Mozart’s “Don Giovanni” can be an imposition for the public. At the Salzburg Festival anyway. And when outstanding artists like Romeo Castellucci and Teodor Currentzis undertake the opera opera in the Great Hall of Feasts to mark the opening of the Salzburg Festival opera series, then it’s a …
Mozart’s “Don Giovanni” can be an imposition for the public. At the Salzburg Festival anyway. And when outstanding artists such as Romeo Castellucci and Teodor Currentzis undertake the opera of operas in the Great Festival Hall to mark the opening of the Salzburg Festival opera, then a total work of art in its own aesthetic right can be expected. Confusing and validating it. Incredible and beautiful. Kitsch can also occur here. And exactly those expectations they met Monday night in over four hours (including a break).
In Castellucci’s chromatic circle (the Italian also used the stage, costumes and light), white is obviously Mozart’s color. In addition to the ingenious music, it now delivers an optical intoxication in white bordering on what is barely recognizable. The seducer and troublemaker of the order of emotions has been walking around in a white suit from the start. Much like its mirrored counterpart Leporello. At the end, when Don Giovanni (Davide Luciano) shouts his non-provocative outline, he writhes naked on the white paint floor.
After its end, the others rest for a few seconds in front of also elongated sculptures, recalling the sacrifices paid at Pompeii. Donna Anna (Nadezhda Pavlova) and Don Ottavio (Michael Spyres), Donna Elvira (Federica Lombardi) and Leporello (Vito Priante) and also Masetto (David Steffens) and Zerlina (Anna Lucia Richter) – only shadows of themselves. original stage installations that provide additional or branching illustrations rather than telling in the classic sense. It’s impressive when Don Giovanni falls backwards like a pop star in this group of women and they audibly react with delight, to pounce on Masetto like the Bacchantes. On the other hand, Zerlina has rarely been stung as seductively as under the tree with the golden apple. Finally, a (dream wedding?) Horse-drawn carriage slowly floats in this scene from above.
In general, the objects that are removed or added for a moment: First, the workers dismantle everything that is sacred in the space of the church that fills the stage. Then a goat runs across the room. What remains of the church will at some point be covered with billowing curtains at the base of Don Giovanni’s post-sacred base. An XXL white cube. A car, a wheelchair or even a piano hit them. Everything with a more or less recognizable meaning. For the second act finale, there’s even some real cumbersome discard action with the insignia of banality beyond drunkenness in white, into which Don Giovanni’s party had degenerated.
Currentzis, the musical director, starts off with a bang with the musicians of his Music-Aeterna-Orchestra and transforms the champagne air with raised ditch and standing musicians into a spectacle that has washed away. As always, he is stubborn with his tempos, but this time extremely sensitive and almost tenderly caressing the voices of the always excellent and really singing ensemble, of which no one trusts the excellence of the soloist.
Surprisingly, the jubilation was unanimous. For everyone.
Further performances of the opera “Don Giovanni” at the Salzburg Festival will take place on July 29 and August 4, 7, 10 and 20. www.salzburgerfestspiele.at