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<\/a>Guillermo Heras<\/p><\/div>\n
For some, a hero, for others a simple villain. As if both halves were not complementary in many personalities of real history through the ages.<\/p>\n
It is not easy, therefore, to face a staging of an opera before the mythical, also ended on this topic, conducted by Mozart, which has become one of the peaks of the operatic repertoire, but which years earlier had had a score composed by an Italian musician named Giuseppe Gazzaniga (1743-1818).<\/p>\n
Comparing the two scripts we realize how Da Ponte shamelessly copies the structure and the situations of the Gazzaniga\u2019s librettist, Giovanni Bertati, something, moreover, very normal at that time. However, the genius of Mozart in the specific field of musical composition, has had the effect of obscuring certain lyrical qualities that, delving into the hearing, appear in the score of Veronese musician.<\/p>\n
This staging of another Don Juan is crossed by two looks that do not intend to provide any sign of pedantry, but a further reflection on this timeless work. These two current looks are, first, a tribute to the painter Magritte and, moreover, a tribute to an important thinker of the last century, Jacques Lacan, who turned to the myth in several studies conducted throughout his life.<\/p>\n
Of all his thoughts I choose the one he writes about in 1962 and where he says: “Don Juan is a woman’s dream.” This sentence opens so many choices, that I personally wonder if this character will not have been a kind of fable of certain dreams closer to reality than to desire.<\/p>\n
Perhaps because of the habit of gambling almost always the safest, this primitive opera “Don Giovanni” was not very frequent in the repertoires of the great concert halls. It is therefore fair to thank the City of Seville and the Teatro Lope de Vega who dare to produce this show, which, in short, becomes the discovery of a forgotten title to many Spanish viewers.<\/p>\n
I always say that my primary guide is first to serve the music and then the technical needs of the singers. Therefore, and again, I would like to do a simple and essential job of staging, stripped and poetic, the important thing is the expressiveness of the singers, led by musical director, in which the music is balanced with the creation of images that serve to enhance the beauty that must contain all operatic spectacle.<\/p>\n
I understand that “modernity” of an operatic staging needs not necessarily to be associated with “breakthrough occurrences” of the stage director, but I refuse equally to all types of fossilization of the traditional repertoire.<\/p>\n
\n
Guillermo Heras<\/em><\/p>\n<\/div><\/div>\n
[\/et_pb_tab][et_pb_tab title=”Gazzaniga’s Don Giovanni. Synopsis” tab_font_select=”default” body_font_select=”default”]\n
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Gazzaniga’s Don Giovanni. Synopsis<\/h3>\n
\n
Don Giovanni tries to seduce Donna Anna. Meanwhile, his secretary, Pasquariello, waits in the street. She expels the lover from his house, she expected to find Duca Ottavio that same night. At the last moment Il Commendatore, her father, arrives, and challenges Don Giovanni to a duel, who dies in the attempt. Donna Anna’s fiance, Duca Ottavio, swears revenge.<\/p>\n
In their search for new women, Don Giovanni meets an old conquest, Donna Elvira. To get rid of her, he leaves her with his secretary. He brings the truth to light: she is just one more of an endless and international list. Meanwhile, Don Giovanni tries to seduce Donna Ximena.<\/p>\n
There comes a group of peasants: Maturina and Biagio are about to marry. Don Giovanni, taking another opportunity to seduction, frightens off, humiliated, Biagio.<\/p>\n
When it seems that Don Giovanni will be chastened by Donna Ximena, Donna Elvira and Maturina, he escapes, leaving Donna Elvira and Maturina fighting over him.<\/p>\n
Having spent three months after the death of Il Commendatore, Duca Ottavio visits his grave, followed by Don Giovanni and Pasquariello. There, Don Giovanni, to the amazement of Pasquariello, invites the statue of Il Commendatore to dinner. Unexpectedly, the statue agrees.<\/p>\n
Finally, at the home of Don Giovanni, Donna Elvira arrives to ask earnestly, unsuccessfully, to change his behavior. As the night progresses, Pasquariello and Don Giovanni enjoy good food and good wine, highlighting the pleasures of life and beauty of women in Seville. But the statue finally arrives at the appointment and takes Don Giovanni, still unrepentant, to hell. Alerted by the strange servant of Don Giovanni,Lanterna, the Duca Ottavio and women appear. Lanterna and Pasquariello describe the fall of Don Giovanni and the opera ends with great joy.<\/div><\/div>\n
[\/et_pb_tab] [\/et_pb_tabs][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"
Agust\u00edn Prunell-Friend, Don Giovanni
\nAlfredo Garc\u00eda, Pasquariello
\nMar\u00eda Espada, Donna Anna
\nLola Casariego, Donna Ximena
\nMar\u00eda Rodr\u00edguez, Donna Elvira
\nREAL ORQUESTA SINF\u00d3NICA DE SEVILLA
\nPablo Gonz\u00e1lez, conductor
\nGuillermo Heras, director<\/p>\n","protected":false},"author":1,"featured_media":198,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_mi_skip_tracking":false,"_links_to":"","_links_to_target":""},"categories":[14],"tags":[],"yoast_head":"\n
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