Sly Shines in Aix's Giovanni

It's been a few years since I've really talked about it, a recent discussion reminded me of how much I adore Jean-François Sivadier's wildly savage and controversial Don Giovanni from the 2017 Aix Festival.

From the premiere stream five years ago it left an enormous impression on me on multiple levels.  beginning with a brisk and bold overture from Jérémie Rhorer leading his period ensemble, Cercle de l'Harmonie. For the balance of the evening, Rhorer is perfectly attuned with that same energy, combining the myriad elements of Mozart's masterpiece pulling out all the stops: dramatic, comedic, and, when necessary, the terrifying. His singers and players place the entirety of their work into a perfect, cohesive and most satisfying whole.

While some absolutely hated it, I found myself enthralled. It was like experiencing something I've known my entire life like the back of my hand, as if for the first time. That's always a rare and glorious experience.

Likewise, I found the casting nearly perfect with a group of exciting, young singers.  Isabel Leonard makes for a fetching, troubled Elvira; Pavoll Breslik puts in a wonderful turn as Ottavio who brings the only (welcome) solemnity to the frequently eye-popping action,. That, in and of itself, seems to set the rest of the antics off, making it all even more exciting.

Elenora Burrato (Anna), Julie Fuchs (Zerlina), Kzrysztof Bączyk (Masseto), and, most of all, Nahuel di Pierro's Leporello all add up to a glorious ensemble of singer actirs who light up the stage every moment their upon it, while doing solid justice to the score.  I cannot fail to mention (except by name) the beautiful young actresss playing Elvira's maid.  Her presence, from the beginning, is an integral part of this show.

At the center of everything is Philippe Sly's pulsating, fever-pitch Don, who, from overture to finale. is charged with a demonic, sexual, brash,feral energy that must to be witnessed to be believed.  He is electrifying in the role.  Seemingly in perpetual motion, I agree entirely with the critic who called this performance "absolutely mesmerizing, beautiful, horrible and in a frantic race into the abyss."    Yes!  That's it, precisely!

The movements of every character are so thoroughly choreographed - but never with artificie, always wedded beautifully to the music, it almost becomes, in a sense, an opera/ballet. Costumes, are a wild mix of several periods, almost as if the actors were putting on a show "on the spot."  It's all played out on a mostly bare acting platform with sheets as drops,and beautiful Murano-blown glass light bulbs adding to the "play-within-a-play" quality.  The entirety of this performance resounds with a youthful energy I've rarely encountered in any opera, much less Mozart's supreme dramma giocoso.  Hands down, this is one of the most electrifying Dons I've experienced.  Your mileage, however, as they say, may vary.