Pisaroni’s combination of physicality, credible acting style, comedic timing, and security with Mozart’s tongue-twisting patter made Pisaroni’s servant a star.
In this production (even more than usual), Leporello is an arresting presence. His serenata not only attracted the amorous attention of the Maid, but of several other women who happened to be nearby. My favorite moment of this grand deception was Dupuis’ superb performance of the aria Deh vieni alla finestra to Elvira’s maid. could then pursue the conquest of Elvira’s maid. Leporello, wearing a nobleman’s fine coat for his disguise as Giovanni could whisk the lovesick Donna Elvira out of sight. This furthered twin objectives of the Don. Cavanagh’s direction and the obvious chemistry between Dupuis and Pisaroni assured that the interactions between the two artists would be among the performance’s highlights.Īn hilarious example of the Giovanni-Leporello high jinx was Giovanni’s scheme to exchange his clothes with Leporello. ĭespite their formal nobleman-servant status, Leporello’s and Giovanni’s relationship is that of constant, if often uneasy, companions. Pisaroni’s three previous roles in San Francisco were the peasant Masetto, the nobleman’s manservant Figaro and the nobleman Almaviva.
His bravura performance of the Champagne aria Finch’ han dal vino demonstrated a talent that the San Francisco Opera should secure for future projects.ĭupuis was teamed beautifully with the Leporello of Italian bass Luca Pisaroni. He played the role suavely and sang with elegance. This is not a production that suggests that Don Giovanni has any redeeming qualities.Įtienne Dupuis’ Don Giovanni and Luca Pisaroni’s Leporelloĭon Giovanni was performed by French Canadian baritone in his San Francisco Opera debut. loosed monsters on the world.”ĭon Giovanni is one of those monsters. Greed, desire and hunger for power, without regard for the impacts on our fellow human beings, has.
In Cavanagh’s words, the production is set in “a time of finality and conclusion. The building that served as a colonial mansion in the time of the American Revoution and a country club during the 1930s, will show obvious signs of structural damage. The third opera takes place in what Cavanagh predicts will be a “dystopian” future of the late 2080s. My reviews of the Cavanagh conceptualizations of “The Marriage of Figaro” and “Cosi fan Tutte” were posted previously. I attended a Sunday matinee performance of the third permutation of Michael Cavanagh’s interrelated productions of Mozart’s three da Ponte operas.
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