Claus Guth’s 2008 Salzburg production of Don Giovanni divided the critics along entirely predictable lines. It’s a very unusual treatment of Don Giovanni but the concept is stuck to with real consistency and it works to create a compelling piece of music theatre. The treatment on video too is not straightforward and, in a sense, the DVD/Blu-ray version is as much the work of Brian Large as it is of Claus Guth.
The 2006 Salzburg production of Idomeneo seems to me to be just about ideal. The production is clean and consistently interesting without ever getting too far away from the core story and the pretty much unbeatable cast is backed up by the period sensibilities of Roger Norrington and the Salzburg Camerata and Bachchor. The only fly in the ointment is the utterly heinous video direction.
The Opéra national de Paris 2005 production of Mozart’s La Clemenza di Tito is very fine. Ironically it’s actually quite a conventional production overall though one scene, the one where Tito makes his first appearance, is so weird that it provides the generic name used in some circles I frequent for an entirely inexplicable production element (see below).
If you are a fan of bel canto comedies you will probably enjoy the 2009 Glyndeboure production of Donizetti’s L’Elisir d’Amore quite a lot.
Director Annabel Arden sets this bucolic comedy in the Italian countryside of the 1950s (though some of the iconography is more appropriate to the Mussolini period). It has some of the look, but little of the edge of Italian neo-realist cinema. It does though take the work fairly seriously with a Dulcamara who is isn’t the obvious quack we usually see but just hints at having real powers. Dulcemara also acquires a rather bizarre mute assistant. Beyond that it’s all carefully staged with the chorus action well directed and performed. Continue reading