Don Giovanni – Zurich 2006 (Part 2: Never Put Your Hand Inside a Singing Statue)

Simon Keenlyside
as Don Giovanni
as Leporello

As I noted yesterday, I didn't like this Don Giovanni much the first time I watched it. But reading the Earworm's recent reviews encouraged me to revisit the performance. The mirrors and drapes and other nice touches in the production emphasize the ambiguity that one often feels about this opera. Donna Anna sings her Act 2 aria (Non mi dir) supposedly to Ottavio, but she is wearing Giovanni's red velvet jacket, and holding the hand of her dead father (or the hand of a representation of her dead father.) Her heart belongs to Daddy, and she feels obligated to Ottavio, but I think she wants Giovanni. As Ottavio moves towards her, she steps downstage, waves her hand to bring down a curtain behind her, blocking Ottavio. She sings the bravura ending of her aria "in one", downstage in front of the curtain.

Don Giovanni – Zurich 2006 (Part 1: The Music and The Mirror)

After reading the Earworm's recent review(s) of this performance, I decided watch it again. The first time (seems like ages ago, but was only a few months), I had trouble finding a way into the director's concept. I just didn't care that much. It's still not a top favorite Don Giovanni, but I like it better and I understand more of it now.

Die Zauberflöte – Zurich 2000 (Part 2: Pounced into eternal night)

Recap of the last post: Music 10 (well sung, well played), Looks 3 (we are not (very) amused)

Jonathan Miller told an interviewer that the Queen of the Night is the Empress Maria Theresa, and the opera is about light and reason and freemasonry.

So this production is regie, but maybe it isn't? Sort of.  It could  be.  I feel Miller should go further to make his point about the enlightenment and freemasonry.* Be more French. Somehow make it clear why he bothered.  

Die Zauberflöte – Zurich 2000 (Part 1: Light and Reason and Freemasonry)

During the Overture, Tamino reads a book, (the set is some sort of library/temple combo) and falls asleep. Is this going to be staged as a dream sequence? Yup. Or…no. Actually the audience is more likely to fall asleep.  The Zurich Zauberflöte of 2000 is a static staging, but not in the way that makes you pay attention like Robert Wilson’s Orphée. It’s static in a way that makes you start making a mental grocery list. 

Although I have issues with the staging, this disc is worth checking out for fine music-making. I got it mostly because I really wanted to see Malin Hartelius as Pamina.  (Every time she entered, I thought, “She’s so pretty!” She sings really well too.)