight-toned vocal production and weird vowels.