WNO: Don Giovanni and Madam Butterfly ★★★★✩
THERE is little doubt that the revival of John Caird’s production of Don Giovanni is the jewel in the crown of WNO’s trio of operas touring this spring.
The bitter-sweet story of Jenufa was fascinatingly told, well sung, with the WNO Orchestra in particularly good form, and the fresh new look Madam Butterfly is the sort of production that will have as many of the audience going into raptures as others who will be full of criticism.
Set against a background, for which designer John Napier was inspired by Rodin’s Gates of Hell, and beautifully dressed in 18th-century costumes, Don Giovani is a pleasure to look at.. And with Tobias Ringborgh, in perfect control conducting a WNO orchestra, again in top form, from the forte piano, it sounded just as good.
It is rare in opera that the principal singers are physically as well matched to their roles as they are vocally and dramatically in this production.
Ukrainian baritone Andrei Kymatch cut a dashing figure as Don Giovani, and when James Platt as the Commendatore came to drag him into hell he had the physical power to make it look believable. In contrast Simon Bailey brought a lovely light witty touch to the servant Leporello, his delivery of the ‘Catalogue ‘ aria bringing some much appreciate fun to proceedings. Add Maria Monzo’s Donna Anna and Sarah Tynan’s Dona Elvira, colourfully plaited and florid coloratura, and you have a group of principals who had the vocal, dramatic talent and looks capable of taking advantage of the terrific opportunities offered in Mozat’s wonderful opera.
At the end of Madam Butterfly while many in the audience rose to show their appreciation of the production and performances, others remained seated, offering only polite applause. To use an old phrase, you pays your money and takes your choice. The white and pale pink set, which revolved throughout the evening, sometimes so often that you feared the singers might become dizzy, gave dramatic empresses to any colour, the splash of red on the shower curtain to reveal Butterfly’s suicide was a startling effect.
While Alexia Voulgaridou and Leonardo Caimi blended admirably together vocally, but the relationship of the over trusting innocent Butterfly and selfish Lt Pinkerton never came to full, believable fruition. Neither developed as true and honest a character as Kezia Bienek’s Suzuki. Taking full advantage of her limited vocal opportunities her love concern, and fear for her mistress, Butterfly, was at time heart-breaking. As was the WNO’S chorus offstage beautifully delivered Humming Chorus.
Just occasionally, you could accuse the splendid the WNO orchestra of becoming a little too enthusiastic but watching James Southall’s often mesmerising style of conducting, these were indeed a rare exception to yet another fine orchestral contribution.