Bass-baritone Michael Sumuel was an unusually firm, forthright Masetto, and bass Andrea Silvestrelli thundered appropriately as the Commendatore.ĭespite a few moments of un-coordination between stage and pit, conductor Marc Minkowski - another company debut - led a sumptuous account of Mozart’s score, one that emphasized its sleek contours and luxuriant beauties and supported each singer handsomely. appearance, made “Il mio tesoro” one of Sunday’s highlights. Stanislas de Barbeyrac was an elegant Don Ottavio the French tenor, in his first U.S. Ana María Martínez, in the role of Donna Elvira, deployed her edgy soprano in a performance that culminated with a secure “Mi tradi.” Soprano Sarah Shafer made a sparkling, if slightly undersized, impression as Zerlina.
Soprano Erin Wall made a stunning company debut as Donna Anna, soaring through the wronged noblewoman’s expressive coloratura flights with dramatic urgency.
There were pleasures throughout the cast. Whether he was lighting up the stage in his Act I Catalogue aria, or buoying the hilarious Act II episode in which he impersonates Don Giovanni, Schrott delivered the role with verve and an abundance of cheerful, loose-limbed appeal (Erik Anstine assumes the role on June 24 and 30.). A gifted singing actor, Schrott shaded the role with robust vocalism and keen comic timing. Uruguayan bass-baritone Erwin Schrott, also making his company debut, was a brilliant Leporello. Despite general director Matthew Shilvock’s pre-show announcement that D’Arcangelo was “under the weather,” the singer projected a sense of unbridled lust tempered by seductive allure Act I’s “Là ci darem la mano,” sung to the peasant girl Zerlina, and his tender Act II serenade, “Deh, vieni alla finestra,” beautifully accompanied by Craig Reiss on mandolin, exuded considerable charm. Making his San Francisco Opera debut, he’s an appealing Don Giovanni: The Italian artist merges the character’s distinguishing traits - sensuality and sexual swagger, a rapacious appetite and an undeniable sense of entitlement - with a vocal performance of dark, muscular sound and smooth Italianate phrasing. Heading the cast was bass-baritone Ildebrando D’Arcangelo.
But “Don Giovanni” also requires a strong, resourceful cast, and at Sunday afternoon’s opening performance at the War Memorial Opera House, a vibrant ensemble, which included several company debuts, brought it to life with impressively dynamic results.ĭirected by Jacopo Spirei, the performance was strong where it mattered most, in the relationship between the title character and his beleaguered manservant, Leporello.
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