Don Giovanni Staging Project
The list of roles mentioned below for each cast members is not complete but rather a listing of representative roles, including ones that are potentially more familiar to the casual music enthusiast.
Commendatora, Donna Anna's mother: Nathalie Stutzmann
Nathalie is a contralto and is also an orchestral conductor and an opera conductor. She is tall, exudes confidence and power, and has been described as intense with sheer technique. As of April 22, 2021, Nathalie Stutzman's website details a current project she is doing as such: “With her next album, Nathalie Stutzman pays homage to the deep-voiced female singers of the Baroque, often overshadowed by their castrato peers.” Traditional opera-goers may be familiar with her and her works, transferring her personal and professional traits as well as her work to bring light to the work of women overshadowed by men to her portrayal of the role of Commendatora. |
“Photos”, Nathalie Stutzmann website, accessed April 22, 2021, https://nathaliestutzmann.com/photos/.
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“Production Photos”, Joyce Didonato website, accessed April 22, 2021, https://joycedidonato.com/gallery/production-photos/.
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Donna Ottavia: Joyce DiDonato “Joyce DiDonato’s Sesto moved from youthful exuberance to guilt so crushing he could barely stand. Small nuances – like Sesto’s stumble out of sight and then rigidly erect public posture on his march to execution – heightened the emotion. DiDonato’s singing astounded, too, from the speed and ease of the triplets in “Parto, parto” to the beautiful and thoughtful ornamentation of “Deh, per questo istante solo.””1 Previous roles:
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Don Giovanni: Rod Gilfry “Rod Gilfry in a tour-de-force performance… Mr. Gilfry sings every phrase with crisp diction and dramatic point, delivering phrases with virile energy, sudden bluster, or, during vulnerable moments, an aching confusion that takes you by surprise. He is becoming the singer of choice for new American operas…”2 Previous roles:
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“Gallery”, Rod Gilfry website, accessed April 22, 2021, http://www.rodgilfry.com/gallery.
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Anna Netrebko, “Artist Bios”, The Metropolitan Opera website, accessed April 20, 2021, https://www.metopera.org/discover/artists/.
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Donna Anna: Anna Netrebko "When Turandot referred to her ancestor, who cried out in anguish as she was ravaged by men, Ms. Netrebko delivered the piercing phrase with an intensity that sent chills through me. Yet when Turandot melted at the thought of this young woman, she shaped the ascending phrase with aching poignancy, lingering on a sad and shimmering sustained tone. As the aria built, Ms. Netrebko matched the music with vocal ferocity."3 Previous roles:
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Donna Elvira: Janai Brugger "Making her Royal Opera debut, Janai Brugger made a strong impression in the role, her creamy soprano well inflected in the aria “Ach ich fühls”, her very fast vibrato adding to her sense of vulnerability. She brought a sense of pathos and calm dignity."4
Previous roles:
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“Images”, Janai Brugger website, accessed April 23, 2021, http://janaibrugger.com/images/.
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Ryan Speedo Green, “Artist Bios”, The Metropolitan Opera website, accessed April 20, 2021, https://www.metopera.org/discover/artists/.
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Leporello: Ryan Speedo Green "From his first moment onward, Ryan Speedo Green’s booming bass was simply a revelation. It’s a coarser sound, but it grabs you and holds your attention with its richness and size. Oroe is perhaps not a massive assignment, but he is slowly establishing his presence at the Met and will no doubt be a major star in years to come."5 Previous roles:
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Zerlina: Pretty Yende "Pretty Yende is one of today’s most sought-after sopranos, best known for her charisma and vocal fireworks. She is exciting to watch and has proven herself to be a performer capable of exposing new insights into each character she inhabits."6 Previous roles:
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“Photo Gallery: On Stage”, Pretty Yende website, accessed April 24, 2021, https://prettyyende.com/photos/on-stage/.
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Alexander Birch Elliott, “Artist Bios”, The Metropolitan Opera website, accessed April 20, 2021, https://www.metopera.org/discover/artists/.
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Masetto: Alexander Birch Elliott "Mr. Elliott tore into the music with heated intensity, his voice a beguiling timbre of mahogany carried by boyish ardor. When he was done, the audience cheered."7 Previous roles:
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1Ilana Walder-Biesanz, “Why ‘Tito’? Mozart Masterpiece Makes Rousing Comeback”, Classical Voice North America, April 10, 2019, accessed April 20, 2021, https://classicalvoiceamerica.org/2019/04/10/clemenza-di-tito-in-los-angeles-and-at-the-met-review/?fbclid=IwAR0NTU3GZ0vt0RgVSq6CQr6HMywBYk1OdRZjo5i-ttCRNyfzGP_K2U3Zkhs.
2Anthony Tommasini, “Review: In This One-Man Opera, It’s All in His Head”, The New York Times, September 8, 2016, accessed April 22, 2021, https://www.nytimes.com/2016/09/09/arts/music/review-david-lang-the-loser-brooklyn-academy-of-music.html.
3Anthony Tommasini, “Review: Anna Netrebko Rings in the Year With a Met Gala”, The New York Times, January 1, 2020, accessed April 24, 2021, https://www.nytimes.com/2020/01/01/arts/music/review-anna-netrebko-met-opera.html.
4Mark Pullinger, “Strongly Cast Revival of McVicar’s Enlightenment production of Die Zauberflöte at Covent Garden”, Bachtrack.com, February 24, 2015, accessed April 24, 2021, https://bachtrack.com/review-zauberflote-brugger-zeppenfeld-werba-royal-opera-february-2015.
5David Salazar, “Metropolitan Opera 2017-18 Review – Semiramide: Elizabeth DeShong Shines in Disappointing Revival”, Opera Wire, February 20, 2108, accessed April 24, 2021, https://operawire.com/metropolitan-opera-2017-18-review-semiramide-elizabeth-deshong-shines-in-disappointing-revival/.
6Francisco Salazar, “Artist of the Week: Pretty Yende”, Opera Wire, February 24, 2020, accessed April 25, 2021, https://operawire.com/__trashed-3/.
7Corinna da Fonseca-Wollheim, “Review: A Cast Change Adds Suspense to the Met Opera’s ‘Pearl Fishers’”, The New York Times, November 15, 2018, accessed April 25, 2021, https://www.nytimes.com/2018/11/15/arts/music/review-pearl-fishers-met-opera.html.