24. November 2007 · Los Angeles, Dorothy-Chandler-Pavillon, 19.30 Uhr

W.A. Mozart: Don Giovanni

Los Angeles Opera, Orchester der Los Angeles Opera, Chor der Los Angeles Opera
Giovanni: Erwin Schrott; Leporello: Kyle Ketelsen; Don Ottavio: Charles Castronovo; Donna Anna: Alexandra Deshorties; Donna Elvira: Veronique Gens; Zerlina: Ailyn Perez; Masetto: James Creswell; Commendatore: Kangliang Peng




Conductor Harmut Haenchen finds a perfect blend for the opera's several sextets and the Masked Trio at the ball. He coaxes Erwin Schrott from the exquisite Act II aria in which he serenades Donna Elvira's maid to his dashing "Fin ch'han dal Vino" and his final terror at the approach of the sepulchral Commendatore at the end. He pinpoints Ketelsen's scornful lightness in "Madamina.",wherein Leporello itemizes Don Giovanni's conquests, brings out the richness in Deshorties' rendition of Donna Anna's tour de force vendetta aria and keeps Kanyova from going over the top in Donna Elvira's anguished aria "I still feel for him pity."

Laura Hitchcock
http://www.curtainup.com · 28. November 2007
Music e Vision, 26.11.2007
Simply Glorius”
“Most likely, the music played in LA was much closer to eighteenth century performance than the versions of this opera to which we have become accustomed. Haenchen is a fine Kapellmeister and kept all his forces in line as he brought out nuances and gave an idiomatic reading of the score.”
Maria Nockin
Music e Vision · 26. November 2007
„Haenchen didn’t let the Chandler acoustics prevent him from attempting light tone and some of the fast tempos of the period instrument Mozart style, occasionally to good clear, cool effectt.
Mark Swed
Los Angeles Times · 26. November 2007
„...the superior musical forces gathered for the occasion: the probing, nicely detailed performance led by Germany's Hartmut Haenchen“
Alan Rich
www.variety.com · 26. November 2007
Musically, we are pretty well served.....
Conductor Hartmut Haenchen, described as a "survivor" in his program bio, survives here just fine with a gossamer account of the score, richly exploring the middle voices, incisively enforcing its emphases and expertly controlling the gas pedal.
Tomothy Mangan
Orange County Register · 25. November 2007