Of course, of the latter there is none in Don Giovanni-which, incidentally, is the Don’s chief problem. The program notes by director Gabriele Lavia reveal that he meant them to convey the idea of reflection or, rather, self-reflection. Lowered during the overture, they turned out to be a touch of overkill in suggesting the narcissism of Don Giovanni. The principal scenic backdrop was provided by giant ascending and descending dark mirrors, large contraptions 16 by 6 feet in size. Why, then, do it more than once? The symbolism became too painfully obvious. If this signaled his dehumanization of the ladies, it also meant he got a mouthful of cotton.
Don Giovanni was also quite active with a large handkerchief, which he repeatedly placed over the faces of the women he was to kiss. Alas, this came far too late to make the dramatic point it could have. Or at least a portrayal of tenderness that a woman could believe. A moment of ‘what might have been’ did peek through in Meacham's exquisite singing of Don Giovanni's serenade to Donna Elvira’s maid: the sunglasses came off and, for the first time, we could see a believable portrayal of tenderness. If we cannot believe in the Don's irresistible charms, how are we to believe in the women’s succumbing to them? Even in a genre in which we willingly suspend disbelief, this was unbelievable. For women to choose a ‘bad boy’ isn’t an uncommon occurrence, but why love a thug when he isn’t even dashing? This lack of attractiveness undermined the dramatic tension of the plot. With Don Giovanni so loutish looking, I nearly laughed every time he was referred to as an aristocrat. Its cloak is that of light, not darkness: We hear this in Mozart's music and we also ought to see it on stage. People choose sin not because it is ugly, but because it looks good.
Lucas Meacham, in fine vocal fettle, was dressed in black leather, placed against a black background, and sported anachronistic sunglasses-sunglasses of course being a theater-man’s prop of choice to signal “evil!” The error in this production is that it did not make sin attractive. The problem with the production was its conception of Don Giovanni as a mere thug. The orchestra, under conductor Nicola Luisotti, provided seamless underpinning-so much so that it seldom stood out on its own unless one paid particular attention. With six admirable principals in very impressive ensembles, the San Francisco Opera production of Don Giovanni got off to a good start on Wednesday evening, November 2 nd. Reilly for this review from San Francisco.
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