Director Claus Guth’s production of Mozart’s da Ponte trilogy for the Salzburg Festival reaches its sensational conclusion with his elegant, stylish production from the “Haus für Mozart.” Guth bolsters the unity of the cycle by making ingenious reference to his stagings of the first two works, “Le nozze di Figaro” and “Don Giovanni” (both available from UNITEL). His widely acclaimed production of the trilogy, which began in the Mozart Year 2006, consolidates Guth’s international reputation as one of the most sought-after stage directors of our time.
Don Giovanni
In Guth’s almost cinematic Salzburg Festival production, every character in Mozart’s most realistic opera seems to carry a back-story of thwarted love and frustration. Everyone appears to be seeking either salvation or damnation in the woods – a compelling concept that removes the opera from its traditional pseudo-Seville squares and palaces. And when Don Giovanni is played by Christopher Maltman, it’s no wonder that Donna Anna (Annette Dasch), Donna Elvira (Dorothea Röschmann) and even
Zerlina (Ekaterina Siurina) are ready to throw themselves at his feet.
Le Nozze di Figaro (The Marriage of Figaro) (Mozart 22)
Anna Netrebko, Christine Schäfer, Dorothea Röschmann, Bo Skovhus and Ildebrando D’Arcangelo under the direction of Nikolaus Harnoncourt and accompanied by the Vienna Philharmonic – this “Marriage of Figaro” is a feast for musical gourmets. Of all the Mozart 22 productions of the Salzburg Festival’s Mozart year 2006, “Figaro” is no doubt the most popular, both among connoisseurs and amateurs – perhaps because it is above all a triumph of superior music-making. The story is well-known, the work is fast-moving, witty, touching and vibrant. Based on a politically and socially explosive comedy by Beaumarchais, but toned down by Mozart’s librettist Lorenzo da Ponte, it treats the topic of love, lust and justice among the various classes: nobility, indentured servants and the rising bourgeoisie. The joy of the work lies above all in its characters, which are perhaps the most “human” human beings to be found on the opera stage. Harnoncourt’s musical concept is meticulously worked-out, interpreted with a wealth of subtle nuances and, with respect to the madness of the romantic intrigues unfolding on the stage, nothing less than thought-provoking. Director Claus Guth’s staging fits the music like a glove: there are no farcical elements or slapstick; he takes each and every character seriously. He sees the ensembles and arias as emotional rooms that are to be opened by the director. Everything takes place in Count Almaviva’s summer residence – a place devoid of furnishings but filled with erotic energy. The most erotically charged role in the opera is that of Cherubino, and with Christine Schäfer, Cherubino became the fulcrum of the performance, a luminous, dazzlingly virtuoso singer and consistently poignant actress – perhaps the vocal discovery of the Mozart 22 project. The celebrated Anna Netrebko proves her greatness by harnessing her sensual soprano to make it fit seamlessly into the ensemble. Bo Skovhus and Dorothea Röschmann give realistic and intense accounts of the Count and Countess as they movingly depict their “scenes of a marriage.” Finally, Ildebrando D’Arcangelo employs his powerful bass baritone to give authority to the work’s title role.