![]() The directorial solution seemed to be to emphasize the dramma, with Giovanni’s farcical seduction schemes coming off as more painful than funny.īut that choice imposed requirements of its own, the main one being some psychological insight into the characters. The casualness of the mis-en-scène put the burden of making it all believable squarely on the singers, quite a challenge considering the endless ambiguities of this dramma giocoso. A first-time viewer of this opera might wonder, for example, why aristocratic lovers were doing their horizontal thing in the street. The location of the opera’s action was as ambiguous as ever in this production, with the libretto’s many locales simplified into a street scene and a ballroom (and a graveyard more metaphorical than realistic), as Christopher Oram’s simple unit set slid apart and back together. ![]() Debutante conductor Cornelius Meister kept the show moving along smartly, with some lovely moments and only a few bobbles in the score’s three-hour span. Michael Grandage’s utilitarian 2011 production, this time with Luca Pisaroni as a smooth and haughty Don, was enlivened by new faces and voices in the roles of Donna Elvira, Don Ottavio, and Zerlina. It was a night of debuts at the Metropolitan Opera Wednesday, as Don Giovanni opened for the season with three singers and the conductor making their company bows. Aida Garifullina as Zerlina and Luca Pisaroni in the title role of Mozart’s “Don Giovanni” at the Metropolitan Opera.
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