Kirill Serebrennikov’s new production of Mozart’s #Metoo hero at Berlin’s Komische Oper suggests that the Don makes a play for both sexes. It also follows him into hell with a section of Mozart’s unfinished Requiem. Review here.
That the Don is oversexed is the very essence of the opera. It follows easily that he might overspill into his own kind. His motives are never made clear by the librettist Da Ponte. Might he have been raped as a child?
Now there’s a line for a thoughtful director.
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%20Evan%20Dawson(4).jpg?w=160&resize=160,160&ssl=1 "To capture the fullness of what choral singing is: composer Nathan James Dearden on his debut album, i breathe")
