(review in english below)
Don Giovanni, de Mozart,
tem sido a ópera mais comentada neste blogue na presente temporada. Já o foi
aqui, aqui, aqui e aqui! E ainda haverá mais.
Tive
oportunidade de assistir a uma récita ao vivo no Met (da produção que foi
transmitida há poucos meses no MetLive em HD mas que, à data, não tive
possibilidade de ver) e aqui deixo as minhas breves impressões.
A
encenação de Michael Grandage é clássica, interessante e bem
conseguida, com as personagens a aproveitarem as muitas varandas disponíveis em
vários andares dos prédios no palco. A parte mais original foi a cena do
cemitério, de grande efeito cénico.
Dirigiu,
muito bem, o maestro Andrew Davies.
A Orquestra do MET é excelente e a interpretação foi de elevada qualidade.
Nos
cantores reinou o equilíbrio e a qualidade, vocal e cénica (e todos os cantores
tinham boas figuras, o que ajudou muito à parte visual do espectáculo).
Don
Giovanni foi interpretado pelo barítono canadiano Gerald Finley. Há poucos meses já o havia visto em Londres no mesmo
papel. Fez muito bem a personagem, com a dose equilibrada de maldade e sedução.
A voz é excelente, timbre bonito e sempre bem audível.
Leoporello
foi o excelente baixo barítono norte americano Kyle Ketelsen. A voz é forte, bem projectada e assaz interessante
nas nuances que lhe imprime.
Cenicamente foi dos melhores da noite e, quando se fez passar por Don Giovanni,
foi notável.
Marina Rebeka, soprano da Letónia, foi uma Donna Anna extraordinária.
A voz é clara e de uma beleza invulgar, esteve sempre afinadíssima e a potência
é assinalável. Apenas o registo mais agudo é, por vezes, mais em esforço, mas
mantém o elevado nível interpretativo. Cenicamente foi irrepreensível.
Matthew
Polenzani, tenor norte americano que também vi há poucos meses em Londres
no mesmo papel foi um Don Ottavio
excepcional. A voz é de um lirismo deslumbrante, o cantor projecta-a na
perfeição e a interpretação foi superlativa. Foi o mais ovacionado da noite
mas, para mim, Finley e Ketelsen não foram inferiores.
Também
a Donna Elvira do soprano norte americano Ellie
Dehn foi muito agradável. Voz bonita, límpida e alegre, esteve sempre bem
em palco.
Shenyang,
baixo barítono chinês foi um Masetto interessante mas talvez o menos brilhante
dos intérpretes masculinos.
A Zerlina
do meio soprano norte americano Isabel
Leonard teve uma presença agradável em palco e é uma cantora possuidora de
uma voz agradável, bem adequada ao papel mas que, ocasionalmente, se ouvia mal.
Finalmente
também uma palavra de elogio ao veteraníssimo baixo norte americano James Morris que foi um Commendatore de
presença quase assustadora e voz profunda e grave.
Um
excelente Don Giovanni que primou pelo equilíbrio artístico
*****
DON GIOVANNI,
METropolitan Opera, New York ,
March 2012
Don Giovanni, by Mozart has been the most commented opera in this blog this season. It happened here, here, here and here! And this will not be the last time.
I had the opportunity to attend a performance live at the Met (the production that was broadcast a few months ago in MetLive in HD but I have not had chance to see it) and here I leave my brief impressions.
Don Giovanni, by Mozart has been the most commented opera in this blog this season. It happened here, here, here and here! And this will not be the last time.
I had the opportunity to attend a performance live at the Met (the production that was broadcast a few months ago in MetLive in HD but I have not had chance to see it) and here I leave my brief impressions.
The staging
by Michael Grandage is classic,
interesting and successful, with performers to take advantage of the many
balconies available on various floors of the buildings on stage. The
most original part of the cemetery was the scene of great scenic effect.
Conductor Andrew Davies was responsible for a good musical direction. The MET Orchestra is excellent and the interpretation was of high quality.
Among the singers balance and quality, both vocal and artistic, dominated (and all the singers had good figures, which helped a lot to the visual part of the show).
Don Giovanni was played by Canadian baritone Gerald Finley. A few months ago I had already seen him inLondon in the same interpretation.
He did very well the character, balanced with a dose of evil and
seduction. The voice was
excellent, beautiful tone and always audible.
Leoporello was the North American bass baritone Kyle Ketelsen. He showed great vocal quality and stage performance. The voice was strong and quite interesting in the nuances the singer made. Artistically he was the best of the night, and when he changed the role with Don Giovanni, he was remarkable.
Marina Rebeka, Latvian soprano, was an extraordinary Donna Anna. The voice is clear and of unusua beauty, she has always been in tune and the power was remarkable. Only the top record is sometimes, msung in effort, but maintains the high level of interpretation. Artistically she was blameless.
Matthew Polenzani, North American tenor which I also saw a few months ago inLondon on the same role
was an outstanding Don Ottavio. The voice is of a stunning lyricism, the singer
projected it to perfection and the interpretation was superlative. He was the
most acclaimed of the night but for me, Finley and Ketelsen were not inferior.
Also North American soprano Ellie Dehn was very nice Donna Elvira.She has a beautiful voice, clear and cheerful, and she was always well on stage.
Shenyang ,
Chinese bass baritone was an interesting Masetto but, perhaps, the less
brilliant of male performers.
Conductor Andrew Davies was responsible for a good musical direction. The MET Orchestra is excellent and the interpretation was of high quality.
Among the singers balance and quality, both vocal and artistic, dominated (and all the singers had good figures, which helped a lot to the visual part of the show).
Don Giovanni was played by Canadian baritone Gerald Finley. A few months ago I had already seen him in
Leoporello was the North American bass baritone Kyle Ketelsen. He showed great vocal quality and stage performance. The voice was strong and quite interesting in the nuances the singer made. Artistically he was the best of the night, and when he changed the role with Don Giovanni, he was remarkable.
Marina Rebeka, Latvian soprano, was an extraordinary Donna Anna. The voice is clear and of unusua beauty, she has always been in tune and the power was remarkable. Only the top record is sometimes, msung in effort, but maintains the high level of interpretation. Artistically she was blameless.
Matthew Polenzani, North American tenor which I also saw a few months ago in
Also North American soprano Ellie Dehn was very nice Donna Elvira.She has a beautiful voice, clear and cheerful, and she was always well on stage.
Zerlina was
interpreted by North American mezzo Isabel Leonard. She had a nice presence
on stage and she is a singer with a pleasant voice, well suited to the role but,
occasionally, could not be heard well.
Finally a word of praise to veteran North American bass James Morris that was a Commendatore of an almost frightening presence and nice low register voice.
An excellent Don Giovanni with a perfect artistic balance.
Finally a word of praise to veteran North American bass James Morris that was a Commendatore of an almost frightening presence and nice low register voice.
An excellent Don Giovanni with a perfect artistic balance.
*****
Finley deve ser o melhor Don da actualidade! E Ketelsen é um mozartiano de nível superlativo e um actor exímio! Que sorte ter podido ver ao vivo este Don Giovanni!
ResponderEliminarIt is an opera I have seen and enjoyed in the past. However, five stars from you means this is a presentation that should not be missed!
ResponderEliminarCaro Fanático,
ResponderEliminaré muito bom assistir um concerto de alto nível em todos os parâmetros. Feliz de quem tem essa oportunidade.
Um grande abraço de todos do atelier