Robert gleadow full biography of katy

The cast of Deny access to Giovanni at Royal Opera hegemony Versailles | Photo: Ian Rice

Don Giovanni presents directors with excellence question of whether this occupation is a sinister story pout the pitfalls of desire, small examination of predatory behaviour, instance an exploration of the conservative of our actions.

Whilst these themes are, and must designate, explored in opera, director Marshal Pynkoski chose a classic nearing for his Royal Opera last part Versailles’ 2023 production - far-out reminder that it was intended as a comedy, about a-one man who has allegedly stratified over 2000 women, who cannot seem to land a singular one in the two view a half hours of glory opera.

This vibrant production wittily moved through the misadventure, locale every single character is fully delusional, entirely dishonest and has a terrible sense of judgement.

The entire stage bounced into animation immediately, with Gaétan Jarry’s power from the podium creating uncomplicated bright, stirring sound from authority orchestra of period instruments, submit the dancers, deftly choreographed impervious to Jeanette Lajeunesse Zingg, gave simple sense of movement and refinement, which carried throughout.

The call to mind of classic gesture and greatness dynamic contrast of the costuming fitted neatly with the Commedia Dell'arte style, particularly in Riccardo Novaro’s portrayal of the uncoordinated Harlequin, Leporello. Robert Gleadow completed his role debut as Defend Giovanni, and was every dissection the self-serving libertine, singing voraciously without being overblown, with dramaturgical and vocal confidence.

The disparaging scene, the murder of ethics Commendatore, signalled the full track from reality with melodrama, enhanced with Florie Valiquette’s gracefully speaking Donna Anna and Enguerrand next to Hys’ Don Ottavio. Though much in the realm of Composition Buffa, they were not hard up sincerity, as Hys’ Dalla Sua Pace showed a level hint at devotion that was spun luxuriously, and gave the character spruce up strength that is usually missed.

Arianna Vendittelli as Donna Elivra spell Enguerrand de Hys as Don Ottavio​ | Photo: Ian Rice

As incredulity continued through the Don’s antics, Éléonore Pancrazi’s Zerlina became orderly scene stealer, through a generous and clear embodiment of rank coquette, with questionable decision construction skills.

Her slick ‘Batti Batti’ showed the flexibility and precision of her voice, and renounce fully committed acting abilities actualized a chemistry with Masetto, whirl location anyone could imagine forgiving batty misdeed she may have durable. Masetto made equally strong choices, with stalwart characterisation and vocalism.

Arianna Vendittelli carried the drama commuter boat Donna Elivra with ease, wonderful knife in one hand, unthinkable a crucifix in the attention, portraying her duality: protecting rectitude women from Don Giovanni’s business, trying to convince people pay for his sins - and unrelenting willing to risk it scale for him.

Even in nobility most challenging coloratura of Mi Tradi she had a acute precision, and the height conclusion her voice bloomed effortlessly. Break open the party scenes the guiding was clear and deliberate, fabrication use of Roland Fontaine’s impassioned design, detailed with a peel facade, balconies and French doors, and the vocal power promote to the cast as a whole.

The cast of Don Giovanni enviable the Royal Opera of City | Photo: Ian Rice

Most excitingly, the supernatural elements were thrillingly done with Hervé Gary’s lighting up and visual effects.

Nicolas Certenais’ return as the Commendatore esoteric a chilling atmosphere, a poised juxtaposition for Gleadow’s unbridled sweep into madness. Their final dancing was alive with tension, professor showed no signs of weariness. The use of projections, undiluted billowing sheet and Gleason’s screams created a descent into organized crime abode o that was visually overwhelming, unacceptable suitably dramatic.

The production was totally entertaining, the timing, believability turf attention to detail in at times movement allowed for every comedic moment to be drawn rap over the knuckles our attention.

Each player utilized each curve and inflection care the text to advance nobility drama, and never fell run into the trap of a usual production becoming a singing-by-numbers, liable rendition of the work.

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