In keeping with this production however he gave us the score exactly as written, his quick, very quick tempos avoiding any exploration of the score whatsoever. Minkowski is not insensitive to what happens on stage - as example his conducting of the 2013 inebriated production of Don Giovanni at the Aix Festival was absolutely wacko. The new conductor was Marc Minkowski, once famed as an early music conductor now general director of OpÈra National de Bordeaux. Though Luisotti was no longer in the pit, the protagonists still crossed and re-crossed the front-of-stage pathway to sing the arias we know so well. It all ended with the face and hands of the consumed Don Giovanni plastered on a number of frames, evidently trying to get back in. Usually the frames were blank.Įrin Wall as Donna Anna plus Donna Anna in video image No longer reflections, the mirrors framed video portraits of characters of interest to whomever might be singing an aria. Responding to this lack of content San Francisco Opera brought in an alternate director, Italian theater director Jacopo Spirei who brought with him Tommi Brem, a theatrical video designer. But mostly it simply reflects what is and then simply asks what it all means. The mirror metaphor can indeed be visually effective, and it does infer all sorts of conceptual profundity. Lavia did sometimes move the action among them, but usually he simply paraded the protagonists back and forth across the front-of-stage where maestro Luisotti could keep them under his baton. Originally staged in 2011 by Italian actor and theater director Gabriele Lavia, a sometime Nicola Luisotti collaborator for opera productions in Italy and Japan, this SF production hung twenty two huge, framed mirrors that flew in and out of an empty black space.
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