(review in English below)
Esta produção do Don Giovanni tem a assinatura de Herbert Föttinger (encenação de Walter Vogelweider). O palco é rotativo
e tem três paredes brancas cada uma com duas grandes portas negras. Tudo se
passa aí, com o palco em rotação frequente, mas a acção não é por isso
dinâmica. Passa-se nos nossos dias, Don Giovanni parece um chulo, o Leoporello
um palerma de capote e laptop e dominam criados de saias e saltos altos ou
botas pretas altas, dos dois sexos, as próprias Donna Anna, Donna Elvira e o
Maseto aparecem assim vestidos, e há muita nudez gratuita pois por várias vezes
aparecem despidos da cintura para cima, frequentemente com uma mascara dourada.
Não gostei, não trouxe nada de novo à opera.
Fotografia / Photo Thomas Dashuber
Fotografia / Photo Thomas Dashuber
Fotografia / Photos Thomas Dashuber
A direcção
musical foi decente, do maestro Anthony
Bramail. Nos cantores, um grupo homogéneo e de boa categoria. O barítono Mathias Hausmann (Don Giovanni) tem uma
voz decente e agradável, e uma óptima figura para o papel. O Leoporello de Matija Meic foi bom sem deslumbrar, o
mesmo se pode dizer de Sophie
Mitterhuber (Zerlina). O tenor Lucian
Krasznec foi um Don Ottavio de voz poderosa e bonita e as melhores foram Sophie Brommer (Donna Anna) com uma voz
imponente e afinada, e Camille Schnoor
(Donna Elvira) que também se impôs na qualidade cénica e vocal.
***
DON GIOVANNI, Gärtnerplatztheater,
Munich, July 2018
This Don Giovanni production has the signature of Herbert Föttinger (staging by Walter Vogelweider). The stage is rotating and has three white walls each with two large black doors. Everything happens there, with the stage in frequent rotation, but the action is not very dynamic. It happens in our days, Don Giovanni looks like a pimp, Leoporello a fool with a cape and laptop, and dominate servants in skirts and high heels or tall black boots, both sexes, even Donna Anna, Donna Elvira and Maseto appear dressed like this , and there is plenty of nudity because they are often stripped from the waist up, often with a gold mask. I did not like it, it did not bring anything new to the opera.
The musical direction was decent, of maestro Anthony Bramail. Concerning the singers, a homogenous group of high category. Baritone Mathias Hausmann (Don Giovanni) has a decent and pleasant voice, and a great figure for the role. Leoporello (Matija Meic) was good without dazzling, the same can be said of Sophie Mitterhuber (Zerlina). Tenor Lucian Krasznec was a Don Ottavio with a powerful and beautiful voice and the best were Sophie Brommer (Donna Anna) with an imposing and refined voice, and Camille Schnoor (Donna Elvira) who also imposed on the scenic and vocal quality.
***
This Don Giovanni production has the signature of Herbert Föttinger (staging by Walter Vogelweider). The stage is rotating and has three white walls each with two large black doors. Everything happens there, with the stage in frequent rotation, but the action is not very dynamic. It happens in our days, Don Giovanni looks like a pimp, Leoporello a fool with a cape and laptop, and dominate servants in skirts and high heels or tall black boots, both sexes, even Donna Anna, Donna Elvira and Maseto appear dressed like this , and there is plenty of nudity because they are often stripped from the waist up, often with a gold mask. I did not like it, it did not bring anything new to the opera.
The musical direction was decent, of maestro Anthony Bramail. Concerning the singers, a homogenous group of high category. Baritone Mathias Hausmann (Don Giovanni) has a decent and pleasant voice, and a great figure for the role. Leoporello (Matija Meic) was good without dazzling, the same can be said of Sophie Mitterhuber (Zerlina). Tenor Lucian Krasznec was a Don Ottavio with a powerful and beautiful voice and the best were Sophie Brommer (Donna Anna) with an imposing and refined voice, and Camille Schnoor (Donna Elvira) who also imposed on the scenic and vocal quality.
***
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