We just found out from our friends at Barihunks, that the video of Edwin Crossley-Mercer's Don Giovanni is finally available. They wrote:
Thanks to a heads up from an alert reader, we've learned that Edwin Crossley-Mercer just performed his first Don Giovanni in Dijon, France. He was joined by fellow barihunk Damien Pass as Masetto. If you missed the performance, you're in luck, as it's temporarily available on Medici.tv. Click HERE to watch the entire performance.What a lovely Easter present. We can't wait to see it! In the same post, Dreamy Casting: Barihunks on the air, they mentioned several other broadcasts already available or coming soon. Thanks, Barihunks Blog!
I have posted my comments on your blog about the excellent performance of Mr Crossley-Mercer at Dijon and given my "humble" opinion about the disastrous incompetents who "manage" (?) the scenic representation. Don Giovanni and Leporello "saved the day", as it were, for the chappie who thought that he should innovate the scenery that was one more obstacle to be hurdled by those who make us love opera, the singers and the musicians. This is a serious, a very serious stumbling block and every effort should be made to put the performance in the hands of musicians, not interlopers from other theatrical arts whose hazy ideas produce haze only. Today's intellectual snobs are legion and growing.
ReplyDeleteT.
I don't understand all the politics and hierarchy of the opera house. But I agree that the work of art (the opera - words and music) should be given first place. If the director and conductor don't see eye-to-eye, lock them into a room together until they work out an agreement.
DeleteWhile I thought the scenery in this Don Giovanni was a stumbling block - literally - and I fault the production for it, I fault the director even more for the lack direction. If I want to see singers stand and sing, I will take in a concert opera performance. And frankly, I have seen better acting in concert.
I look forward to seeing these singers with a director who knows how to work with singers. Thanks again for sharing your thoughts!
Dear Rob,
ReplyDeleteIf I felt that I could help you understand why the person directing the stage production, the scenery and all that goes with it, has the last word, and is looked upon as some sort of genius, believe me, I would.
In Europe, this is a repetitive ailment or affliction, although I cannot tell you why, but it has been going on for at least 25 years.
I have a American friend who lives in Germany, who is 78 years old and who has been in the operatic world as a pianist and conductor for the last 50 odd years. He does not know the answer to this question either, which I formulated to him only one week ago.
I can only repeat what I had to say about the funding of operas in the States and in Europe. The American patrons of the arts are more conservative than the uncontrolled opera houses in Europe who benefit from state funding.
I can only tell you what happens in opera in Europe and that the number of intellectual snobs is beyond belief. I can NOT tell you why this is so. These are they who bully the public into looking at scenery which is an outrage to the composer, the cast, the orchestra and the conductor. I have often thought what the solution might be, but can only say that if I were a member of the media consulted to write a "critique", I would devote several words about the scenery, giving the person responsible very short shrift and make him or her "eat" the responsibility conferred upon them by refusing to make any other comment about the scenic "invention".
This dangerous scenic irresponsibility in Europe, or in any other country in which it might crop up, deserves the closest of attention, since it compromises the very quintessence of opera, which, incidentally, these interlopers from the theater believe is a play "sung" instead of "spoken". That truth is infinitely sad.