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Young cast bring Don to life Don Giovanni Co-Opera Co Wolverhampton Grand **** REFERENCES to apps and EastEnders in the
libretto of Mozart's great comic opera might not be familiar to
traditional opera goers but they all add to the fun of this Co- Opera Co
production. As comedies go Don
Giovanni has a less than fun filled start with the hedonistic Don having
his wicked way with Donna Anna and when her invalid father , Il
Commendatore, appears to avenge her honour, the licentious Don does him
in for fun. Not exactly laugh a minute stuff and somehow you
just know we are not going to be cheering for Giovanni come the
inevitable sticky end. David Milner-Pearce gives us a laddish, man of
the world, nudge-nudge, wink-wink Don, a rake with charm who has had a
morality by-pass – and a fine tenor voice which shows much promise for
the future. With a young cast it is not surprising that many
of the voices are not yet fully developed but they are getting there
with Lisa Wilson as Donna Anna, the ravaged daughter, and Susanna
Fairbairn as Donna Elvira, the lover abandoned by the dastardly Don both
having pleasing soprano voices as does Robyn Allegra Parton – who more
than looks the part of the sexy, alluring bride Zerlina. It is no surprise the Don is after her as well
which upsets her wimpish husband to be Massetto, sung by Jerome Knox. It means that the number of Don's enemies is
growing with Ann's betrothed Don Ottavio, sung well by David Menezes,
vowing to avenge his future father-in-law's death and his fiancee's
dishonour. And when the Don invites the statue of the dead Commendatore
to supper, the one he murdered remember, and the statue accepts – you
know all is not going to end well our Don. Matthew Tomko, as Il Commendatore is one of the
older cast and produces a rich deep bass.
Holding it all together though is Richard
Immergluck as the Don's servant Leporello who manages not only a
pleasing baritone but also a fine sense of comedy, with his references
to the plot being like EastEnders and producing not the usual notebook
of the Don's conquests, but an app on his mobile listing time and
date for all his lovers. The set is minimal although, particularly on the
second half, scene changes became disruptive and broke the flow as three
large panels and a few stands were moved a few feet to signify a change
of venue. We could have lived without that, it slowed the second half
considerably which is not a good thing in a show lasting 3hrs 10 mins.
Much of the time the set was fine although when the Don gets his
comeuppance and is dragged into hell sitting in a display case with
people chucking pizza at him is perhaps not quite as Mozart would have
seen it. The voices might have lacked a little power and
maturity, that will come with time, but no one could doubt the
enthusiasm of the young cast of eight. Their acting was lively and they
brought some nice new touches to an old favourite. The duets and trios
were a delight with voices blending well and, with a cut down orchestra,
there was little strain producing the required volume.
The opera was in modern dress and English, which
allowed a few extra jokes to be thrown in, and the words came over clear
as a bell - which is a credit to the cast and their enunciation. The
hard working orchestra of just 17 under conductor Tim Murray also
deserve a mention. The sound invariable was a bit thin but they played
with gusto. There were nice touches such as Anna, Evira and
Ottavio disguised in fancy dress. Normally this is restoration costume
with Venetian masks, here it was all street cred Ali G outfits – innit.
All in all this was an enjoyable evening and
worthwhile on two counts. First Co-Opera Co gives young opera singers –
and musicians – a first foot on the ladder, a chance to appear and gain
experience. Second, it makes opera accessible. The prices are
lower than for a major opera company, the stars younger with perhaps
more street cred and the whole production is lighter, less formal and
not as heavy duty as a full blow, traditional established opera with
full orchestra and chorus. Anyone who has never seen opera would hardly be
frightened off by what is largely a fun production and would probably be
happy to try opera again, and that can't be bad. 17-09-12. Co-Opera Co
continues with The Magic Flute on 18-09-12. Roger Clarke
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