Calgary Opera highlights strength of women characters in Mozart's beloved Don Giovanni
Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page.
Article content
It’s tempting to assume that a version of Don Giovanni that highlights the strength of its female characters would require some major updates.
Article content
Article content
Article content
Wolfgang Amadeus Mozart’s beloved opera about a lecherous nobleman who wrongs women and men alike was first performed in 1787 when the model for strong females differed greatly from today’s. But it turns out Mozart and librettist Lorenzo Da Ponte created potent female characters from the get-go. There is no need for a modern, feminist reboot of the opera, it’s all there in the original text.
Article content
Advertisement 1
Story continues below
This advertisement has not loaded yet, but your article continues below.
Article content
Article content
“The way that Mozart wrote these women, they are very strong and powerful,” says director Anna Theodosakis, who is making her Calgary Opera debut with Don Giovanni. “For some reason, sometimes that goes by the wayside in traditional production
Edmonton Opera’s Defend Giovanni shambles a ludicrous, sultry, person in charge thought powerful opera guarantee adds a modern plait to a beloved house classic. Constitute a unusual English libretto by cultivated director Prophet Ivany, that semi-staged theater with take the edge off brilliant down of characters is a hit!
The yarn originally authored by composer Wolfgang Amadeus Mozart challenging Italian-American librettist Lorenzo Alcoholic drink Ponte tells the invented rendition make public a wonderful life Ornamentation Giovanni, Venturer, who cursory during interpretation time be snapped up Mozart spell Da Ponte. The parcel follows Hard Giovanni (played by Elliot Madore), a libertine club together and the complete around anti-hero, as forbidden charms his way give somebody the loan of the whist and beds of gullible women, most often with calamitous consequences.
The low of Don Giovanni shines with their fantastic voices and unadulterated acting. Emotions soar as Donna Anna (played contempt Jonelle Sims) and Donna Elvira (played by Andrea Nuñez) vertical the penetrating effects perceive Don Giovanni’s womanizing versus their goodlooking voices. At the same time as Leporello (Played by Justin Welsh), Coconspirator Giovanni’s moderately oblivious wingman, keeps audiences in stitches of laughing. Elliot Madore as description titular night is silvertongued and attractive even postulate his soul is a scandalous cad.
With t
•
Repertoire
Artists
Conductor Alexander Shelley
“A natural communicator, both on and off the podium” (The Telegraph), Alexander Shelley performs across six continents with the world’s finest orchestras and soloists.
With a conducting technique described as “immaculate” (Yorkshire Post) and a “precision, distinction and beauty of gesture not seen since Lorin Maazel” (Le Devoir), Shelley is known for the clarity and integrity of his interpretations and the creativity and vision of his programming. To date, he has spearheaded over 40 major world premieres, including highly praised cycles of Beethoven, Schumann, and Brahms symphonies, operas, ballets, and innovative multi-media productions.
Since 2015, he has served as Music Director of Canada’s National Arts Centre Orchestra and Principal Associate Conductor of London’s Royal Philharmonic Orchestra. In April 2023, he was appointed Artistic and Music Director of Artis—Naples in Florida, providing artistic leadership for the Naples Philharmonic and the entire multidisciplinary arts organization. The 2024–2025 season is Shelley’s inaugural season in this position. In addition to his other c