Elvira Fever!

So I have this awesome cool teacher in college who is also a musical critic for one of the most important newspapers in São Paulo. And he gave us a task, to write a review/critic about any sort of musical event and present it alongside with the video or audio of the piece chosen. I was lost, I wanted to write about opera but was so afraid, at that time I’d only been 1 or 2 months in my total conversion to opera.  I felt I knew nothing and that my brilliant teacher would crush me since he is THE opera critic of the city. Then an idea dawned on me, let’s look for a topic in these fantastic opera blogs, they know what they are talking about!

So that’s when I stumbled upon The Earworm’s post about the different performances by Dorothea Röschmann and Joyce DiDonato of Don Giovanni’s Donna Elvira. At the time I had no idea who Joyce was, that was actually the first thing I saw her in. I’m gonna get a bit off topic here and say it makes me cry every time I think about the fact that she came to Brasil, she sang in Sala São Paulo, she talked and took pictures with my friends, and I didn’t go, ‘cause I didn’t even know she existed. And once I got to know her work and her initiative to help young singers (yes, I’ve watched ALL her videos) and to connect with them and with the fans she became my superstar inspiration for my life. And it just hurts to think she was close and I didn’t even know. I feel very stupid.

Back on topic, this is going to be a huge post! I wrote the review and to my utter and complete surprise my teacher realy seemed to like it! I got an A! I was stunned and very happy! And then he told me that he had critiqued the Metropolitan’s Opening Night of Don Giovanni last year, and I was just gap faced.

Without further ado, let’s get down to business, here is my critic:

“They all want Blood” (Todas Querem Sangue)

One of the most famous operas written by the composer Wolfgang Amadeus Mozart (1756 - 1791) is Don Giovanni. It tells a story of nobleman whose life objective is to nail as many women as he possibly can. At the opera we accompany Don Giovanni during one day and get to meet three women that he tricked; Donna Anna, from whom he escapes after seducing in the first scene, Donna Elvira, a noblewoman from Burgos with whom he promised to marry but ran off, and Zerlina, a country girl who’s engaged to be married at that day and but is convinced by him to run off.

One of the most intriguing characters in Don Giovanni is Donna Elvira who up until the very end of the tale believes that Don Giovanni can change and that they will be together. Her first scene in the opera she sings the aria “Ah chi mi dice mai” can be interpreted in many different ways. The two performances I’ll be comparing have the same great performatic quality, what sets them apart is the characterization of the said character and its relationship with everything that is happening on stage.

In the London Royal Opera House production of 2008 with Joyce DiDonato, north-american  mezzo soprano, Donna Elvira is more furious than upset. That can be told not only by her posture but by her articulation where she conveys absolute confidence, while she holding on to her gun and tells everyone around her how she’s going to rip off the heart (“Gli vo’ cavare il cor”) of the man who abandoned her.

Now for Dorothea Röschmann, german soprano, at the Salzburg Festival also in 2008 it’s completely different. Donna Elvira is alone, slightly fragil, vulnerable, lost, scared and getting uneasy with the mixture if these emotions. The aria has a completely different feeling to it, she makes the aria sound almost like a lament, as if she didn’t have any hope of finding him. Even when she talks about meeting him again (“Ah, se ritrovo l’empio”) she doesn’t seem to believe that is going to happen.

Röschmann’s interpretation carries as much hatred as DiDonato’s but it’s clear she’s much more emotionally distraught because of him. That becomes quite clear when Don Giovanni finally reveals himself (“Signorina?”). While DiDonato’s Elvira goes on confident to investigate the stranger’s identity and promptly  jails him when she sees who it is, Röschmann seems to be getting more scared by the second but when she sees to whom that voice belongs she lets out all of her rage throwing whatever she can find on his direction. The almost murdering glint that DiDonato carries in her eyes when she sees him is inspiring but the flames of hatred that come out of Röschmann’s eyes are just as appropriate.





One thing that both performers carried was that in their own different ways they were in search of Don Giovanni. This, of course, is much more clear in the London production since she’s quite literally hunting him down, but even in the German production Elvira seems to be looking for someone.

Neither of the sets are what we can call traditional, but both performers capture the essence of this character perfectly, a proud and determined woman who is at the end of the day crazy for Don Giovanni (in every sense of the word ‘crazy’). Röschmann conveys that with her expressions of repulse and doubt, where she seems to be thinking “What am I doing here?” as if she had a bit of sanity left. But DiDonato has completely given in to her mad love and crazy vengeance. That is quite clear since she keeps on believing him even though he always runs away.

The incontrollable love for Don Giovanni blinds Donna Elvira who even after being tricked and fooled so many times still sings the beatiful “Mi tradi quella alma ingrata” at the second act. In which she tells how even though he betrayed oh so many times and makes her so very miserable she can’t help but feel worried about his fate. Up until the end she believes he can change, but when he mistreats her yet again she runs away and decides to join a convent after learning about his death.

So that's that, I love Donna Elvira and one day I'll play her, mark my words. But for now I'll have to settle for Zerlina ;/

Flower Power Cosi!

How opera is a grand part of my life already. I constantly have little tunes from my favorite productions nagging me endlessly playing themselves in my head but yesterday I wanted to shoot that mother fucker in the face!

To cut the long story short I had had singing lessons yesterday and was in my friend’s house drinking, laughing and talking. But the thing is, I wanted to hook up with this said friend, but was too shy to just do it. So the aria I sang in my class kept playing itself in my head, “É amore un ladroncello” Dorabella’s second aria from Mozart’s Cosi Fan Tutte. And most specifically the part where she says “E toglie dá la pace, come gli piace il cor” (He steals and gives you peace, as he pleases itself). God, I felt Mozart laughing at my face going “You idiotic coward!” the rascal that he was! Well, we did hook up in the end, but that was just too weird not to mention!

Speaking of Cosi Fan Tutte I thought I’d talk about it since I already mentioned it. Well, my experience with Cosi is not very grand, I’ve only watched one entire production and again it was a modern day kind of production. I actually about 3 years ago tried to watch it since me and a friend were singing the first sister’s duet (Ah Guardda Sorella), but after the duet I feel asleep. I’m very ashamed of that, since the production (now I see it) was very good, it was a preoduction from the Glyndebourne Opera Festival  with Miah Persson as Fiordiligi and Luca Pisaroni as Guglielmo, both performers that I worship!

Well anyways, the production that I did see was actually from the Berlin Staatsoper. It’s the 2002 production, the hippie one. Kind of crazy, but I really liked it! Here is the cast list:

Fiordiligi (Dorothea Röschmann)
Dorabella (Katharina Kammerloher)
Guglielmo (Hanno Müller-Brachmann)
Ferrando (Werner Güra)
Despina (Daniela Bruera)
Don Alfonso (Roman Trokel)
Chor der Deutschen Staatsoper Berlin
Conductor (Daniel Barenboim)
Director (Doris Dörrie)

One of the main reasons why I watched this especific production is because of Dorothea Roschmann. I ADORE her! I mean, really, she has a way to do Mozart no one can imitate, sometimes I think she born to sing Mozart you know. Sometimes I hear people say that Renée Fleming was born to sing Strauss, well then, I think Dorothea was born to sing Mozart, I've never seen a better Countess!

Well now on the production itself, one of the high lights I must say was the fact that Ferrando actually takes Dorabella’s bra to show Guglielmo how unfaithful she actually is. I loved it how the girls played the sisters, Fiordiligi the ever so faithful girlfriend and Dorabella not really caring all that much, which explains her willingness to go the extra mile with a stranger who is actually her sister’s fiancé.

I thought the sets were real cool; they reminded me of a Barbie House which for me is awesome. And the costumes were also quite cute, specially the sisters, those sixties little dresses are just to die for! And I’m totally for this kind of adaptation, I mean, these operas live today because, apart from the exquisite music, they speak to people and they show people dealing with things that we deal with nowadays. Relationships, jealousy, betrayal, forgiveness (or not) are things that are timeless, so these pieces can be set at any age!

One thing that I’ve had to do to watch this production and actually understand it is finding the libretto of the piece online and scrolling it down as I watched the video. Since the video itself had no subtitles and I can’t understand Italian very well. Interviews in Italian I get sometimes because it’s so very much like Portuguese and you kind of acquire a little bit of Italian fluency by singing on the language so much. But anyways, it’s very tiresome to do this, especially because in this production they cut out some things so the scenes would make sense, so there were times I was completely lost scrolling the libretto frantically!

One last thing, the guy who played Ferrando looked SUPER hot in his hippie clothes, he looked like a hippie Legolas, which is so fine with me, especially when he took his shirt off. Who said opera is boring? I actually use that line a lot, I use it when I post hot opera stuff on facebook, like the Comte Ory Sandwich scene, or the ending of the third act of Manon.