Mozart’s Don Giovanni, Staatsoper Unter den Linden, 10.04.2022

The third part in Vincent Huguet’s “trilogy of liberation, the new staging of Don Giovanni is in its second performance since the premiere eight days ago. During the first bars of the overture, one could notice it got the lion’s share in terms of rehearsals and maybe resources in the context of the Festtage. But let’s speak of the staging first. It has been marketed as an opportunity of seeing Michael Volle in the title role, what seemed odd if one has in mind that these days his physique is rather of Don Juan’s father, instead of that of the man himself. However, the dramaturgy here explains us that Don Giovanni is a man whose youth is already behind him, disillusioned in his view of women and in some sort of death drive. If we attentively read the libretto, personal charm is not Don Giovanni’s mojo. When he offers Leporello money, his servant says “don’t think you can buy me with money as you do with your women”. So, yes, we’re in a Weinstein/me too context that makes this story surprisingly relevant. The catalogue aria is a presentation with photos of famous actresses and models, Zerlina is drawn away from her bachelorette party with a photo session, act 1 finale is a PR disaster in a public event around the great fashion photographer Giovanni and the finale ultimo is the man’s public condemnation, the end of his professional activity. This could have been even better if the director had taken the pains of doing it rightly. There are many loose ends, none worse than the first scene where Donna Anna – again! – is denied her metoo moment. The whole episode is nonsensical, poorly handled and it almost spoils the whole fun. The whole idea of Donna Elvira as the wife in a long, failed marriage with Don Giovanni is also awkwardly handled. Sometimes we have the impression the director doesn’t know what to make of a character that works fine the way Da Ponte conceived it.

This was also a musical performance of superior polish, compared to those of Nozze and Così. The house band finally showed the level of clarity of articulation one expects from an orchestra on duty in a Mozart opera, balance between sections almost ideal. Daniel Barenboim seemed always ready to help his singers, especially in keeping the orchestra in a flattering volume during arias and in providing handy breath pauses whenever they needed. Paradoxically, thia was a performance the intensity of which was achieved exclusively by accent and richness of sound. In other departments, it felt like “safe playing”, in very comfortable tempi that seemed to have the purpose of making sure things would fall into place. The finale último sounded almost prosaic in its stolid, heavy-footed, almost slo-mo conducting, regardless of beauty of sound. Most ensemble lacked clarity too, for these singers’ voices did not seem to blend as they should. Fortunately that was not the case of the mask trio, which was one of the highlights this evening.

I first heard Slávka Zámecniková singing Donna Anna’s aria in a video from the Neue Stimmen competition and was impressed by what she did there. I was curious about what she would achieve in a complete performance of the role – and I can say she did not disappoint me. She has the right Fach for this part – her soprano just runs effortlessly to its high notes, glides through every fioriture with accuracy and projects naturally in the auditorium. She seemed understandably nervous , and I am sure she can do even better than tonight. In any case, don’t mistake my words – she offered a beautiful, technically adept and fully stylish performance. Brava.

Elsa Dreisig is probably the best Elvira I have heard in a while, but I have to be honest. I don’t know if the Janowitz-impersonation is doing her any favors in this part. I don’t remember that constriction in her high register in her performance as Anna Bolena in Geneva, and I can’t help thinking that fullness of sound would have upgraded a correct performance to the status of greatness. But again, I’m being a bit picky here because the level of accomplishment is high enough to make one greedy for a little bit more. I am a bit less enthusiastic about Serena Sáenz’s Zerlina, for the part is on the low side for her voice and the middle register is not appealing as her high notes. She was sometime hard to hear too. I know the days when people like Mirella Freni would be cast in this part are over, but it’s such charming music that I think I’m entitled to dream.

I’m repeating myself here, but the bar is so low in what regards tenors in the part of Don Ottavio that Bogdan Volkov stands out with his amazingly long breath, clear divisions and ability of producing mezza voce. His is not a big voice and I wished he didn’t try to compensate that – with the heavy duty, his naturally pleasant tone finally sounds a bit grainy and not truly ingratiating.

Michael Volle’s imposing bass-baritone gets to the center of attention whenever he is singing. It still retains its tonal beauty and he worked hard for lightness and flexibility too. His Italian is a tad accented, and yet this is a minor observation. He proved to be responsive to the text and dramatic situations, and the slight rust in his mezza voce made sense in this “mature” approach to the role.

Replacing Riccardo Fassi in the last minute, Adam Palka was a bit in retreat compared to the rest of the cast. His is a big, rich but throaty voice that unfortunately often failed to pierce through. Peter Rose was not in his best shape as the Commendatore either. He sounded a bit tremulous and, having to sing really far upstage, found himself in disadvantage in terms of making his low notes carry into the hall.

I have to say that the singing by the Staatsoper chorus had been really below standard in both Così and Nozze. This evening they offered something a little bit closer to their reputation.