I have seen wonderful performances at the Met and occasionally some bad ones – but tonight’s Don Giovanni is probably the most lacklustre I have ever seen in that prestigious opera house. Frankly, I left the theatre wondering why it was found necessary to stage it at all. I understand that the selling feature is supposed to be Erwin Schrott’s Don Giovanni – but again is it still something surprising enough to justify a second-rate staging in which Schrott’s manic Don Giovanni seems entirely ill-at-ease?
In any case, Erwin Schrott is still the shining feature in the whole staging. He has the voice, the attitude and the physique du rôle. More than that, his almost frantic approach fits the part (I wouldn’t say the same of his Figaro, though). He knows Da Ponte’s text and is free to explore the many theatrical possibilities it allows. When the Leporello is available for this interaction, the whole show gains a lot from that – and Ildar Abdrazakov established a good partnership with his Don Giovanni. It is only a pity that his voice seems to have shrunk both in volume and range since last time I saw him. On the other hand, I felt sorry for Susan Graham, who seemed a bit disturbed by Schrott’s ad libs. She missed her line twice because of that and I believe it is somehow ungracious to unbalance a colleague like that on stage.
In any case, Graham had other problems to deal with. I have written that before – casting a mezzo as Donna Elvira is a troublesome affair. Truth be said, she was probably the less unsuccessful example of this rule I can report so far. She has exemplary control of divisions, floats lovely high pianissimi and has attitude to spare, not to mention that few singers in my experience showed such understanding of the role’s mezzo carattere nature. That said, the tonal quality was pale, legato was mostly nonexistent and pitch was approximative. Mi tradì did not sound comfortable, even with the adjustments, but emotionally tame and vocally only correct.
Krassimira Stoyanova’s Donna Anna was something of an irritating experience to me – up to a high g, her performance was exemplary – her voice was once firm, forward, clear and flexible – everything a Mozartian voice must be. Above that, if we are not talking of her lovely floated pianissimi, the tone was otherwise constricted, bottled up, not truly in pitch, unfocused. We got the Waldseligkeit-version of Or sai chi l’onore with enough mezza voce to make Montserrat Caballé envious. Non mi dir fared a little bit better (and I must acknowledge that she brought more spirit into it than many a famous prima donna), but the recessed tonal quality of her high register seriously needs rethinking.
Matthew Polenzani used to have an almost Wunderlich-ian voice and I had great hopes in him. I don’t know if the frequentation of heavier works is to blame, but the juice in his tone is mostly gone. He still leaves a positive impression with his elegant phrasing, ease with softer dynamics and good taste. I cannot say the same of Monica Yunus (a replacement for Isabel Leonard). Her hallmark role is Papagena – and one could guess that from the metallic, unfocused sound she produced throughout. Unfortunately, Phillip Ens’s Commendatore was too rusty and curdled.
If Don Giovanni was a divertimento, Louis Langrée’s conducting would be exemplary. Everything exuded elegance, the accompanying figures in the orchestra had an admirable cantabile quality and the structural clairity was something to marvel. The house band accordingly produced a light, supple sound. However, Don Giovanni is not a divertimento – and I expected more from someone who can offer theatrical accounts of Mozart’s sacred music…
Marthe Keller’s production is discrete to the point of being indifferent. Everything looks beige, the closing scene is an anti-climax, the costumes are idiossincratic… Really, Peter Gelb’s “new Met” could do better.