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Subject: Re: Don Giovanni at the Met
From: Jay & Ralph <[log in to unmask]>
Reply-To:Jay & Ralph <[log in to unmask]>
Date:Fri, 30 Sep 2016 14:52:30 -0400
Content-Type:text/plain
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text/plain (147 lines)


I prefer and use "Donny G." Mr. Mr.*

Though perhaps given the antecedent of the title,
'The Don' suffices to communicate the information
required.  

After all, you knew what was being discussed
or you could not have criticize the language used, no? 

From the home of the Tar (La Brea) Tar Pits

J

*See: Cradle Will Rock

----- donald kane <[log in to unmask]> wrote:
> There was a review of this performance posted here a day or two
> ago in which Giovanni - that is his name - was referred to throughout
> as plain Don, as though Mozart's opera was about a guy named
> Donald something.  I don't know how the tradition of calling him
> "the Don" came about, but it has always irked me;  we never use
> the title preceding Carlo, Pasquale or Jose that way, so why apply it
> to Giovanni?  It's the equivalent of a commoner being known as "the
> Mr."
> 
> dtmk
> 
> On Thu, Sep 29, 2016 at 2:26 PM, Volpe, Russell <[log in to unmask]> wrote:
> 
> > I was there at the opening and here are some comments on the performance.
> >
> > Very happy to report on a fairly strong revival of the mediocre,
> > uninspired, unit set Michael Grandage/Christopher Oram production of Don
> > Giovanni at the Met (opened Tuesday night).
> >
> > There are two pieces of big news here.  The first is the return of Simon
> > Keenlyside after a two year absence for medical and vocal problems.  He
> > offers a fine account of the Don that is filled with knowing, wry touches
> > with the text and great physicality and fine acting.  Here is the Cavalier
> > rake to the tips of his toes and he inhabits the role completely.  His is a
> > small-sounding baritone (no booming Don here) and one is quite struck by
> > how short in stature Mr., Keenlyside is as well.  Of course, the fact that
> > the Leporello and the Masetto in this cast tower at well over 6 feet, make
> > Mr. Keenlyside look even shorter.  His lied-inflected "Deh vieni alla
> > finestra" was one of the most gorgeous renditions of the aria I have ever
> > heard. He drew the audience in with every word and breath.
> >
> >  The other news is that Paul Appleby (replacing the touted return of
> > Rolando Villazon) sings a mellifluous Don Ottavio, excelling vocally,
> > acting well and contributing solidly to all his scenes.  His legato in
> > Dalla sua pace was ravishing and he mostly handled the coloratura
> > challenges of Il mio Tesoro with aplomb.  I am especially happy to report
> > this because his Belmonte in "Abduction from the Seraglio" last spring was
> > not one of his finer outings.
> >
> > Adam Plachetka made his strongest Met impression to date as Leporello
> > (earlier Schaunard and Belcore).  Tall and commanding, though his voice is
> > less so, he played well off Keenlyside and brought dignity and humor to his
> > portrayal.  His Catalogue aria was not of the vocally stentorian variety,
> > but was sly and crafty in its way with the text.  Matthew Rose offered a
> > Masetto of much more sonorous substance than one often gets in this role.
> > Kwangchul Youn was a steely and spectral Commendatore.
> >
> > Less happy news from the women.  Hibla Gerzmava presents a big-voiced, but
> > slightly unwieldy, Donna Anna.   under pressure, her tone turns a tad
> > shrill.  Malin Bystrom started off sounded tight and constricted as Donna
> > Elvira.  Her sound opened up as the night progressed and by the time of Mi
> > Tradi she had hit her stride and offered a decent account of the aria. Both
> > lead women were solid actresses contributing to the cohesiveness of the
> > whole.  Serena Malfi's mezzo Zerlina was of the earthy, anti-soubrette
> > variety and while her tone was not particularly beautiful, she scored
> > points for sincerity and for avoiding cloying cuteness.
> >
> > Fabio Luisi - we may miss him soon as he reduces his official Met role in
> > the lead up to the Nezet-Seguin era - led the orchestra in a lithe and
> > nimble account of the score, leaning on drama when needed but not
> > excessively.
> >
> > Overall, this was one of those nights at the Met where the whole was
> > pleasingly greater than the sum of the parts.
> >
> > Russ Volpe
> >
> > Russell G. Volpe, DPM
> > Professor
> > Department of Orthopedics and Pediatrics
> > New York College of Podiatric Medicine
> > Foot Clinics of New York
> > 53-55 East 124th Street
> > New York, New York 10035
> > phone: 212 410 8129
> > fax; 212 410 8440
> >
> > -----Original Message-----
> > From: Discussion of opera and related issues [mailto:[log in to unmask]
> > BCCLS.ORG] On Behalf Of Garry F Bell
> > Sent: Wednesday, September 28, 2016 8:15 PM
> > To: [log in to unmask]
> > Subject: Don Giovanni at the Met
> >
> > Hi
> >
> > Any comments on last night's Don Giovanni?
> >
> > Garry
> > Auckland - New Zealand
> >
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