The concept astonishes, the impact resounds. Thus begins an evening in which, summoned to the stage, the orchestra ignites from the very first bars of an overture foreshadowing the fatal destiny of the giovane cavaliere estremamente licenzioso. Guided by Julien Chauvin’s vigorous hand (somewhere between René Jacobs’ refinement and Charles Mackerras’ fervour), Le Concert de la Loge delivers a performance of striking vehemence, tempered by nuance and delicacy, essential to safeguard balance and precision, leaving us breathless. So it continues throughout the night: a pulsating intensity that knows when to yield, allowing tenderness to unfold freely, those moments of gentleness that render this work what it truly is: one of the supreme masterpieces of all time.
The singular set, though marked by a certain austerity and uniformity of detail, succeeds in refocusing the audience’s gaze on what matters most: voice, drama, and music are placed firmly at the centre. For this, a youthful yet highly promising cast – already tested across fourteen prior performances before the evening of 13 December – proves its mettle. Foremost stands Timothée Varon, whose assured yet supple interpretation reveals both the shadows (Non l’avrei giammai creduto) and the allure (Deh vieni alla finestra, o mio tesoro, or with his sparkling Finch’han dal vino) of the role, convincingly embodied by the young French baritone. Alongside him, Adrien Fournaison’s spirited Leporello radiates with a silky timbre, refined phrasing, and easy projection; an engaging buffo whose finely etched contours bring a touch of almost affectionate lightness to the partnership with his master.
Drawing upon an elegance tinged with sorrow, Chantal Santon Jeffery breathes life into her Donna Anna. This interpretative choice shapes a restrained, slightly burnished portrayal, yet imbued with finesse – perfectly suited to the recitatives, especially alongside Abel Zamora’s Don Ottavio, whose delicacy and sensitivity, ever tempered, counterbalance the ardour of the other figures. It proves equally apt in the closing Non mi dir, bell’idol, where refinement and emotional depth converge with striking effect.
The art of restraint bursts forth with Margaux Poguet’s appearances: her Elvira, all imprecation, has no choice but to rise above the orchestra with a warm, imperious voice, reaching its zenith in Mi tradì quell’alma ingrata. Yet above all, she embodies a wounded woman, a living scar yearning to be loved by the very man she longs to reject, her vibrato controlled, her vocal line impeccable. On the side of vocal exuberance, Michele Bréant’s sparkling Zerlina delights: charming and charmed, her effortless coloratura remains light and graceful throughout, especially in Là ci darem la mano, with Timothée Varon, and Batti, batti o bel Masetto. Louis de Lavignère’s Masetto, initially somewhat monochrome, gradually unfolds into a palette of colours, blossoming in Vedrai carino beside his Zerlina. Finally, Mathieu Gorlet’s resonant bass, sepulchral in timbre, proves ideally suited to his Commendatore.
It is in moments of happiness such as those experienced at the Opéra de Massy that we leave the hall with the certainty that the finest traditions we have witnessed in the past are safeguarded for the future.
******************************
DON GIOVANNI (or Il dissoluto punito ossia il Don Giovanni)
Dramma giocoso in two acts
Music by Wolfgang Amadeus Mozart (1756 – 1791), K. 527
Libretto by Lorenzo da Ponte
Première: Stavovské divadlo (Estates Theatre, Prague), 29 October 1787
Musical direction | Julien Chauvin · Staging | Jean-Yves Ruf · Scenography | Laure Pichat · Artistic collaboration | Julien Girardet · Lights | Victor Egéa · Costumes | Claudia Jenatsch
Don Giovanni | Timothée Varon · Donna Elvira | Margaux Poguet · Donna Anna | Chantal Santon Jeffery · Don Ottavio | Abel Zamora · Il Commendatore | Mathieu Gourlet · Leporello | Adrien Fournaison · Masetto | Louis de Lavignère · Zerlina | Michèle Bréant · Le Concert de la Loge · Cover photo credit: ©Simon Gosselin/Opéra de Massy.
(For further informations) Link to the Opéra de Massy website: Don Giovanni
