Hero not our time

Nowadays, Don Juan would have shone unappetizing forensic trials and faded old age. The role of a charming, forever young and insatiable adventurer of adventure is still allowed to preserve the opera Mozart and the musicians in love with it - those who are more mutually. The famous subscription of the Moscow Philharmonic “Opera Masterpieces” (which has long been more than just a subscription) started this season from the Mozart hit, more rare names - “Faust” Guno and “Otton” of Handel - have been upgraded to May and June.

However, the least Philharmonic "Don Juan" resembled a well -known, fermented monument. His music rushed at wild speeds with cinematic bends, a light ramp, if it happened, he introduced an exciting note of extremely. It was not a millimeter-overturned product, but a living, joyful and unpredictable business, the epicenter of which is the Italian Maestano Stefano Mountanari with all its outcome and lotions, sitting, standing and stomping his feet behind the harpsichord.

He did not put a conductor's wand this time by the scruff of the neck, but held it in his teeth when it was necessary to free his hands. With the harpsichord, he behaved absolutely panobratically, in an instant setting up the hall either at a romantic stop, then for some next disgrace. Judging by the fun that the violins reigned on the first remote control (it was the Russian Academic Chamber Orchestra of Russia), a lot during musical was no less surprise for orchestrandants than for the public.

The audience, however, followed both the conductor and the singers with equal enthusiasm. The language does not turn to call this “Don Juan” concert performance, although formally it is like this: there is no scenery, in the relationship of soloists, the Intrada choir, the orchestrants from the extreme remote controls and the conductor reigns, playful improvisation reigns, jackets with designer bells and whistles, which, in accordance with the plot, change the title hero with his servant, clearly from their own own own own. The wardrobe of performers, singing with a portico above the stage and in the passage of the stalls - so who doesn’t do this now? In general, the concert performance of the opera may turn out to be a brighter musical and theater event than another full-fledged production, and this is just that case. Fortunately, the video of the only performance “Don Zhuan” is already lying on the Philharmonic website in the free domain.

The international casting of singers, whose names for the most part do not say anything to the Moscow public - the next masterpiece of the author of the subscription Mikhail Fichtengoltz. Actually, he found the main thing - Don Juan. The stage charm of the Canadian baritone Daniel Okulich collapses to the public from his first appearance on the stage, decorates his every intonation and every episode of the harassment, works perfectly in a dreamy serenade and in the last hellish duel with the commander (BAS Nikolai Kazan from Bolshoi).

The German bass-bariton Andreas Wolf serves Don Juan excellent leporello. Together, this pair of caustic comedians is completely irresistible and even sometimes overshadows Maestro Montanari, which is not easy. They are shaded by the Australian baritone Morgan Pierce in the role of Nedotep Mazetto and extremely serious tenor Alexei Neklyudov (Bolshoi Theater and New Opera), giving the perfect cantilens in the most complicated Party of Don Ottavio. Three soprano from Denmark, the USA and Belgium demonstrate extremely contrasting colors and characters: Henrietta Bond-Khansen (Donna Anna)-silver coldness, Loren Snuffer (Donna Elvira)-assertiveness, Sophie Junker (Terlin)-simple-mindedness. Although what can I say - the female part of the team against the backdrop of such serious male forces is not easy.