Don Giovanni

Remember how they dubbed the songs in movie musicals so the singer's face would never look awkward while vocalizing? Juliane Banse is expressive and sublimely beautiful at every moment here. I never thought I'd purchase a 'Don' for the Zerlina. I'm a fool in love. By now it should be obvious. Oh, and the opera was staged without a lot of the opera buffa clowning of the last couple of televised 'Dons' I've seen. Refreshing. But I couldn't take my eyes off Juliane Banse.

I love opera, Mozart and Don Giovanni, the titular character is so vivid complete with a compelling story and Mozart's darkest and perhaps most complex score. While not by all means my favourite production of the opera, that's between the 1979 Joseph Losey film, the 1987 production with Ramey, the 2000 production with Terfel and Fleming and the 1990 Met production again with Ramey, this 1995 production is still excellent.

Overall, it is brilliantly staged especially the Commendatore scene. Only one scene came across as questionable and that was Viva La Liberta, over repeat viewings of Don Giovanni this has grown as yet another favourite of this fine score, and is deserving of good staging. I wouldn't say the staging was terrible, just not my idea of how it should be staged, instead of the effective idea of the trio facing away from the stage crowd it has Giovanni for example cavorting his hips whilst lying on the floor.

This production is interesting visually. The camera work is very good with it not being too distant that you can't empathise with the singers, and the picture quality is sharp. At first I was disappointed at the lack of sets, but I now think it fitted perfectly with the modern dress, which was quite effective even if you can't always take Giovanni seriously as a nobleman.

Mozart's music is incredible, with the Commendatore scene one of my many favourite opera scenes of all time, and it deserves a good orchestra and conductor. Played on period instruments, which gave the performance some authenticity, which I loved, the orchestra are indeed excellent especially the woodwind and brass in the more dramatic moments. The cellos and basses at the start of the overture are also suitably authoritative. The conducting is always assured while never rushing or dragging.

Before I talk of the performances, I wish to talk about how amazing the Commendatore scene was. It was incredibly terrifying and thrilling, apart from Giovanni's scream as he descends into hell which was reminiscent of a pantomime shout than a scream that curdles the blood(Thomas Allen for me is the king for the latter).

Of the many fantastic performances here, while his singing is lacking in musicianship for me, Gilles Cachemaille does has a very good voice and his Giovanni is like a charismatic albeit a sexually, physically mentally dangerous man, which I imagine Don Giovanni to be like. John-Mark Ainsley is one of the better Ottavios I can think of in a while, after seeing several performances in a row where Ottavio has been bland and not always confidently sung, Ainsley sings wonderfully, it is very lyrical and has a certain sweetness and agility that I think has been missing from a number of Ottavios I've seen. He is a decent actor too.

Hillevi Martinpelto plays Donna Anna in a fiery manner, yet also succeeds in making her a sympathetic character. Her singing especially in Non Mi Dir is radiant. Adrianne Pieczonka's Elvira while bringing out the character's spite also is very touching. Her Mitra Di is one of the better renditions I've heard recently. Roberto Scaltriti is a warm-voiced and handsome Massetto, and I found he and Bance adorable together. Gudjon Oskarsson is a menacing and imposing Commendatore, his voice especially is very commanding which makes all the terror and thrills of the final scene all the more believable.

The two best performances come from Julianne Banse and Steven Page as Zerlina and Leporello. Banse's Zerlina is both warm and adorable, and she makes her singing sweet and innocent as well as beautiful. Her Batti Batti makes my heart break thinking about it, and what can I say about her Verdrani Carino other than the fact it had such a sensuality to it. Page, complete with a deep rich sound, sticks to the basic concept of Leporello(loyal and bumbling in a sense), but what also makes Page's Leporello so remarkable is how much more he does with it. Of course he is hilarious, but here Leporello is so much more than the funny character, Page makes him very three-dimensional, which is refreshing.

In conclusion, an excellent production if just falling short of perfection. 9/10 Bethany Cox