Mozart’s masterpiece “Don Giovanni” has been continuously discussed since its premiere in Prague in the autumn of 1787. Enlightened and profound men such as Kierkegaard, Nietzsche, Camus and Adorno argue about many things in this connection, but seem to agree on the following: Don Giovanni is something more than the usual asshole and skirt hunter. Because even if it is sometimes both preyed upon and killed, there is something admirable in driving life at full throttle, at the extremes of desire, without thought of the consequences. When Don Giovanni is finally given the choice between repenting of his sinful lifestyle or being consumed by the flames of hell, he chooses the latter without hesitation. His opponents, led by the vengeful Donna Anna, are left in the final scene as shadows of themselves. Facades without content The problem with Kilden Opera’s staging of “Don Giovanni” in Kristiansand is that director John Ramster shows no obvious interest in any of the characters on stage, least of all the protagonist himself. It has become a show that apparently wants nothing, other than to look modern and “fresh”. In the first act, familiar directorial tricks are used, without establishing either a clear environment or a clear narrative. CREATIVE: Bridget Kimak’s costumes elevate the first act. Photo: JOHN READING Bridget Kimak’s scenography is characteristically dominated by facades without content, and a stage that rotates more or less non-stop. At the same time, there are many theatrical qualities here. Kimak’s costumes in the masked ball scene are fun and creative. Several scenes are quite funny, especially those with Leporello, Don Giovanni’s comic sidekick. Picks up considerably The performance also picks up considerably in the second act. The commander’s ghost eventually begins to wander around, which adds a long-awaited element of darkness and mystery to the show. The commander’s big confrontation with Don Giovanni actually gives real goosebumps, not least thanks to Young Doo Park’s thunderous bass voice. BLASS CHARM: Don Giovanni (Nicholas Lester, reclining), the Commander (Young Doo Park, th) and Leporello (Andri Björn Róbertsson). Photo: John Reading But even this scene does not manage to escape the show’s fundamental problem: that it fails to create any fascination for the Don Giovanni character. He ends up as a somewhat bland charmer who grows up. Not very Kierkegaardian, so to speak. Uneven from a strong soloist ensemble On the soloist side, the performance boasts a strong mix of Norwegian and foreign singers. Here there is a lot of good, and something a little uneven. To start locally: Ingunn Olsen Høgetveit makes a charming Zerlina, while Tromsø native Brynjar Ønsøien periodically struggles to reach the edge of the stage in the role of Masetto. Australian Nicholas Lester, on the other hand, is a good-sounding baritone, but unfortunately is also unable to singly lift the Don Giovanni character above the somewhat lackluster. Bass-baritone Andri Björn Róbertsson, on the other hand, has good comic timing and all in all makes a convincing Leporello. Norwegian stars disappoint When I got on the plane to Kristiansand at the weekend, I was most looking forward to hearing soprano Mari Eriksmoen in the role of Donna Anna. STAR SOPRAN: Mari Eriksmoen is not entirely convincing in the role of Donna Anna. Photo: John Reading Eriksmoen has already garnered international recognition in the role of the peasant girl Zerlina in this opera. Now she steps up her game by taking on perhaps Mozart’s most demanding and dramatic soprano role: the noblewoman Donna Anna, Don Giovanni’s dramatic counterpart. I am not convinced. Admittedly, Donna Anna’s big solo scene in the second act is fabulous, with poignant fervor in the opening movement and full control over breakneck vocal antics in the second movement. The fierce emotional outbursts in the first act, on the other hand, lack dramatic nerve and temperament. Eriksmoen’s voice has become warmer and fuller, but currently lacks an element of intensity and “edge” to fill this demanding role. Nor is tenor Magnus Staveland at his usual high level this evening in Kilden. Don Ottavio’s two arias are linked in expression, lacking elegance and precision in the high register. UNDER PAR: Tenor Magnus Staveland as Don Ottavio did not deliver top marks during the premiere. On the left, Mari Eriksmoen as Donna Anna. Photo: John Reading Brilliant Donna Elvira The performance’s most outstanding vocal performance is delivered by the young Spanish-British soprano Alexandra Lowe in the role of Donna Elvira. Lowe has a wonderful voice and effortlessly and convincingly alternates between rage, passion and despair. Southerners should know their visiting times, because this lady is going to be sought after. In addition, many of the opera’s beautiful vocal ensembles are also magnificent, which are consistently sung with perfect balance and precision. BRILLIANT: Soprano Alexandra Lowe in the role of Donna Elvira. Photo: John Reading The quartet in the first act is the first time this evening that hairs stand on end. The unbearably beautiful little trio part in the first act finale with Donna Anna, Donna Elvira and Don Ottavio is vocal art of a rare brand. Here, the musicians will also get their deserved share of the credit. Kristiansand Symphony Orchestra is essentially a joy to listen to under Estonian Risto Joost. Admittedly, the strings are occasionally slightly sour. But the woodwinds color the many vocal numbers brilliantly. And the scene where the Commander confronts Don Giovanni is, as already mentioned, fantastic. Here, singers and orchestra show how overwhelming opera can be when the music claps. Then it’s all the more a shame that the director doesn’t have more on his mind. news reviewer Photo: John Reading Title: “Don Giovanni” Location: Kilden theater and concert hall Music: Wolfgang Amadeus Mozart Libretto: Lorenzo da Ponte Musical direction: Risto Joost and Marit Tøndel Bodsberg Weyde Director: John Ramster Scenography and costume design: Bridget Kimak Lighting design: Jake Wiltshire Cast: Nicholas Lester, Alexandra Lowe, Mari Eriksmoen, Andri Björn Róbertsson, Young Doo Park, Ingunn Olsen Høgetveit, Magnus Staveland, Brynjar Ønsøien. Date: 17 September – 29 September
ttn-69
“Don Giovanni” at Kilden theater and concert hall – Reviews and recommendations
