Don Giovanni

This production takes the worry out of opera, not by dumbing down, or making it too simplistic. Brooks' staging is uncluttered and intimate. The performances are physically dynamic and there is very little pomp and circumstance in this modern costumed production.

I have always enjoyed classical music, but (to my shame) not speaking enough French and no German/Italian [insert operatic singing language of your choice here], I have always felt intimidated about attending a full blown opera at say Covent Garden, that coupled with a bad experience of Benjamin Brittin's Albert Herring at the age of 14 always put me off. HOWEVER! This production shown on BBC 2 was superb. Peter Brooks' brief introduction as to the thinking behind his staging was very informative, especially when he explained that he did not intend to approach it in as (melo)dramatic manner as previous productions. He succeeded. The set was simple and open with painted hurdles and benches to be used (and moved) by the principle characters to denote various locations. He had the orchestra on the stage at one point. The principles all turned in excellent performances, especially Don Giovanni and Leperello his man servant. Their relationship was on a par with any of those found in Shakespeare. Peter Mattei was dynamic as Don Giovanni and has a beautiful baritone voice. His Leperello - Gilles Cachemaille a perfect foil, and they both brought out the humour in the play and the Don's arrogance.

The upshot is that Peter Brooks' production has given me a hankering to go and see a live performance, and surely that is what it is all about.

PS: My only criticism - get the cameraman sorted! We sometimes want to see the whole stage.

I don't think it is the best one of all, I love the 1979(Losey), 1987(the one with Ramey) and 2000(Terfel and Fleming) just a little more. However I thoroughly enjoyed this Don Giovanni and I would personally put it in the top 7 of the best productions of it.

There is only one small criticism I have of it, and it is that I agree that the camera work(which was otherwise very good) could've done more with using the whole stage.

Small criticism aside, I love how minimalist yet effective it is when it comes to the sets and of the costumes I loved Giovanni's and Zerlina's best of all. The staging and direction are thoughtfully done too, the beginning was most informative and beneficial I think as well.

From a musical point of view, this Don Giovanni also excels. The orchestra play powerfully and stylishly and Harding's conducting is authoritative with no flaccid tempos in sight. Overall, a truly great job was done bringing out what is perhaps Mozart's darkest and most complex score.

The singing is wonderful. Peter Mattei is superb as Giovanni, handsome with a warm tone, and in the acting he is a devilish rogue while also irresistible. Gilles Cachemaille couldn't have been a more perfect Leporello, the part where he and Giovanni switch roles is done better than any other singers singing and acting this part of the opera.

Merielle Delunsch is a fragile and spiteful Elvira, her Elvira also develops as a character and is effective at providing the opera's heart. Alexandra Doherties gives a fiery interpretation of Donna Anna while also giving subtlety and delicacy.

Lisa Lasson is a very charming Zerlina. Mark Padmore sings and acts Ottavio very well, there is style, musicality and agility in the singing and he is never too staid in his acting. Massetto is solid, and the Commendatore is very intimidating as he should be like.

All in all, a brilliant Don Giovanni and one of the best ones I've seen. 10/10 Bethany Cox