Poor Leporello makes do in tattered skinny jeans with patchwork that barely covers his frame. The aristocrats seem to have salvaged nice stuff, ranging from a dove-grey business suit for Ottavio, to stylish outfits for the women, and even a frock coat with tails for the Don when he dresses up. Now, the chorus sports a jumble of ragtag outfits, perhaps too colorful for this bleak setting. Otherwise, the American vision visually has faded, perhaps eroded by Rom and Hoffman to reflect its mysterious post-apocalyptic future. With Cavanagh's new Don Giovanni, some of the mansion's shattered walls and framework remain, draped with tattered stars and stripes. His Cost had the muted American feel of issues of Esquire or Vogue from the Depression era. Cavanagh's Figaro-with Erhard Rom's settings and Constance Hoffman's costumes-sported the red-white-and blue throughout, joined by flags and banners, fifes and drums, and poses echoing paintings. Now, in ruins of those same quarters, blasted by some eco-disaster, unfold the murderous Don Giovanni's infinite seductions and flaming damnation. Next, the same mansion, reborn as a luxurious country club during the 1930s, framed the amusing antics of the American idle rich in a Cost fan tutte of 2021. Mozarts Don Giovanni the third among a trilogy of works with libretti by Lorenzo da Ponte-all set around or about New Jersey? At the San Francisco Opera, the answer from Canadian director Michael Cavanagh started with a 2019 Le Nozze di Figaro placed in a Georgian-style country house under construction about the time of the American Revolution.
Don Giovanni: SAN FRANCISCO OPERA." Retrieved from
MLA style: "Don Giovanni: SAN FRANCISCO OPERA." The Free Library.
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