I am presenting a recital as a farewell to San Francisco before I move to New York City on September 17th. The all-operatic repertoire features arias by W.A. Mozart, G.F. Handel, Gioachino Rossini, Vincenzo Bellini, Charles Gounod, Ralph Vaughan Williams, Pietro Mascagni, and San Francisco-based composer Kirke Mechem, as well as duets by Mozart. I will be joined by baritone Matthew Tierney, and accompanied by Kerrilyn Renshaw.
0 Comments
Merola Opera Program's Don Giovanni (directed by James Darrah with Martin Katz on the podium) was a dark, sexual, and thoroughly enjoyable experience. The production style was bleak and abstract. The staging was wonderfully varied. A standout exception to that was the end of Act I, where most of the characters were frozen except Don Giovanni and Zerlina, who were grappling in the midst of them. It was jarring next to the vibrant music and emotions and implied action; the still staging crippled the energy at a point where the show needed it most. However, apart from two or three moments like that, where it flat-out contradicted the spirit of the music and libretto, the staging was brilliant, layered, and well-executed. I absolutely adored the allusions to rape culture and how the production addressed the cultural themes and dysfunctional relationships within the opera. The tableau during the closing sextet that illustrated the characters' unhealthy relationship dynamics worked for me. Also, having Elvira physically overpower Leporello at the end made me extremely happy. Edward Nelson brought wonderful intensity to the role of Don Giovanni. His voice was consistent and clear throughout the registers. His recitativi showed off his extensive vocal palette; a few were a tad too quiet and fast for the space, but still kept core sound. His acting was top-notch. His presence was unbelievable. I found myself hating him and rooting for him at the same time. His commitment to the moment, the music, and the acting was memorable and moving. I liked the idea of Don Giovanni being an artist. The five or so sketchbooks made for really engaging staging during the Catalogue Aria. Seeing the nude sketches really illustrated exactly how far Don Giovanni gets with the women he seduces. It gave Karen Chia-ling Ho (Donna Elvira) some really visceral and immediate images to react to. Although it might have been good for Szymon Wach, who was a fabulously endearing Leporello, to have had more practice time with the sketchbooks, his occasional difficulties provided some emotionally truthful moments and unexpected humor. All of the ladies brought real depth and beauty to their roles, in addition to showcasing their phenomenal instruments. Amanda Woodbury was an incredible Donna Anna. Her strong, clear voice embodied Donna Anna's inner strength, while the sadness she drew from herself really tinted her character a heartbreaking hue. Yujin Kim was an energetic, adorable Zerlina. Karen Chia-ling Ho was my favorite. She was just so moving. Her excellent acting and vocal ability came together to really bring Donna Elvira to emotionally poignant life. Rhys Lloyd Talbot (Masetto) was really engaging, even as such a buffoonish character. Making him nearsighted was brilliant; it made the mistaken identity moment (which coincidentally had some strangely homoerotic staging for a hot minute right before Giovanni starts beating Masetto) much more believable. This was a phenomenal, innovative, engaging, and brilliantly-performed production. Bravi tutti. http://merolaopera.com/merolaartists http://merola.org/ |
AuthorMaayan is a Manhattan-based opera singer. Archives
January 2019
Categories
All
|