Tags• Although he represents a smouldering energy that magnetizes the people around him and sets them in motion, Don Giovanni isolates himself radically from society albeit not without exploiting his privileged status.
They stream onto the stage, form lines and triangles, surround Anna, pursue Giovanni, hurry and stroll as a group and in small groups: not an excerpt from the Leporello list that has come to life, but a rich representation of the group of people around them it goes here.
What do you think what kind of noise that makes.
Menschen statt Dinge — die Wirkung dieses Kontrasts ist stark.
Nadezhda Pavlova: Donna Anna• A handball goal, water pipes, a pile of bicycles are brought in.
The end: a brilliant achievement by Davide Luciano and an extraordinary journey into hell, of which it cannot be said how great its effect would have been if the individual Giovanni had played a bigger role in this production.
And exactly those expectations they met Monday night in over four hours including a break.
Further performances on July 29th and August 4th, 7th, 10th and 20th; Recording on Arte on August 7th, 10:05 p.
GBNews: Andrew Doyle Talks With Peter Whittle: Is state censorship a good idea? At the Salzburg Festival anyway.
Today it would no longer be just a game-ruining three-party alliance — Donna Anna, Don Ottavio, Donna Elvira, whom our grandparents still accused of being narrow-minded — that would have conspired against him, it would be the concentrated and just anger of a MeToo movement.
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An evening about men and women.
Pale voice Sadly, Salzburg debutant Davide Luciano was too harmless Don Giovanni, more of an average Italian Strizzi than a monster, and also seemed quite pale vocally, while Russian Nadezhda Pavlova was deservedly celebrated as Donna Anna.
Most of the time the musicians are standing, afterwards the choirs stand on the back wall of the trench.
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