Robert Gleadow (bs), Arianna Vendittelli (sop), Florie Valiquette (sop), et al, Ballet, Choeur & Orchestre de l’Opéra Royal de Versailles, conducted by Gaétan Jarry
184:00
Versailles Spectacles CVS115 (DVD & BlueRay)
This video stems from performances of a new production of Don Giovanni given by the Opéra Royal in the ravishing 18th-century court theatre in the palace of Versailles in November 2023. Generously both a DVD and a Blu Ray disc are included in the package; I viewed the DVD. Having been present on the opening night, I’m disappointed that on my admittedly not-wonderful TV, the picture of the stage is considerably darker than it was in the theatre. Of course, much of Don Giovanni takes place at night or least evening so that is to be expected to some extent but this stage picture frequently lacks clarity. The set itself, unchanging but for backdrops that aid in identifying the action as interior or exterior, is a town square in roughly star shape, the buildings including a couple with galleries for such scenes as Giovanni serenading Elvira’s maid. In general, it all works well, though the Commendatore’s statue turning up on Elvira’s doorstep seems a little incongruous.
The delightful multi-hued and busily decorated costumes owe an obvious debt to the commedia dell’arte tradition and interestingly both the Don and Leporello wear near-identical clothing, maybe as a suggestion that the latter is merely a more plebeian copy of his master. The link with commedia dell’arte was also apparent in the direction by Marshall Pynkoski, whose stated intention had been to make the piece fun. And indeed much fun was elicited, notable for the sheer exuberance and dynamism of such numbers as Leporello’s ‘Catalogue’ aria (although would he have behaved toward Elvira with quite that degree of familiarity?) or the finale of Act 1, which also benefitted from the spirited choreography of Jeannette Lajeunesse Zingg. Yet paradoxically the scenes that remain lodged in the mind are some of the more dramatic and serious moments. The supper scene, notoriously difficult to bring off convincingly, is outstandingly done, the swirling silvery mists around the magnificently authoritative statue of the Commendatore chilling in effect. Less commendable is the decision to allow the raucous laughter of the Don to have the final word. It contradicts the ultimate message of the opera, articulated in the words of the final ensemble: ‘This is the end that befalls evildoers’.
That the opening scene has a thrilling dramatic verve, can be not least attributed to the strongly projected Donna Anna of Florie Valiquette, who also responded to the recognition that Don Giovanni was her father’s killer with an accompagnato and succeeding aria ‘Or sai chi l’onore’ with real intensity and thrilling tone. In act 2 ‘Non mi dir’ and its preceding accompagnato bring another special moment, an oasis of stillness in the midst of manic activity. The Elvira of Arianna Vendittelli was also a performance of outstanding quality, culminating in a ‘Mi tradi’ that, with its preceding accompagnato brought another scena of interior and touching quality, a revelation of the vulnerability of a woman hopelessly in love.
The performance of Robert Gleadow as the object of that love, his first Don, occasions a more mixed reaction. Characterful and strongly and securely sung, Gleadow’s Giovanni projects a predator of animal energy. It was much in keeping with the kind of Don most producers tend to encourage these days. Yet it is a creation that not only overlooks the fact that Don Giovanni is a nobleman, not a slob that puts his feet on the table when eating dinner but, equally importantly that Francesco Benucci, the singer for whom Mozart created the role, was renowned for the finesse and grace of his singing and acting. Interestingly, when Don Giovanni was repeated in Vienna (it was of course written for Prague), Benucci sang Leporello; it is easy to imagine Riccardo Novaro’s outstanding Leporello stepping into the Don’s shoes. As indeed also applies to Jean-Gabriel Saint Martin, whose richly rounded Masetto was a revelation, one of the best I have seen. A more general observation regarding the singing is the tasteful and appropriate decoration added. Not the least aspect of the generally favourable impression of the cast was the manner in which it responded to Pynkoski’s long experience as a director who seeks to work with gesture and historically informed theatre, much in evidence in the highly effective groupings of the ensemble numbers – the production of the great act 2 sextet was a special highlight in this respect.
It is sad to have to report that amidst this truly excellent performance a large fly lurked in the ointment. In his fine book on the birth of conducting, Peter Holman has convincingly argued that the piano never superseded the harpsichord as a continuo instrument, yet opera conductors continue to employ it. Yet rarely can the piano have been put to such damaging use as it is here, where trite teashop tinkling pervades not only recitatives but at times also the orchestral texture, most ludicrously in the Don’s canzonetta, ‘Deh, vieni’, where what is supposed to be his mandolin accompaniment enters into a forlorn duel with the fortepiano.
Notwithstanding this blot on the performance, this was a splendid achievement all round, thoroughly enjoyable and insightful. Although not always in full agreement with Pynkoski’s work, I do admire without reservation the rare integrity he brings to all he does. This Don Giovanni is no exception.
Brian Robins
