Opera, “Don Giovanni”, Mozart, I was so familiar with these words without even knowing exactly what or who they really are because they are just so famous and classic. That was the reason I was longing for the night of November 7 since I got the syllabus, and my experience with “Don Giovanni” started long before and after that night.
Just as a habit, I read the synopsis of “Don Giovanni” before I got the reading packet. (Thanks to my mother to help me develop this habit since the first time I went to see a ballet performance. Also as a habit, I read all the synopsis in Chinese.) Because of curiosity, I watched the first scene of the first Act of the opera online. This video was the 1954 Salzburg Festival version with the Vienna Philharmonic Orchestra (sounds familiar, but not exactly the same cast). After attending the opera, I felt obligated to finish the entire video. As a result, I kept comparing the two performances, although I am not justified in doing so, because there are large differences between a video and a live performance.
There was always something good and something bad about a performance. The good aspect of this new production was its stage effect, which was truly fascinated. While I would like the set of Commendatore’s garden to be different from the set of the street, the overall design has realistically reflected the architectural style of the time period the story took place. I especially liked the villagers’ party scene, with the large empty space in the middle, a few rural houses on two sides and the bright golden light that suggested sunset. The set and lighting created a very charming atmosphere for this scene. The cemetery scene was a little funny. When I looked at the marble statues, I thought they were Japanese samurais, because the stage was dark and the statues were short. My favorite scene was when Don Giovanni was dragged to hell. The way Don Giovanni disappeared from stage has accurately reflected the concept of going down to hell. The fire effect was excellent in symbolizing the destruction of an evil life. The costumes were relatively unimpressive. They were too modern and casual. I couldn’t distinguish between Don Giovanni and Leporello’s costumes, since they wore similar white shirts and capes. Donna Elvira wore a blue dress (if I remembered correctly) which made her look like a country girl. I don’t remember what Zerlina wore. Donna Anna’s black dress and Don Ottavio’s black suit were set by the story, so nothing really special. Despite of these flaws, the non-performance elements were very well-done.
I was a little disappointed at the performing part of the opera. The main elements of the opera were music and songs. From where I sat, I felt the music was so flat. It couldn’t bring me into the mood of the opera. Moreover, the singers had too many unnecessary movements. Why did Don Giovanni lie next to the Commendatore after he killed him? Did Zerlina and Masetto have to roll around the ground to show their love? Why did Donna Elvira need to kneel on the ground to sing her fine aria? While these body movements were very expressive for dancers, singers shouldn’t have too many deliberate movements. First, singers couldn’t concentrate on singing while they moved intentionally. Second, singers need to use lots of their strength in singing. Moving around too often would take away their strength which would lower the quality of their singing. People just can’t dance while they sing especially in opera. Lastly, singers should express their mood and emotions through their voices. Sadly, in this opera, I couldn’t hear much of the singers’ emotions. For example, when Donna Elvira sang her aria, she used her body to express herself rather than her singing. Compared to the video I saw, Donna Elvira was so concentrated on singing that all her gestures and movements became so natural. After all, opera is opera. If the singers can concentrate more on “singing” the emotions than “dancing”, I think the performance would be more appealing.
To be honest, I was really satisfied with this new production of “Don Giovanni”. I was glad that it didn’t become too fancy. A classic should always remain classic. No matter how producers innovated on their productions, the centuries old opera should have the taste of the centuries old classic.
No need to say, the experience in the Metropolitan Opera House was certainly a fantasy. I fell deeply in love with it. The opera house provides high quality artistic enjoyments to people from different classes. The seats in the family circle are affordable to most people, though I would like to have better seat the next time I attend an opera. The opera house itself has its own glamour to attract people. The red velvet wall, golden light, revolving stairs with red carpet, how can all of these be an urban nightmare? Moreover, the Metropolitan Opera House and many other art institutions in New York City are doing very well in helping people to be more aware about arts. Only people would group themselves in different class, books would not, and so as arts. (After attending the opera, I truly think I should find a way to escape the nightmare of my life.)
So my next plan to the Metropolitan Opera House: the American Ballet Theatre spring season, “Onegin”, a Russian and ballet version of “Don Giovanni”.
