Mozart's Don Giovanni

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Saturday, February 21, 2015

Kate Lindsey as Zerlina, Peter Mattei in the title role, and Emma Bell as Donna Elvira in Mozart's 'Don Giovanni.' Kate Lindsey as Zerlina, Peter Mattei in the title role, and Emma Bell as Donna Elvira in Mozart's 'Don Giovanni.' (Marty Sohl/Metropolitan Opera)

Saturday at 12:30 pm, join us for Mozart's Don Giovanni, a depiction of the last day and night of the most iconic of seducers, in a production featuring the charismatic Swedish baritone Peter Mattei in the title role.

The soprano Elza van den Heever is the scorned Donna Anna; Emma Bell is Donna Elvira, whom the Don abandoned three days after their hasty wedding. The bass-baritone Luca Pisaroni is Don’s lackey Leporello. The young American mezzo-soprano Kate Lindsey adds a new role to her Met repertory as the innocent Zerlina.

Alan Gilbert conducts his second appearance with the Met.

Conductor: Alan Gilbert
Donna Anna: Elza van den Heever
Donna Elvira: Emma Bell
Zerlina: Kate Lindsey
Don Ottavio: Dmitry Korchak
Don Giovanni: Peter Mattei
Leporello: Luca Pisaroni
Masetto: Adam Plachetka
The Commendatore: James Morris

Comments [14]

Perhaps I was being a little unfair about this performance which did have many highlights such as Ottavio's (Dmitri Korchak's) "Dalla sua pace" later on.

Unfortunately, James Morris sounds to be at the end of his career as the Commendatore. 'Nuff said!

Feb. 23 2015 01:01 PM
Les from Miami, Florida

Important Correction: To Mr. St. Onge: I never heard a harp accompany the Serenade either, either in performance, recordings or historical recordings of it. I must have been thinking of Beckmesser accompaniment while trying to sing the Prize Song from "Die Meistersinger". What does that has to do with "Don Giovanni"? Other than both being operas, nothing! When I said the first chord should "scream", I meant the first d minor chord that's heard in the Overture. Thanks for reading me, though.

Feb. 23 2015 08:44 AM

@CastaDiva, To what dost thou refer?

Feb. 22 2015 01:41 AM
CastaDiva from New York, NY

@Robert St. Onge from Cochiti Lake, NM
I trust you don't speak the foreign languages the way you learned them from the librettos. Besides being melodramatic, the language in the text is rather archaic, and not demotic. You'd get strange looks from native speakers.

Feb. 21 2015 07:50 PM
Kenneth Bennett Lane, Lake Hiawatha, NJ from Rsiichard Wagner Music Instituteic ra

The "saving grace" of today's live broadcast was the DON, Peter Mattei,I have seen PINZA singing the DON at the old MET. IMHO, Pinza was as good as we can ever hope to see and hear, both, in the role of the irrepressible DON. i was unimpressed by all the other singers ,except for the Donna Anna, Elza van den Heever, who has the voice and acts out convincingly. That is not the talent evidenced today by the lackluster" interpretive" singing of the others here not mentioned by name.

Feb. 21 2015 06:21 PM
Robert St. Onge from Cochiti Lake, NM

To Casta Diva: I grew up reading the libretti of my recordings not only to learn what was going on in these operas but also to get to learn languages other than the ones I spoke as a child (French and English). The idea of some form of sub-titles during the broadcasts is a very good one and I commend "Orrie from Port Washington" for bringing it up. To 'Les from Miami': I have heard 'Don Giovanni' live in Boston, Seattle, New York, Vienna and Santa Fe as well as many recordings and broadcasts and I have never heard anything other than a mandolin accompany "Deh vieni alla finestra." Where have you heard a harp????

Feb. 21 2015 06:12 PM
Adele F (aka AF) from Nassau County, Long Island

Note for Orrie of Port Washington

Your idea of "super titles" online is an interesting one. Some of us who know popular operas might not know every line or every word. Moreover, one hopes there are some listeners who are new to even popular operas, and translations would help them. Opera will be in trouble if there are never any listeners who are just being introduced to opera.

Just ignor the snitty comment another poster made re: your idea of "super titles"!

Feb. 21 2015 05:11 PM
CastaDiva from New York, NY

@Orrie from Port Washington
"A thought: wouldn't it be nice to "super titles" online. Has it been tried?"

Why? Aren't we familiar enough with this very popular opera?

Re this afternoon's broadcast, Peter Mattei was a golden voiced, seductive Don. Bravo, Peter.

Feb. 21 2015 04:53 PM

The live performance today so far hasn't changed much from the previous descriptions. It seems curiously underpowered still! I agree with Les that it should "scream" and that it doesn't.

Without actually seeing it I find it difficult to get a feeling for the actual characterizations of each of the singers.

Sadly, I think that Alan Gilbert's conducting added to the anonymous feeling of the performance! I hope he hasn't made a mistake in resigning so early from the Philharmonic.

Feb. 21 2015 02:51 PM
Sharon from United States

Listening and loving Dmitry Korchak's Ottavio in his Met debut role--must see/hear him in person some day.

Feb. 21 2015 02:50 PM
Adele (aka AF) from Nassau County, Long Island

I find the best sound for receiving WQXR on Long Island is via my HD receiver (hooked up to my stereo system) where one can get WQXR at WNYC's 93.9 HD 2. The sound is excellent! WQXR's 105.9 is seldom very good where I am. Because I get the station in HD via WNYC, I haven't had reason to try listening online.

And because of wqxr's very weak signal on 105.9 I was led to try to find other options on fm and found, to my delight, wshu fm 91.1 from Fairfield CT and/or fm 91.3 from repeater in Huntington, Suffolk County, LI. That CT station is not 24/7 classical music; it's classical music with about 8 hrs per day of NPR news. My HD receiver also allows me to get on 89.9 HD 2 wwfm, NJ's 24/7 classial music station--excellent programming.

Feb. 21 2015 01:39 PM
Orrie from Port Washington

I'm listening online, and the sound is almost noise-free, unlike WQXR-FM's signal here on Long Island today. The stereo imaging is excellent. The singing seems even more intimate and the on-stage sound (footsteps, etc.) add to the sense of "being there."

A thought: wouldn't it be nice to "super titles" online. Has it been tried?

Feb. 21 2015 12:54 PM
Kenneth Bennett Lane, Lake Hiawatha, NJ from Richard Wagner Music Drama Institute, Boonjton, NJ

Thanks Les for your musical and historical info on Don Giovanni. Without a doubt great masterpieces survive despite their misrepresentation by less talented individuals.

Feb. 21 2015 12:00 PM
Les from Miami, Florida

In this production, "Dalla sua pace" is heard as is "Il mio tesoro", which is a standard practice that I heartily applaud. The former was written for a tenor named Morella and was inserted half a year later than the Prague premiere. "Il mio tesoro" wasn't performed at the Vienna premiere. Curiously, as I recall the opening night transmission, "Non mi dir" comes before the Sextette. I felt, on the whole, that the performance was understated and underpowered as was the orchestra almost throughout with an almost continuous dynamic of mezzo-forte. The very first chord, by my lights, should be played with the same vehemence as it is when it's heard when Leporello first sees the Stone Guest. Bluntly, it should "scream". And surely, as certain as the sun rising in the East, Mozart's characters in his greatest operas are as full-blooded as we and not rococo drawings in a pastel, which was my overall impression. Oh, and there's a mandolin accompanying the Seranade and not the usual harp. Here's hoping for the best in today's performance.

Feb. 21 2015 10:37 AM

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