Latter-day Don doesn't quite seduce
Murray Black | July 07, 2008
Don Giovanni by Mozart
Director; Elke Neidhardt. Conductor: Mikhail Agrest.
Sydney Opera House, July 5. Tickets: $102-$246.
Bookings: (02) 9318 8200. Until September 10.
DIRECTOR Elke Neidhardt never shies away from taking risks. Whatever you think of the outcome, there's no denying the intellectual rigour and narrative coherence of her creations.
In her new production of Don Giovanni, the action is transferred from the 18th century to a stylised contemporary setting that conveys the universality of the story. The abstract but adaptable set is dominated by black and white hues, with periodic splashes of colour coming from flashing neon signs, washes of orange lighting and the sometimes garish costumes.
Ultimately, though, Neidhardt's dark, sombre vision of Don Giovanni only partially convinces. Addicted to the instant gratifications of sexual promiscuity and sensual pleasure, there's nothing glamorous about Giovanni's lifestyle. He just seems to be going through the motions.
That's fair enough on one level, but we need to believe there's something enjoyable and appealing about it if he is to have the vitality and allure that make him both irresistibly attractive to women and the opera's dominating force.
Unlike some directors, Neidhardt has certainly thought through the logical consequences of her modern adaptation. Superstitious elements are reinvented as cocaine-fuelled hallucinations. Concepts of heaven and hell have become meaningless so the final moralising sextet is removed. Instead, Giovanni's departure leaves the other characters dazed and confused.
There are drawbacks here, too. The central character's refusal to repent draws its power and courage from knowing that eternal damnation follows. Here it is diminished because we don't really sense what its consequences are.
Although Hungarian bass-baritone Gabor Bretz's interpretation of Don Giovanni suited Neidhardt's vision, he lacked the necessary charisma and charm. Vocally, however, he was persuasive, cleverly varying his tone to match the moment: rich and full-voiced when wooing his romantic prey, lighter and more unadorned elsewhere. Even finer was Joshua Bloom's Leporello. Sustaining a burnished, resonant timbre, his singing impressed with its excellent dynamic control, fluid phrasing and superb dexterity while his performance captured his character's cunning and servile resentment.
As Donna Anna, Rachelle Durkin's strong sense of line and bright, piercing tone suited the determined intensity of her character. Catherine Carby's richly coloured singing and passionate acting made for a fiery, feisty Donna Elvira, tormented by her conflicting emotions towards Giovanni. Henry Choo (Don Ottavio), Amy Wilkinson (Zerbina) and Richard Alexander (Masetto) all provided sterling support and the orchestral playing under the direction of Mikhail Agrest was largely stylish and alert.
In spite of its flaws, Neidhardt's production largely overcomes the inherent dangers that lurk in updating an opera. Even if it doesn't stir the emotions, her Don Giovanni stimulates the mind like few other productions have done.
