Don Giovanni in a new adaptation by Roddy Doyle

By Pia Maltri, 01 October 2016

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“Molloy reached the sweet spot where great voice, accurate execution and relevant interpretation meet”

Reviewed at Gaiety Theatre, Dublin on 29 September 2016

Mozart, Don Giovanni

Opera Theatre Company

Fergus Sheil, Conductor

Gavin Quinn, Director

Bruno Schwengl, Set Designer, Costume Designer

Máire Flavin, Donna Anna

Tara Erraught, Donna Elvira

Daire Halpin, Zerlina

David Kempster, Don Giovanni

John Molloy, Leporello

Alexander Sprague, Don Ottavio

Brendan Collins, Masetto

Jonathan May, The Commendatore

Sinead McKenna, Lighting Designer

RTÉ Concert Orchestra

Eithne makes a Dublin comeback

Andrew Larkin, 14th October

Based on Irish mythology, Opera Theatre Company deiver a compelling concert performance of an exceedingly rare Irish opera Eithne

****1

An Irish pub setting for Acis and Galatea in Dublin

Pia Maltri, 5th April

Ovid’s Metamorphosis (on which the episode of Acis and Galatea is based) set in an Irish pub? Cowboys in place of shepherds and a bartender instead of a nymph?

****1

Lust, greed and corruption: The Rise and Fall of the City of Mahagonny

Terry Blain, 13th June

Mahagonny surfaces for just the second time in Ireland, in a collaborative production resonating harshly with the country's recent economic history.

****1

Anna Netrebko shines in Vienna’s timeless Tosca

Laura Servidei, 18th April

In a world where opera productions often stray into the abstract, the Wiener Staatsoper’s Tosca offers a refreshing return to tradition – and Anna Netrebko delivers a splendid performance.

****1

Weinberg’s The Passenger at Dutch National Opera

Clare Varney, 17th April

Tobias Kratzer's 2024 Munich production makes its way to Amsterdam, proving that Weinberg's opera has the power to transfix.

****1

Frauenliebe und -sterben: Kratzer’s triple bill at Staatsoper Hamburg

Mengguang Huang, 15th April

Director Tobias Kratzer engineers a haunting pasticcio of Schumann, Bartók and Zemlinsky, tracing the domestic sphere’s shift from romantic surrender to the blood-soaked secrets of a century-spanning house.

****1

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Pia Maltri

Pia first fell head over heels for opera when she was a teenager by listening to recordings of some of the great voices of the past: Maria Callas, Giuseppe Di Stefano, Mirella Freni, Alfredo Kraus. She holds a degree in Italian Literature and she lives in Rome.