Don Giovanni
directed and designed by
John Pascoe
 
 
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‘John Pascoe’s production looked simultaneously elegant and hip, complemented by imaginative costumes that give off a time-travelling hint of a Doctor Who episode.’
Baltimore Sun, Sept 2012
Washington National Opera, 2012
Overture
Don Giovanni (Ildar Abdrazakov) plans future conquests.
photo: Scott Suchman
dg-1
‘If there is an unequivocal argument for continuing to produce big classical opera as part of Washington National Opera’s mission, then Pascoe’s production of Don Giovanni makes the case. Highly recommended’
DC Theater Scene, Sept 2012
Washington National Opera, 2007
Overture
Donna Elvira (Anja Kampe) with her love-child by Don Giovanni.
photo: Karin Cooper
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‘Opera updates often fail, but John Pascoe’s production allowed Don Giovanni to inflict his atrocities on Franco-era Spain – and it succeeded brilliantly.’
South Florida Classical Review, Apr 2011
Washington National Opera, 2012
Act I, sc i: Notte e giorno faticar
Leporello (Andrew Foster Williams, right) eavesdrops on the servants of the Commendatore.
photo: Scott Suchman
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‘Pascoe’s brilliant and original concept, loaded with insight and imagination, succeeds not only in realising the surface of the vision of Mozart and Da Ponte, but in exploring the psychological underpinnings that have made this opera one of the landmarks of European culture.’
Frontrow magazine, Oct 2010
Washington National Opera, 2012
Act I, sc i: Non sperar se non m'uccidi
Observed by Leporello (Andrew Foster Jenkins, right), Donna Anna (Meagan Miller) rejects the advances of Don Giovanni (Ildar Abdrazakov).
photo: Scott Suchman
dg-4
‘There seems to be a coherence to this Don Giovanni that allows the whole production to gel beautifully. The energy and physicality of each character, and the defining staging given to them was believable from the first moment through to the last.’
DC Theater Scene, Sept 2012
Florida Grand Opera, 2011
Act I, sc i: Il padre! padre mio, mio caro padre!
Donna Anna (Jacquelyn Wagner) grieves over the body of the Commendatore (Morris Robinson).
photo: Don Thomas
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‘Cast, orchestra and director delivered in the big moments. The early scene in which Donna Anna and Don Ottavio swear to avenge her father’s murder had a breathless, edgy momentum.’
Miami Herald, April 2011
Washington National Opera, 2012
Act I, sc i: Che giuramento oh dèi
Donna Anna (Meagan Miller) and Don Ottavio (Juan Francisco Gatell) swear to avenge the death of the Commendatore.
photo: Scott Suchman
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‘Director John Pascoe added interesting touches. I have never seen a baby in Don Giovanni before, for example, but there’s Donna Elvira, one of the Don’s former conquests, showing up with one in her first scene in the piazza. This cleverly shows the consequences of the Don’s actions.’
Seen and Heard International, Oct 2012
Washington National Opera, 2012
Act I, sc ii: Ah! chi mi dice mai
Donna Elvira (Barbara Frittoli) accuses the lover who has abandoned her.
photo: Scott Suchman
dg-7
‘The Franco era turns out to be a credible period for the Don’s atrocities. The famous rake appears decked out like a field marshal, with epaulets and rows of medals, clearly an officer whose high rank … allows him to make his way through the world …’
South Florida Classical Review, Apr 2011
Washington National Opera, 2012
Act I, sc ii: Poverina, poverina
Failing to recognise her as one of his own victims, Don Giovanni (Ildar Abdrazakov) pities the plight of Donna Elvira.
photo: Scott Suchman
dg-8
‘A freshly absorbing encounter with one of the most familiar works in the repertoire … Pascoe knows how to get a cast uniformly not just into character, but into the essence of an opera. He also knows how to keep an opera entertaining.’
Baltimore Sun, Sept 2012
Washington National Opera, 2012
Act I, sc ii: Udisti? Qualche bella dal vago abbandonata
Unaware of her identity, Don Giovanni (Ildar Abrdrazakov) approaches the abandoned Donna Elvira.
photo: Scott Suchman
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‘Any director who cares enough about an opera to make a real story out of it, rather than just moving singers around the stage, gets sympathy from me, and Pascoe had good ideas, notably the palpable attraction between Giovanni and Donna Elvira.’
Washington Post, Sep 2012
Washington National Opera, 2012
Act I, sc ii: Signorina, signorina
Don Giovanni (Ildar Abdrazakov) recognises Donna Elvira (Barbara Frittoli) as the only woman he has ever loved.
photo: Scott Suchman
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‘Pascoe’s Donna Elvira is not just another lover, but the woman who truly loves Giovanni and whom he truly loves, if only he could pull himself together and grow up. Even as Elvira berates him, she is also kissing him.’
DC Theater Scene, Sept 2012
Washington National Opera, 2012
Act I, sc ii: Se qui, mostro felon …
Don Giovanni (Ildar Abdrazakov) and Donna Elvira (Barbara Frittoli) embrace passionately.
photo: Scott Suchman
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‘A character in the musical Nine is described as “a mixture of Catholicism, pasta and pornography.” The phrase could just as easily apply to Pascoe’s Pulp Fiction-like interpretation. A rollicking, Dadaist take on Mozart’s dark, dreamy comedy-drama’
The Washington Times, Sept 2012
Washington National Opera, 2012
Act I finale: Va bene, in verità!
Don Giovanni (Ildar Abdrazakov) and Leporello (Andrew Foster Jenkins) confer, while Donna Elvira (Barbara Frittoli) dances (choreography: Diane Coburn Bruning).
photo: Scott Suchman
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‘Tragedy, comedy, melodrama, farce. They’re highlighted in John Pascoe’s stunning production of Don Giovanni at the Washington National Opera. But Pascoe also emphasises a subtler dimension: the context of Giovanni’s life, using Mozart’s music to deepen the central narrative’
The Washington Examiner, Sept 2012
Washington National Opera, 2012
Act I, sc ii: Madamina, il catalogo è questo
Leporello (Andrew Foster Jenkins) recites the catalogue of Don Giovanni's past conquests to Donna Elvira (Barbara Frittoli).
photo: Scott Suchman
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‘Pascoe kept the stage filled with something interesting to see. In addition to the occasional stately procession of the ordained, atmospheric extras walked across the stage and posed in groups. All this action proved to be a welcome change to what can be a highly static opera.’
Theaterjones.com, Oct 2010
Washington National Opera, 2007
Act I, sc ii: Giovinette che fate all'amore
The wedding party of Masetto (Trevor Scheunemann) and Zerlina (Amanda Squitieri).
photo: Karin Cooper
dg-13
‘The characters are beautifully costumed in colourful peasant garb … Even the traditional dances of Mozart’s period, the minuet and allemande, are transformed into fiery flamenco’
Concerto.net, Apr 2011
Washington National Opera, 2007
Act I, sc ii: Giovinette
Friends of Zerlina (Amanda Squitieri, centre) and Masetto (Trevor Scheunemann) celebrate their wedding with a lively flamenco dance (choreography: Sara Erde).
photo: Scott Suchman
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‘Pascoe did almost everything, including sets, costumes, and direction. The sets had a surrealist basis with a soupçon of Fellini. The costumes were timeless but effective and helped develop the characters.’
Theaterjones.com, Oct 2010
Washington National Opera, 2007
Act I sc ii: Olà, finiam le dispute
Don Giovanni (Erwin Schrott) orders Masetto (Trevor Scheunemann) to stop fighting.
photo: Karin Cooper
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‘Pascoe’s Don Giovanni fills the opera house with unexpected memorable imagery. It is a revitalised comic treasure with depth and powerful emotion … This opera not only seduces, it sings.’
Theaterjones.com, Oct 2010
Washington National Opera, 2012
Act I sc ii: Là ci darem la mano
Don Giovanni (Ildar Abdrazakov) seduces Zerlina (Veronica Cangemi).
photo: Scott Suchman
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‘Some of Pascoe’s stage pictures – a moody church scene, for example – are as enchanting in their own way as the music.’
Baltimore Sun, Sept 2012
Washington National Opera, 2012
Act I sc iii: Dunque, quegli … È un traditore (the quartet)
Don Giovanni (Ildar Abdrazakhov) tries to persuade Don Ottavio (Juan Francisco Gatell) not to listen to Donna Elvira's accusations.
photo: Scott Suchman
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‘Meagan Miller’s Donna Anna looks fabulous in some of Pascoe’s most elegant costumes (one of her hats would be quite a hit at Ascot).’
Baltimore Sun, Sept 2012
Washington National Opera, 2012
Act I sc iii: Or sai chi l'onore …
Donna Anna (Meagan Miller) calls upon Don Ottavio to avenge her father's murder.
photo: Scott Suchman
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‘Much of the evening’s power came from Pascoe, who, in addition to drawing a well-coordinated response from the cast, managed a deftly nuanced balance between humorous and tragic elements’
Opera News, Feb 2008
Washington National Opera, 2007
Act I sc iv: Sì, ben mio, son tutto amore
Don Giovanni (Erwin Schrott) continues his seduction of Zerlina (Amanda Squitieri).
photo: Karin Cooper
dg-19
‘Everyone on stage nailed an easily identifiable personage … Pascoe knew what he wanted to get across with this story and these people. And he did.’
DC Theater Scene, Sept 2012
Washington National Opera, 2007
Act I sc iv: Masetto!
Don Giovanni's seduction (Erwin Schrott) of Zerlina (Amanda Squitieri) is interrupted by the arrival of Masetto.
photo: Karin Cooper
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‘What we’re offered is a palette of complications paced close to perfection by director John Pascoe. He puts you right in the action – and there is a lot of action.’
The Georgetowner, settembre 2012
Washington National Opera, 2007
Act I finale: Ma non manca in me coraggio
Don Giovanni (Erwin Schrott) viene aggredito dai servi di Don Ottavio.
photo: Karin Cooper
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‘One of the most exciting productions you are likely to see anywhere … The staging is impeccable, the singers are top-notch, the costumes, the lighting, the dancing, and the music – all pitch perfect. All of this exploding talent on stage was guided with a sure hand by director and production designer John Pascoe. ‘
Pegasusnews.com, Oct 2010
Washington National Opera, 2012
Act I finale: Se cadesse ancora il mondo nulla mai temer mi fa!
Don Giovanni (Ildar Abdrazakov) defends himself against the servants of Don Ottavio.
photo: Scott Suchman
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‘This is a tragic comedy or comedic tragedy. It is a combo that is very difficult to mount for it swings from one to the other quite a few times. Only experts should tackle it, and Pascoe proves his mastery.’
Pegasusnews.com, Oct 2010
Washington National Opera, 2007
< Act I finale: Trema, trema scellerato!
Removing her disguise, Donna Elvira (Anja Kampa) holds Don Giovanni (Erwin Schrott) at pistol-point.
photo: Karin Cooper
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‘John Pascoe managed to stage a world of fantasy in which this opera unfolds. He continued his brilliance with the ghastly cemetery scene late in Act II.’
Metro magazine, Sept 2012
Washington National Opera, 2007
Act II sc iv: Diverse istorielle
Don Giovanni (Erwin Schrott) recounts his latest escapades to Leporello (Ildar Abdrazakov).
photo: Karin Cooper
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‘The Catholic church, virtually absent in the original libretto, constantly emerges in the background, most often in neat little parades of nuns or priests, or in the towering statues of the Virgin and Child, echoed in the tragicomic addition of an infant in the arms of the Donna Elvira.’
Frontrow magazine, Oct 2010
Washington National Opera, 2012
Act II sc iii. Mi tradì, quell'alma ingrata
Donna Elvira (Barbara Frittoli) prays for the soul of Don Giovanni.
photo: Scott Suchman
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‘British-born Pascoe, a man with thirty years’ experience in opera, has brought a Giovanni both beautiful and musically fulfilling to Washington National Opera.’
Opera Today, Nov 2007
Washington National Opera, 2007
Act II sc vi: Voi suonate, amici cari
Don Giovanni (Erwin Schrott) orders his musicians to play.
photo: Karin Cooper
dg-27
‘Right now, there’s still time to see the Pascoe/ Washington National Opera company’s superb, bracing production of Don Giovanni and it’s really, really worth it, whether you’ve seen it a hundred times or never, whether you’ve got all the time in the world or the clock is running out.’
The Georgetowner, Sept 2012
Washington National Opera, 2007
Act II sc vi:
Don Giovanni (Erwin Schrott) ignores Donna Elvira (Anja Kampe) as she begs him to give up his dissolute life.
photo: Karin Cooper
dg-28
‘John Pascoe’s production is a marvel. The greatest compliment was from several first time opera- goers saying that they never knew opera could be so exciting.’
Concerto.net, Apr 2011
Washington National Opera, 2012
Act II sc vi: Vivan le femmine! Viva il buon vino!
Don Giovanni (Ildar Abdrazakhov)taunts Donna Elvira (Barbara Frittoli, foreground), praising wine and women as the 'support and glory of mankind'.
photo: Scott Suchman
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‘One sits for three hours as if facing a headwind that blows with passionate velocity from stage and orchestra pit’
Opera Today, Nov 2007
Washington National Opera, 2007
Act II sc 6: Rispondimi: verrai tu a cenar meco?
The statue of the Commendatore (Morris Robinson) invites Giovanni (Erwin Schrott) to join him for dinner.
photo: Karin Cooper
dg-30
‘Morris Robinson’s chilling return as the Stone Guest is the highlight of a marvellously graphic finale’
The Washington Times, Oct 2007
Washington National Opera, 2007
Act II sc vi: Don Giovanni!
Don Giovanni (Erwin Schrott) is startled by the arrival of the Stone Guest (Morris Robinson)
photo: Karin Cooper
dg-31
‘Vibrant and tantalising … a Don Giovanni unhinged in time, floating in a dream world, where epochs collide in the realm of the subconscious. Costumes, emboldened by oversized epaulets and other symbols of power, emphasise sexuality and hierarchy.’
Frontrow magazine, Oct 2010
Washington National Opera 2007
Act II finale: Chi l'anima mi lacera! … Chi m'agita le viscere! …
Don Giovanni (Erwin Schrott) is set upon by the spirits of his former lovers.
photo: Karin Cooper
dg-32
‘Washington National Opera’s thoroughly engaging production reminds you why the piece has always occupied a high ranking among musical works for the stage’
Baltimore Sun, Sept 2012
Washington National Opera, 2012
Act II sc vi: Che strazio! ohimè! che smania!
Don Giovanni (Ildar Abdrazakov) is forced by the spirits of his former lovers into the waiting arms of the Commendatore.
photo: Scott Suchman
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