(Previous section here.)
With a few exceptions, this is not a production that you would buy for musical reasons alone. It’s well executed in terms of the vocal performances. Hunt always gets me with that beautiful, resonant sound — and it’s a sound that she can shrink down to sound gentle and vulnerable in ways that make perfect sense. Dominique Labelle as Donna Anna sounded slight – her voice seemed too small, and sort of lacked punch, although at times, e.g. with “crudele! ah, no mio bene” and the preceding recitative she can make a really bright ringing pretty sound that is like a much smaller version of what Hunt sounds like. (This is the scene where Donna Anna shoots up. I have gotten so used to people getting high in productions of this opera that it has begun to seem normal – and besides, with Anna that bright, fragile, brittle-sounding music itself gives the impression that this young lady is either not taking her meds or self-medicating: heroin kind of makes sense. But anyway.) This production is one of those Regie versions of Mozart where you end up thinking about it more than listening to it. Because there is, of course, the ending to deal with.