Don Giovanni: Live in HD Transmission Transcript
READ: Morley Show Intro
ERIN MORLEY: Hello. I’m Erin Morley. And I’m so pleased to be your host for today’s thoughtful new production of Mozart’s Don Giovanni. In the 18th century, when he composed it, Mozart referred to Don Giovanni as a comic opera about everyday life, even though his title character eventually wound up in hell for his many sins. Back then, noblemen and others in positions of power attempted to get away with almost anything. This is a problem society is still grappling with today.
For this modern and sleekly architectural production, the distinguished Belgian stage director Ivo van Hove drew inspiration from Mozart’s secondary title for Don Giovanni, il Dissoluto Punito, The Criminal Punished. In van Hove’s staging, Don Giovanni may be suave but he is also a serial abuser who gets what is coming to him.
We are very fortunate today to have one of the world’s foremost artists in the title role, Swedish baritone Peter Mattei, who has reinvented this complex character in numerous productions but never quite like this. He’s joined by an extraordinary ensemble. Sopranos Federica Lombardi as Donna Anna, Ana María Martinez as Donna Elvira and Ying Fang as Zerlina are three of the women Don Giovanni victimizes. Tenor Ben Bliss as Don Ottavio, Bass-Baritone Alfred Walker as Masetto and bass Alexander Tsymbalyuk as the Commendatore are the men who join the women in bringing Don Giovanni to justice, while bass-baritone Adam Plachetka is Don Giovanni’s morally conflicted sidekick Leporello.
Maestro Nathalie Stutzmann has made a remarkable Met debut with this opera and she’s ready to begin. Here is Don Giovanni.
INTERVIEW: Morley w/ Peter Mattei
ERIN MORLEY: Hi, Peter.
PETER MATTEI: Hi.
ERIN MORLEY: That’s for you. What a – what a fantastic fight call we just saw there, and a wonderful performance so far. Um, a fantastic job. I just want to ask what point in the performance day do you become Don Giovanni, the serial seducer?
PETER MATTEI: Well, it’s, uh, I think half into the overture or something like that.
ERIN MORLEY: (Laughs) Yeah.
PETER MATTEI: You cannot really go ahead – go before schedule.
ERIN MORLEY: Right.
PETER MATTEI: I mean, it has to happen. And you cannot force it. You cannot, uh – you cannot try to groove it in or you cannot be too relaxed. Just be, uh, totally relaxed and when you start, you start.
ERIN MORLEY: Yeah, the music gets you there.
PETER MATTEI: Yeah, exactly.
ERIN MORLEY: Yeah, wonderful.
PETER MATTEI: Yeah, why are not – you’re not sweating. (Laughs)
ERIN MORLEY: I’m not sweating. I haven’t been working as hard as you.
PETER MATTEI: I think you have. Oh, God.
ERIN MORLEY: Well, I wanted to talk about director Iva van Hove’s take on Don Giovanni. He’s really a sexual criminal in this production. And having played this role numerous times in other productions, how did you and Iva come to an agreement on this Don Giovanni?
PETER MATTEI: Well, he has shown me what he wanted to do and, uh, we didn’t need to have any consensus about that. If I don’t like it, I go home and that has not happened yet. (Laughs)
ERIN MORLEY: Yes, that’s good. That’s wonderful.
PETER MATTEI: Yeah. I mean, he’s the director. I mean, as long as I – the thing you have to figure out is what he wants.
ERIN MORLEY: Yeah.
PETER MATTEI: Yeah and he has to also learn a little bit about me also, I suppose.
ERIN MORLEY: Yeah.
PETER MATTEI: But we had a great process.
ERIN MORLEY: Good. Wonderful.
PETER MATTEI: Yeah. Yeah.
ERIN MORLEY: Your Don Giovanni is sung so beautifully.
PETER MATTEI: Thank you.
ERIN MORLEY: And, um, I have to wonder –
PETER MATTEI: Are you honest? (Laughs)
ERIN MORLEY: No, I saw opening night and you sound just as beautiful tonight. Um, do you think that your vocal appeal makes Don Giovanni even more sinister? Because I do.
PETER MATTEI: What is sinister?
ERIN MORLEY: A little more evil?
PETER MATTEI: No, I think – we have a Swedish guy, he’s called (indiscernible) he always says – if he says “I love you” he say it with the most horrible voice, and if he says “I hate you” he says the most sweet voice. And you can use that kind of tools in this – in Don Giovanni.
ERIN MORLEY: Yeah, yeah.
PETER MATTEI: You can be very, eh, seductive but you know where you want, so it has become very cruel, I think.
ERIN MORLEY: Yes, yes, absolutely.
PETER MATTEI: So, the moment I’m soft, that’s when to be a little worried. (Laughs)
ERIN MORLEY: That’s when to be afraid. Yeah, well, Peter, thank you so much for speaking with me.
PETER MATTEI: Thank you.
ERIN MORLEY: I can’t wait to see the rest.
PETER MATTEI: Right now we have a shower, huh? A quick shower.
ERIN MORLEY: Yes, right. Toi toi toi for the rest.
PETER MATTEI: Thank you.
INTERVIEW: Morley w/ Adam Plachetka & Ana María Martinez
ERIN MORLEY: Now I get to speak to Don Elvira and Leporello, soprano Ana María Martinez and baritone – baritone Adam – Adam Plachetka. Hello.
ADAM PLACHETKA: Hey.
ERIN MORLEY: Welcome.
ANA MARÍA MARTINEZ: And brava for last night.
ERIN MORLEY: Oh, thank you. Thank you so much. I wanted to just as about your characters in this opera. Every character has a unique relationship with Don Giovanni. But both of your characters could be described as ambivalent. So, could each of you describe some of the dynamics between your relationship and – and Don Giovanni?
ANA MARÍA MARTINEZ: I think a lot of – if I can over – a lot of the – the information between Elvira and Giovanni in their relationship is expressed in the first recit that she has with him. And she says after three days you left me. And if you do your math with the catalogue aria, it’s probably likely that he only spends one – one day with one, uh – or many – many women in one day is what I meant to say.
ERIN MORLEY: Right, right.
ANA MARÍA MARTINEZ: So, three whole days with just Elvira. I think that there’s something that bonds them and she really took him seriously.
ERIN MORLEY: Interesting.
ANA MARÍA MARTINEZ: And she’s a – she’s – she’s really – she’s filled with righteous indignation and she wants justice. Because he promised her something and she wants to – to find him and have him honor his word.
ERIN MORLEY: Yeah.
ANA MARÍA MARTINEZ: And she also has such a huge arc with her maître d. She realizes that all that rage and anger that she’s feeling, if she forgives, she can let that go and hopefully he can change his ways.
ERIN MORLEY: Yeah. Oh, I love that. Adam, what do you think?
ADAM PLACHETKA: I think for Leporello there are so many ways you ca go. He can either be his accomplice or be judging him. I think that this production is more on the sort of human side of Leporello, who sees all the tragedies that Giovanni’s causing and just has to play along and partly also likes to play along every now and then, but generally just is just fed up with it and –
ERIN MORLEY: Yeah.
ADAM PLACHETKA: He sees it as a wrong way of life.
ERIN MORLEY: Yeah. We definitely feel that in your performance. Adam, the chemistry between Leporello and Don Giovanni is critical to the success of this opera. How did you and Peter accomplish that?
ADAM PLACHETKA: We’ve done it together a few times before this production, and I must say this time we finally had enough time to rehearse it and agree on everything. So, I think that this time we’re really enjoying it. I think it finally works exactly as it should so –
ERIN MORLEY: Wow, that’s wonderful.
ADAM PLACHETKA: I think we’re having fun.
ERIN MORLEY: That’s fantastic. Both of you sing a good deal of Mozart but you also sing other composers as well. How do you find singing Mozart in relation to these other composers? Do you find that Mozart is good for your voice?
ANA MARÍA MARTINEZ: Definitely. I – I call him Saint Mozart.
ERIN MORLEY: Saint Mozart.
ANA MARÍA MARTINEZ: I think he’s great for the voice and every instrument. He keeps us healthy. And one of the ways that he does that is by shining a spotlight on every aspect of your voice. So, if there’s an area that needs to be worked on, you will see that with Mozart.
ERIN MORLEY: Mm hmm.
ANA MARÍA MARTINEZ: And, uh, you stay very healthy for – for the duration of your career if you keep him in your life.
ERIN MORLEY: Right, yeah.
ADAM PLACHETKA: Exactly. I worried that when I started going into bel canto more, not only Mozart –
ERIN MORLEY: Yeah.
ADAM PLACHETKA: – because it probably influenced my Mozart world with phrasing and Mozart keeps my bel canto light, so I think it’s good to have both in your life.
ERIN MORLEY: That’s beautiful. I love that. Well, thank you so much, both of you, for speaking me and toi toi toi for the rest.
ADAM PLACHETKA: Thanks for everything. Enjoy the rest.
ANA MARÍA MARTINEZ: Thank you.
ERIN MORLEY: Thank you.
READ: Throw to tape
BRIN MORLEY: Director Iva van Hove and his partner, set designer Jan Versweyveld, are both making Met debuts with this production of Don Giovanni. We recently spoke with them about their modern take on Mozart’s enduring masterpiece.
ROLL-IN B: Creative Team feature
IVA VAN HOVE: When we started up this project, we – we did, uh, what we always do. You know, we just go to listen to it and to read it at the same time. Jan does that – Jan Versweyveld, the set designer, and I do that. Pretty quickly came the one basic idea that we had: namely to, uh – well, what we always do – make it into a contemporary opera. So, people today, you know, not like something situated in the 19th century or the 18th century or wherever in the 20th century. No, no, today, somehow. But not in a specific place.
JAN VERSWEYVELD: What we always try is to create a new reality instead of copying, uh, something that already exists in the world. So, it’s trying to find a new language, especially for this opera. We wanted a world that is not really a nice world; a cold world, where violence is, and where most people are not really happy, Don Giovanni included, I think.
IVA VAN HOVE: It plays almost all the time at night so that became also important; that it’s really an opera that is situated during a timeframe where not everything can be seen, where you can hide yourself, where things – secret things can happen, or things that cannot see – that cannot see daylight, you know, that are violent or sexually aggressive, or aggressive on whatever level.
JAN VERSWEYVELD: There are five different houses on stage. I really was thinking how evil can you make a house? And how to express that in – in architecture? So, it's not really a house where you could live in. It’s, uh – it’s a lot about hallways, stairways. There are harsh lights in it, but mostly it’s dark, so they look like caves. It’s a dangerous environment, I would say.
IVA VAN HOVE: What I found when I was researching the opera is something that I anyway didn't know – that the main title, the original title of the opera was not Don Giovanni but it was Il dissoluto punito, ossia il Don Giovanni. So that means, a free translation, you know, “the criminal punished,” the criminal being Don Giovanni. You know, we see a man that sexually is aggressive and that physically is aggressive. And that’s – that’s really important, I think, to understand that Mozart saw him as an abuser. And I wanted to bring the roughness of – of this opera and the – the inhumanity of – of Don Giovanni, even when he seems charming. You know, I wanted to bring that out. And that became, for me, like the guiding line of my whole interpretation.
JAN VERSWEYVELD: Then what I did was trying to find inspiration in art, in architecture, as I always do, actually. And a lot of details, actually, and – and architectural expression was directly inspired by Escher, the German graphic artist who created these endless labyrinths and stairs that go nowhere. He made fantastic, um, labyrinths, but also drawings that inspired me directly for some details of the set.
IVA VAN HOVE: I always want to tell stories for people today, not relics of the past. You know, to – to, uh, have people coming – coming – and also younger people coming to the opera, you know, that it’s necessary that I recognize something of what they are, or what they don't want to be, or what they would like to be, you know? So, I think the fact that you can – that you can recognize yourself in the emotional life, and also in the deeds of what people onstage do, I think for me, that’s really very important, uh, in theater, in musicals that I make, but also in the opera.
READ: Neubauer / Toll / Throw to break
ERIN MORLEY: I love that. I think we all can see something of ourselves in the characters in this production. The Met’s Live in HD series is made possible thanks to its founding sponsor, the Neubauer Family Foundation. Digital support is provided by Bloomberg Philanthropies, and the Met Live in HD Series is supported by Rolex.
Today’s performance of Don Giovanni is also being heard over the Toll Brothers Metropolitan Opera International Radio Network. We’ll be right back after a break.
READ: PSA / Fundraising / Throw to HD Season Preview
ERIN MORLEY: Welcome back. I was so delighted when the Met asked me to host today’s cinema transmission of Don Giovanni. I’ve appeared on stage in seven HD broadcasts so far but this is my first time hosting. I’m a huge fan of the operatic experience in movie theatres. It’s truly exhilarating to see an artist at the peak of his powers, like Peter Mattei, dominating the big screen. But I have to tell you, as amazing as opera on screen can be, it’s just not the same as experiencing our art form live in the opera house. A great cast, a smart production, the music of one of the great composers. You simply have to be here to get the full effect. So, please come to the Met or visit your local opera company.
Here at the Met, we are having a major Mozart moment. We’ve got Ivo van Hove’s new production of Don Giovanni today, and just last night we opened a new production of Die Zauberflöte from another theatrical titan, director Simon McBurney. Engaging two of the world’s top directors to create back-to-back new stagings of a pair of Mozart classics is the kind of artistic feat that only the Met can pull off. But presenting compelling productions like Don Giovanni and Die Zauberflöte and sharing them with a global cinema audience is very expensive. Ticket sales cover only a fraction of the costs. So, the Met relies on opera lovers like you to help make up the difference.
If you’re able to make a donation, please visit metopera.org/membership or call us at 1-800-MET-OPERA. You can also text HDLIVE to 44321 to make a contribution. All of us here at the Met are so grateful for your support.
The Met recently announced plans for next season’s Live in HD lineup and the repertory and casting are truly incredible. Here’s a preview.
ERIN MORLEY: What an exciting season the Met has coming up. But first, there is one more live movie theatre presentation left this season and I am extremely excited about it. It’s the new production I mentioned of Mozart’s Die Zauberflöte in which I get to play Pamina opposite my great friend and colleague Lawrence Brownlee as Tamino. Director Simon McBurney has created a visually dazzling production that’s full of surprises. And our conductor happens to be the same maestro who’s on the podium today, Nathalie Stutzmann. Here are some highlights from the dress rehearsal earlier this week.
INTERVIEW: Morley w/ Maestro Nathalie Stutzmann
ERIN MORLEY: Maestro Nathalie Stutzmann is with me now. Hi, Nathalie.
NATHALIE STUTZMANN: Hi, Pamina.
ERIN MORLEY: (Laughs) That’s right. But before we talk about Don Giovanni, our premiere of Die Zauberflöte was just last night and I’m still on a total high from it. And, um, I would just love to know your thoughts about Simon McBurney’s production and what the experience has been like for you so far.
NATHALIE STUTZMANN: Well, congratulations, first of all, for your Pamina – yesterday was amazing.
ERIN MORLEY: Thank you.
NATHALIE STUTZMANN: We had a fantastic premiere.
ERIN MORLEY: It was so fun.
NATHALIE STUTZMANN: And, uh, I love this production because it’s very creative, it’s very original, it’s very new. And also because, you know, for me, opera is such a – the joy of having all forms of arts together.
ERIN MORLEY: Yes.
NATHALIE STUTZMANN: And in this production, you have, of course, the singers, the choir, but you also have dancers, actors, and also the orchestra is a part of the show.
ERIN MORLEY: Yeah.
NATHALIE STUTZMANN: Because the – the pit is raised and they are completely in the action. They are like actors, like singers and this is fantastic.
ERIN MORLEY: Yeah, it’s like a gesamtkunstwerk, right?
NATHALIE STUTZMANN: Exactly.
ERIN MORLEY: Yeah, I love it. Now, this is not only your much-acclaimed Met debut but it’s also your first time conducting Don Giovanni. How has it been working on this masterpiece for the first time here at the Met with this fantastic orchestra?
NATHALIE STUTZMANN: Well, that’s the point. I mean, I – of course it was a big challenge, and to take two productions simultaneously was just crazy but –
ERIN MORLEY: We like crazy. We love crazy.
NATHALIE STUTZMANN: I mean, yeah, exactly, we love crazy. Life would be boring otherwise.
ERIN MORLEY: Yeah.
NATHALIE STUTZMANN: But to have so – incredible cast of singers, to do it in such a house with all those professionals around and this amazing orchestra is just a joy, you know. I enjoy so much, uh, to be in a bath of Mozart genius is just – a treatment.
ERIN MORLEY: Yes, I love bath of Mozart genius. Yeah, it was wonderful.
NATHALIE STUTZMANN: Exactly.
ERIN MORLEY: So, you were a renowned singer yourself, which is so fabulous. And this is before you decided to pursue conducting full time. What made you want to jump from the stage to the podium?
NATHALIE STUTZMANN: Well, like you, Erin, I grew up as a musician; not as a singer. A grew up first as a pianist, as a bassoon player, cello player and I always wanted to conduct even if voice was very important. My parents were both opera singers, by the way. Hello, my dear parents! All my family, all my friends, my love. Yes, sorry. I took a chance here. Everyone is in Europe so –
ERIN MORLEY: No, I love it. Yeah.
NATHALIE STUTZMANN: And, of course, I grew up with opera house. But also, you know, it’s just like, for me, the achievement of making music was to be a conductor because I don’t have the limit of my voice; I have 100 voice in my hands.
ERIN MORLEY: Yeah.
NATHALIE STUTZMANN: Including your voices, and the orchestra voices, and the choir.
ERIN MORLEY: Yeah.
NATHALIE STUTZMANN: And I just enjoy it so much.
ERIN MORLEY: I love that. Well, congratulations on this incredible Met debut with Don Giovanni, and I can’t wait to see you back here for the HD presentation of Die Zauberflöte on June 3rd.
NATHALIE STUTZMANN: Thank you so much, Erin. It’s a joy.
ERIN MORLEY: Brava.
NATHALIE STUTZMANN: Brava to you. Thank you.
INTERVIEW: Morley w/ Federica Lombardi & Ben Bliss
ERIN MORLEY: Now I’m joined by Donna Anna and Don Ottavio, soprano Federica Lombardi and tenor Ben Bliss. Hello, you two.
FEDERICA LOMBARDI: Hello.
BEN BLISS: Hi, Erin. Good to see you.
ERIN MORLEY: So good to see you. What beautiful singing.
FEDERICA LOMBARDI: Thanks.
BEN BLISS: Thanks.
ERIN MORLEY: Fantastic job. In some productions of Don Giovanni, Anna and Ottavio are allies, but there doesn’t seem to be much hope for them as a couple.
FEDERICA LOMBARDI: Mm hmm.
ERIN MORLEY: This production, however, seems to provide them with more potential for their relationship. Can you talk about that a little bit?
FEDERICA LOMBARDI: Yes. Uh, I mean, for the first day we – of rehearsal, we had this discussion with Iva van Hove and, uh, I think the, um – the story of Anna is very real and so she needs help from Don Ottavio. And actually they – they love each other and, uh, she has his support and, uh, I think it makes the story much more credible and, uh, real.
ERIN MORLEY: Yeah. I love it. We really feel that on stage from you two. Uh, Ben?
BEN BLISS: Yeah. I mean, she said it perfectly. It’s so much fun to – I’ve done other productions of Don Giovanni where Ottavio can be a little more whiney, which I understand that perspective, but it’s really fun to play this character in a production where it’s really like, okay, baby, if it kills me, I’m – I’m going to go get that guy for you.
ERIN MORLEY: Yeah.
BEN BLISS: Because, you know, that’s what it’s going to take.
ERIN MORLEY: Love that. In this production, Donna Anna is also physically fighting Don Giovanni to draw in their opening encounter.
FEDERICA LOMBARDI: Yes.
ERIN MORLEY: Um, how do you feel, Federica, about playing such an empowered Donna Anna?
FEDERICA LOMBARDI: Yeah, it’s – it’s very intense. Uh, it’s a very intense experience for – for – from the first entrance. And, um, I mean, also then the recit before “or sai chi l’onore,” it’s so, uh, hard to say and, uh – when you have to – to say something to the man you love, uh, so terrible, it’s – it’s something really, really incredible. And I feel so much emotion and, uh –
ERIN MORLEY: Yeah.
FEDERICA LOMBARDI: I – I hope that this emotion I can share with – with the audience and they can understand the – the point of the – the drama of Donna Anna.
ERIN MORLEY: We feel it. We really, really do.
FEDERICA LOMBARDI: Thank you.
ERIN MORLEY: Ben, I had the pleasure of singing Mozart with you in the holiday version of The Magic Flute. And I know you have a lot of Mozart – other roles of Mozart under your belt as well. What sets Don Ottavio apart for you?
BEN BLISS: That is a really good question. I mean, most pragmatically speaking, when you do, for example, Cosi fan tuttu, it feels like I’m on stage all night. And so, for instance, maybe one of the reasons besides, you know, our chemistry that we’re interviewing is because I think once the second act starts, we have like 20 minutes to go down to the cafeteria downstairs and have a coffee and a croissant.
ERIN MORLEY: A little time together.
BEN BLISS: So, that’s nice but, uh, I mean, in a more interesting realm, it’s just a very different character to play.
ERIN MORLEY: Yeah.
BEN BLISS: And there’s – there’s a lot of interesting chemistry that you get between Ottavio and Anna that’s very different, as you know, than,Tamino and Pamina –
ERIN MORLEY: Yeah.
BEN BLISS: — and some of the other Mozart roles. It’s, uh – it’s beautiful.
ERIN MORLEY: You have these two amazing arias, right?
BEN BLISS: I know.
ERIN MORLEY: It’s so great. Well, I cannot wait for your big moments in Act Two. Thank you so much for speaking with me.
FEDERICA LOMBARDI: Thank you.
BEN BLISS: Thank you, Erin.
ERIN MORLEY: And toi toi toi for the rest.
FEDERICA LOMBARDI: Toi toi toi, thanks.
BEN BLISS: Thank you. Can’t wait to see you in Flute.
FEDERICA LOMBARDI: Yes.
ERIN MORLEY: Thank you, thank you.
INTERVIEW: Morley w/ Ying Fang & Alfred Walker
ERIN MORLEY: And now the final duo of our exceptional ensemble, Zerlina and Masetto, soprano Ying Fang and bass-baritone Alfred Walker. Hi, guys.
YING FANG: Hi, Erin.
ERIN MORLEY: How are you?
ALFRED WALKER: Good.
YING FANG: Good.
ERIN MORLEY: Ying, the demands on your acting are great in this production, since you have to juggle conflicting relationships with Don Giovanni and Masetto.
YING FANG: Mm hmm.
ERIN MORLEY: How is that challenge for you?
YING FANG: I love it. It’s so real. Because she – I think she – I think she is an opportunist.
ERIN MORLEY: Yeah.
YING FANG: She grabs opportunity when she can. And when Don Giovanni approaches, such a man with status and wealth, of course it’s very human for her to get distracted.
ERIN MORLEY: Yes, of course.
YING FANG: But, um, I think she knows her love for Masetto is real and then she knows that she can always go back to him.
ERIN MORLEY: Yeah. I love that.
YING FANG: It’s a beautiful – it’s beautiful. Yeah.
ERIN MORLEY: It’s really beautiful how you play that. Alfred, the demands on you as an actor are no less rigorous.
ALFRED WALKER: Right.
ERIN MORLEY: Since your love for Zerlina is so severely tested in this opera.
ALFRED WALKER: Right.
ERIN MORLEY: How do you like playing this role for the first time at the Met in this production?
ALFRED WALKER: Yeah, it’s my first time singing Masetto ever.
ERIN MORLEY: Amazing.
ALFRED WALKER: And, um, it’s fun, you know – it’s fun to find the character, to find the real – the real character underneath. And, um, it’s – it’s been fun, you know.
ERIN MORLEY: Yeah. It’s great.
ALFRED WALKER: He’s a – he’s a troubled – he has issues.
ERIN MORLEY: (Laughs) He has issues.
ALFRED WALKER: So, he’s – he’s a troubled guy, yeah, yeah.
YING FANG: Angry Alfie.
ALFRED WALKER: She calls me Angry Alfie.
ERIN MORLEY: Aww. (Laughs)
ALFRED WALKER: But, uh – but I think he’s frustrated.
ERIN MORLEY: Yeah.
ALFRED WALKER: And he’s trying to find his way.
ERIN MORLEY: Yeah.
ALFRED WALKER: He has a big arc, um, um, emotionally throughout the opera for me.
ERIN MORLEY: For sure.
ALFRED WALKER: And, uh – yeah, so I enjoy it.
ERIN MORLEY: What would you say – what would you say is maybe the most important piece of information that the director, Iva van Hove, gave each of you about your characters? Is there something that he – that he – that you grasp onto that – that he suggested?
YING FANG: I think for me, it’s really the earthiness, the gutsy and spunkiness of Zerlina. She really fights back. Well, you’ll see later in Act Two, she gets very – yes.
ERIN MORLEY: Yeah. Yeah, we – we see that in her, exactly.
ALFRED WALKER: It’s – it’s really great working with Ivo, you know. I’ve never quite worked with a – with a director like that.
ERIN MORLEY: Yeah.
ALFRED WALKER: I mean, he – he gives you his main points that he wants and then he leaves you alone. He lets you fill it in. He lets it –
ERIN MORLEY: Give you the space, yeah.
ALFRED WALKER: Yeah, he gives you space.
ERIN MORLEY: Amazing.
ALFRED WALKER: And, um – and, uh, he lets you find the character.
ERIN MORLEY: Wonderful.
ALFRED WALKER: So, this is great.
ERIN MORLEY: We love that.
ALFRED WALKER: I love working with him.
YING FANG: Yeah.
ERIN MORLEY: Well, Ying, Alfred, bravi.
ALFRED WALKER: Thank you.
ERIN MORLEY: And thank you for talking to me, and toi toi toi for the rest.
YING FANG: Thank you, Erin. Thank you.
ALFRED WALKER: It’s good to see you.
READ: Throw to Act II
ERIN MORLEY: At the end of the previous act, Don Giovanni only narrowly escapes, and even that doesn’t faze him. But what Don Giovanni doesn’t realize is that judgment day is fast approaching. Here is the concluding act of Don Giovanni.