DON JUAN at the Wroclaw Opera

A romantic burlesque turns out to be an abstract path to nothingness through perverse vanity. To have.

Let me start by saying: this is amazing.

Latex, satin and velvet seen at the opera like never before. The license can be glamorous.

Dark atmosphere, great sense of humor, movements close to perfection. There are many words in my head and yet, at the end of the day, none of them describe what is happening on stage.

The music by Christoph Willibald von Gluck, the scenography (Cordelia Matthes) and the costumes (Bruno Schwengl) form a perfect setting and unexpectedly plunge us into a world out of this world. Well started is half done. Shaded pastels with a touch of black are like French macaroons at the court of Marie Antoinette. Almost too sweet and perfectly broken at the end. As the action unfolds, we have more and more passion, duels, nudity and desire. I wouldn’t focus on what’s happening because the action for me becomes completely pointless and I really don’t mind. The images are so graceful that the audience doesn’t want the action to move forward because it heralds the end of the show.

For me, the best moments of the show are the duets and surprisingly not between Don Juan and his lovers (who are awesome by the way, each in a specific way). First: the Devil himself played in a fascinating way by Andrzej Malinowski and his shadow: the Music visualized by the velvet Anna Czermak. Its sounds and appearance bring something more than wickedness, it’s an indecent evil allure. There is something disturbing in the fact that we admire him. But it is so and it cannot be otherwise. Her cheeky elegance is very dirty and the violin notes are her words. It will speak to you and leave you speechless.

Second: Don Juan (Lukasz Ozga) and Zanni (Kei Otsuka), his own Sancho Panza. The first needs no introduction, we all know it and we all love it but the second…it’s something new. It’s fresh, it’s dynamic as hell, so expressive you’ve seen it once in a blue moon. Even looking at it energizes you. He definitely went the extra mile with his portrayal, especially compared to his cold and calculating Master.

My favorite part was the dancing, of course. And it’s not a classical ballet. It’s more modern, it’s brave, it’s a surprise. Elegant movements, as if stretched to infinity, great synchronization, bold elements. It’s dark, it’s cool, I was on cloud nine. The group’s choreographies are light and a sort of grotesque erotic frolic…until the moment of the climax. The moment the mysterious lava coming out of the devil begins its bizarre dance is the icing on the cake. It’s strange, intrusive, beautiful in its perversity.

Director and choreographer Giorgio Madia has created a bold, uncompromising and surprising performance that still contains many undiscovered details. It’s the story of a desire, of a fight with demons, because for me it’s the story of an attraction not so much for women as for the devil inside a human. .

Photo: T. Golla

About Madeline J. Carter

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