I have seen a lot of Don Giovannis. I've seen it set in a strip club, on a slag heap and in modern dress. I often wish that I could see a straightforward production in period costume with no gimmicks. Well here it is and, ungrateful wretch that I am, I found it quite boring.
Michael Grandage's production uses a simple but effective set set consisting of a network of boxes. This is becoming a Met trade mark. Similar sets were used in their productions of Doctor Atomic and The Damnation of Faust. At least it makes for quick scene changes.
There are some big names in the cast but the overall effect is underwhelming. Mariusz Kwiecien lacks gravitas as the Don. Luca Pisaroni is a colourless Leporello. Ramon Vargas is a stodgy Don Ottavio. Joshua Bloom is a decent enough Masetto. At least these roles are competently sung. I was less keen on Marina Rebeka's foghorn Donna Anna and Barbara Frittoli's shrill Donna Elvira. Mojka Erdmann is a charming Zerlina. It was good to see her too, after only hearing her as the Woodbird in Siegfried. Even she cannot reduce the embarrassment of her aria imploring Masetto to beat her. Most directors these days allow a touch of irony in this aria but this production appears to be an irony-free zone.
Michael Grandage's production uses a simple but effective set set consisting of a network of boxes. This is becoming a Met trade mark. Similar sets were used in their productions of Doctor Atomic and The Damnation of Faust. At least it makes for quick scene changes.
There are some big names in the cast but the overall effect is underwhelming. Mariusz Kwiecien lacks gravitas as the Don. Luca Pisaroni is a colourless Leporello. Ramon Vargas is a stodgy Don Ottavio. Joshua Bloom is a decent enough Masetto. At least these roles are competently sung. I was less keen on Marina Rebeka's foghorn Donna Anna and Barbara Frittoli's shrill Donna Elvira. Mojka Erdmann is a charming Zerlina. It was good to see her too, after only hearing her as the Woodbird in Siegfried. Even she cannot reduce the embarrassment of her aria imploring Masetto to beat her. Most directors these days allow a touch of irony in this aria but this production appears to be an irony-free zone.