Don Giovanni Valekoa
Certainly, Mozart's operas are one of the most beautiful in the repertoire. Among them, Don Giovanni, one of the most favorite. But Mozart's music has a particularity: beautiful and melodic, easy and light, and at the same time very difficult to interpret. In operas, symphonies or piano music, interpreters should eliminate this difficulty and fill the environment with a certain agility and eternity. On the other hand, Mozart's music has another dangerous feature: if it's not performed with the soul, it can be boring.
In relation to the above, it must be acknowledged that the Don Giovanni organized by the ABAO did not reach the expected level. The interpretation was, in general, heavy, not light and a little boring, for the reasons I will explain below.
First of all, scenography and lighting. This time, truly poor. We only had a stage throughout the session. Yes, very simple, it served for everything, but after spending so many things in three hours on the stage, because it wasn't enough and visually boring. Of course it was possible to improve it with nice lighting, but it was not so, if it is a plan at all.
Scene direction is also simple. At the end of the opera, I had a strange feeling: almost better to offer the concert version than to make such a poor direction.
But, well, the truth is that the musical side was the best of the program, although it wasn't the best. Among the soloists, I would highlight two actions. On the one hand, the Navarro tenor José Luis Sola made the convincing Don Ottavio. Well interpreted and very appropriate aloud. For his part, Gianluca Buratto (for the first time at the ABAO), low, surprised the audience with his round-hearted voice. In addition, it made an intentional, exciting interpretation. Among the women, the work of soprano Miren Urbieta Vega stands out. His Zerlina wasn't entirely chilly, but we perceived it perfectly with his voice, shiny. Much more was expected from the sopranos Davinia Rodríguez and Serena Farnocchia, in the roles Donna Anna and Donna Elvira, which were quite flat. I have my doubts with the baritone Simon Keenlyside, who made Don Giovanni. At times he was brave, in others he did not seem to be the protagonist. Simon Orfila on the Egozello paper and the low baritone Giovanni Romeo on the Masetto paper, did their work gracefully and the public thanked him.
The work of the Euskadi Orchestra, under the Kery-Lynn Wilson baton, discreet.
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