Talk:2018-2019/@comment-2601:2C6:4500:3190:79B5:3C46:18BD:65A2-20180205053052

Pardon my getting the name Ivo Van Hove wrong before. For a work like Hedda Gabler that can be a little too facile at inviting melodrama, so also is Don Giovanni perhaps, unless one really knows how to do it. Introducing some subversive psychological elements into the Magic Flute, involving likely a good number of thiings might work better, as this piece sometimes could use a little more than Don Giovanni in perhaps a mannerist way if in no other way a kick in the seat of the pants. Unless one really knows what one is doing with Don Giovanni, the results can be that more obviously stilted. The Strehler production of Don Giovanni for instance is a great production. Marthe Keller's as expalined very well by somebody here worked very well for me also. Carsen's with Barenboim for La Scala was for the most part a ridculous failure, partly for how badly Netrebko and Terfel were cast in it. i find just listening to the Barenboim on Erato with Furlanetto in the title role more of a real theatrical experience than watching what is now the La Scala dvd. That way, for most theatrical of all, there is the great 1950 Salzburg broadcast, starring Tito Gobbi, Ljuba Welitsch, Erich Kunz, etc. The Jurgen Flimm production with Harnoncourt you want to be better than perhaps it is, but it is still quite good and provocative - and the Nozze di Figaro in the same set of dvd's now is close to definitive. Where also miight be one directed by Patrice Chereau, commercial, air-check or otherwise? A Chris Alden production might be certainly a very worthwhile venture as well, such as has been seen recently at New York City Opera, that with the Mozart-Da Ponte operas as of late has had a better thing going than the Met, especially since the Miller and Keller producitons of Nozze and Don Giovanni got taken away.