He offers advice for making every performance better than the last. . *GORO- the marriage broker who connects this geisha to the visiting American .. Episode 7, Bernard Uzan on ROMEO AND JULIET- Making Icons Real. Sung in Italian with English supertitles • Directed by Bernard Uzan. Conducted Jun Kaneko. Study Guide Franklin Pinkerton and the marriage broker, Goro. Its first appearance marked the directorial debut of Bernard Uzan, the latter Uzan's wife and the OdM de facto prima donna through the . Local Guide Homes · Life By Design · Parenting · Relationships · Travel · Royals.
His repertoire is vast, and his portrayals are memorable. Don Giovanni is a sociopath. Not in a sexy operatic way, but in a nihilistic, borderline suicidal way. This is a man who has experienced everything, but I believe he has never actually derived any pleasure from these experiences.
He is going through the motions of the part he is playing in society. There is a reason serial killers can be so prolific.
They are charming, and they have a unique skill at pretending to be the person everyone wants them to be. That is the case with Giovanni.
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He doesn't enjoy anything. Everything in life is empty for him, but he knows that viewpoint will get him nowhere in the public eye, so he plays the part of the libertine. He is trying to fill that emptiness, and that is why he sleeps with so many women.
We can argue that pleasure is the driving force, and he is doing all these things purely because he enjoys them, but I don't think that argument even comes close to explaining such an overwhelming appetite.
Nobody would do these things to such an absurd degree and still enjoy them, so why would he continue to push himself past the point of pleasure?
He is completely empty and cold inside, and he is trying to find whatever he can to make him feel something, anything. He shoves food and drink in his mouth in the last scene, and I think he finds some kind of enjoyment in the sickness that comes after his overconsumption, since that pain somehow triggers endorphins in his brain, the only sensation he can latch on to. If he actually cared about anything, he would probably be directly suicidal, but his complete lack of emotion prevents him from taking his own life.
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He has attempted every possible experience but one, and now for the first time, he crosses that line and takes the life of another person. There is a switch that flips in his brain at that point, right in the first scene in the opera, and all the events that come after are a part of his endgame. He has given up on the pretense of being a functioning member of the human race, and he is embracing his sociopathic drive to end the emptiness within him. But yet again, since he is incapable of ending the pain at his own hand, he his racing through the city in a mad dash, trying to provoke whomever he can to end it all for him.
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We have a tendency, based I think on old fashioned thinking, to want to make him a sympathetic character. In my ideal view of him, he will be so repellant, the audience wants his terror spree to be over as fast as possible. Do they present operas in Georgian? Yes, we have lots of beautiful operas in Georgian. I hope to sing Georgian opera in Europe or America someday! Yes, we do a lot of Russian operas in the theaters in Georgia, as well as Italian, of course, and French.
What are your favorite roles? Well, Carmen, of course.
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And I love Dalila, and Charlotte in Werther. What about the Italians? I must do it in a smaller theater first. I will sing Lyubasha in Berlin in a few years. What were those debuts like? Sounds like a high-stress situation No, it was molto tranquillo. She was working with me on the role, the French text and the music, all the dialogue, even before my teacher taught me to sing it. And when you sang it at the Met? It was a curious story at the Met--there was a plan for another singer to do it, but she canceled when she became pregnant.
She was to do it there and in Munich. And the Met had me signed up to sing it inbut I was happy to do it early! The first half of the opera, Act One and the first part of Act Two, is really a lyric mezzo soprano part. What, for you, is the most fun or enjoyable thing about performing Carmen?
You get to be Cher, with all these dancers swirling around you. Laughs I disagree, of course. You know, she has no family, she is entirely alone. She has these "friends," you know