EIF Review: Mozart’s Don Giovanni

For the fourth of the Scottish Chamber Orchestra’s annual stagings of Mozart operas, the ensemble chose Don Giovanni, a somewhat darker work than in previous outings. Created with librettist Lorenzo Da Ponte, this dramma giocoso combines comic opera with more serious themes and is considered one of Mozart’s most daring works for challenging the operatic conventions of the day. So writes Lindsay McMurdo for the QR.co.uk…

The SCO (along with the Scottish Chamber Orchestra Chorus) had assembled another starry and international line-up of performers: German baritone Konstantin Kimmel in the lead, British soprano Louise Alder as Donna Anna, Italian tenor Giovanni Sala as Don Ottavio, soprano Janai Brugger as Donna Elvira, US bass-baritone Michael Sumuel as Leporello, British bass William Thomas as Masetto, and SCO regular, Korean soprano Hera Hyesang Park, as Zerlina. A special shout-out to Clive Bayley, who stepped up as a last-minute substitute in the minor but pivotal role of Il Commendatore, the architect of Don Giovanni’s final downfall.

All sang to the highest standard. Louise Alder brought a real nobility to her portrayal of the grieving Donna Anna with a lovely evenness and depth of tone across her entire register. Giovanni Sala’s unforced lyric tenor complemented her perfectly in their frequent scenes together and brought a touching vulnerability to his solo arias.

Stellar Vocal Performances and Emelyanychev’s Dynamic Direction

In the title role, Konstantin Kimmel sang strongly throughout, though his stage presence and acting could perhaps have been a little more forceful. It was hard to believe at times that this Don could really hold such sway over the characters around him. But the vocal delivery overcame this.

Michael Sumuel instantly had the audience in the palm of his hand with his consistently funny performance as the rascally servant Leporello, one of Mozart’s great comic creations.

The SCO and Chorus of course played and sang to their usual standard of excellence under the direction of principal conductor Maxim Emelyanychev, who, as in previous Mozart productions, provided solid support on the fortepiano during the recitative passages. However, his relentlessly brisk tempi did create a slightly frenetic feel to some passages of the opera, especially the climax of the first half, which felt like a bit of a scramble. He could perhaps have given the soloists a little more air and space during their arias.

“All sang to the highest standard. Louise Alder brought a real nobility to her portrayal of the grieving Donna Anna with a lovely evenness and depth of tone across her entire register. Giovanni Sala’s unforced lyric tenor complemented her perfectly in their frequent scenes together and brought a touching vulnerability to his solo arias.“

Notwithstanding, this was a hugely enjoyable and accomplished performance by all involved and a worthy addition to the SCO’s ongoing programme of staged Mozart. It has become an annual highlight of the Edinburgh International Festival. The Magic Flute next year, perhaps?