Indeed, the orchestral sections were not always together, and occasionally were not in rhythmic sync with the soloists. From the audience perspective, his vibrating wave of baton motions seemed nearly impossible to follow at times. His conducting, however, was a bit of an enigma. Due to the brilliantly realized bass figurations and beautifully shaped phrases of Robert Mollicone on fortepiano, each of the many recitatives in this opera became a highly anticipated (and much savored) morsel of gorgeous sound.įrench conductor (and Early Music specialist) Mark Minkowski clearly shared and developed this sparkling “period” approach, while also unleashing dark, heavy chords of foreboding and drama when needed. The overall effect was one of new discovery, insights, reactions and even a new awareness of Mozart’s sheer genius – not only for melodic invention, psychological perception, or plot/character portrayal through the music – but also for his unique ability to dovetail vocal and orchestral lines as part of the commentary or action.Īnd the action moves relatively quickly in this production, even though the company performs an elongated “composite” of the Prague and Vienna versions, including the epilogue but also adding some often-cut recitatives. This production also offered the San Francisco Opera debut for conductor Mark Minkowski and for several principal cast members as well. These included wonderful new direction by Jacopo Spirei and new (highly evocative) scenic adaptations by German designer Tommi Brem, who projected ghostly videos and images of the offstage characters on 21 long, hanging mirrors, which dangled and turned like shards of a giant overhead chandelier in Don Giovanni’s banquet hall. This production isn’t new (it was first staged in 2011), and is consequently the core of stable familiarity in the center of a meteor shower of new introductions for San Francisco audiences. ![]() San Francisco Opera’s current production of Don Giovanni stays in the mind and heart for a long time after experiencing it, tantalizing the senses much like a good wine that would have been treasured by the opera’s title character.
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