{"id":12126,"date":"2025-07-04T20:08:30","date_gmt":"2025-07-04T18:08:30","guid":{"rendered":"https:\/\/mathis-nitschke.com\/?p=12126"},"modified":"2025-07-05T23:51:43","modified_gmt":"2025-07-05T21:51:43","slug":"don-giovanni","status":"publish","type":"post","link":"https:\/\/mathis-nitschke.com\/en\/don-giovanni\/","title":{"rendered":"Don Giovanni"},"content":{"rendered":"

Don Giovanni, Festival d\u2019Aix-en-Provence 2025<\/strong>
\nPhotos: Monika Rittershaus
\nFestival Program Website<\/a>
\n<\/em><\/p>\n

I was the sound designer for the 2025 Don Giovanni production at the Festival d\u2019Aix-en-Provence \u2013 directed by Robert Icke and conducted by Sir Simon Rattle. The premiere was on July 4th.<\/p>\n

At first, I wasn\u2019t sure I should join this production. What could I possibly contribute as a sound designer to Mozart? Don Giovanni is a repertoire staple. The music is highly structured, continuously forward-driving, tightly organized \u2013 stepping into that musical flow is risky. I was worried that any added sound would disrupt the momentum. And there\u2019s another issue: with star conductors, it\u2019s not uncommon for rehearsals to be run by their assistants, only for the maestro to arrive later and reject everything that doesn\u2019t suit him. My fear was that we\u2019d spend four weeks developing great ideas in the directing team \u2013 only for it all to be scrapped.<\/p>\n

What changed my mind was hearing that Simon Rattle would be present throughout the entire rehearsal process \u2013 from beginning to end. That, to me, was a genuine offer of collaboration. And of course, I wanted to work with him. Not just because of his reputation, but because his projects genuinely interest me artistically. He\u2019s a fascinating conductor.<\/p>\n

The backstory to the production was complex. Pierre Audi, the festival\u2019s late director, was a longtime admirer of Robert Icke. He had spent years trying to bring him to opera. But Robert had always refused The genre didn\u2019t appeal to him; he didn\u2019t see its potential. Meetings with major conductors only seemed to confirm his doubts. It was only when he met Simon Rattle that something shifted. Suddenly he saw a possibility. That he was entrusted with Don Giovanni<\/em> in particular is a powerful statement: the opera opened the festival’s very first edition and is performed regularly \u2013 it holds a special status. Giving this piece to Robert was a gesture of trust and a call to try something truly different.<\/p>\n

\"\"<\/a>
Andr\u00e8 Schuen as Don Giovanni (Photos: Monika Rittershaus)<\/figcaption><\/figure>\n

When I arrived in Aix, I honestly didn\u2019t know what my contribution would be. At worst, I expected to add two or three sounds and spend the rest of the time observing. But to my surprise, Simon Rattle wasn\u2019t just open \u2013 he proposed some of the boldest ideas himself. Ideas I wouldn\u2019t have dared suggest. And everything I did bring in was taken seriously. We tested everything. Much was discarded again \u2013 but always for a reason. There was no ego, no power struggle. We worked through the ideas to the very end \u2013 until they held up.<\/p>\n

I think you can hear that in the result. The sound design is strong and integrates surprisingly well with Mozart. The feedback has been consistently positive \u2013 at least from everyone I\u2019ve spoken to. And it shows that there\u2019s not just openness to these kinds of approaches, but a real hunger for them. Perhaps this is one step toward bringing operatic aesthetics closer to the cinematic \u2013 not to replace opera, but to make it more immediate and contemporary.<\/p>\n

But one big question has stayed with me: What\u2019s the difference between a good idea and a good performance?
\nWhat I experienced in this production was: a strong idea is not enough. It has to be worked through \u2013 with all its resistance, obstacles, time pressure, doubts, complications. It\u2019s that long, difficult path that ultimately allows an idea to resonate. And that part is often underestimated.<\/p>\n

I see a clear parallel to current developments in AI. Many tools promise to skip that entire process \u2013 to go straight from idea to result, without the struggle in between. But it\u2019s that struggle that creates artistic substance. Without it, things may look flashy \u2013 but they lack depth and meaning.<\/p>\n

Opera has its own challenges. Singers engage with their roles very differently than actors. It\u2019s not so much about psychological embodiment \u2013 the music moves through them; they appear<\/em> through the music. That makes the rehearsal process more technical, more organizational. The entire system is built so that roles can be quickly replaced. If a singer drops out, someone else who knows the role can step in \u2013 and it works, because the character is anchored in the music. In that sense, the kind of exploratory, ensemble-driven rehearsal work that\u2019s common in theater is rarely possible in opera.<\/p>\n

\"\"<\/a><\/p>\n

\"\"<\/a>
Who is who?<\/figcaption><\/figure>\n

And that was one of the core challenges of this collaboration. Robert Icke comes from spoken theater. His great strength is his intelligent, sensitive approach to dramatic material \u2013 as in his famous reverse-structured Hamlet<\/em>. His working method is rooted in openness, in reacting to the ensemble, in discovering things in the rehearsal room. Opera operates differently. The music is fixed, the schedules are tight, many elements need to be locked in early. That gap isn\u2019t easily bridged.<\/p>\n

What I take from this: a clear sense of how hard it is to truly shift something in opera. But also the confirmation that it is possible \u2013 if you\u2019re willing to walk the long road.<\/p>\n

\"\"<\/a>
Happy Simon and Mathis<\/figcaption><\/figure>\n

Credits<\/h4>\n

Stage direction:<\/strong> Robert Icke
\nMusical direction:<\/strong> Sir Simon Rattle
\nSet design:<\/strong> Hildegard Bechtler
\nCostumes:<\/strong> Annemarie Woods
\nLighting:<\/strong> James Farncombe
\nChoreography:<\/strong> Ann Yee
\nVideo:<\/strong> Tal Yarden
\nDramaturgy:<\/strong> Klaus Bertisch
\nSound design:<\/strong> Mathis Nitschke
\nOrchestra:<\/strong> Bavarian Radio Symphony Orchestra
\nChoir:<\/strong> Estonian Philharmonic Chamber Choir
\nDon Giovanni:<\/strong> Andr\u00e8 Schuen
\nLeporello:<\/strong> Krzysztof B\u0105czyk
\nDonna Anna:<\/strong> Golda Schultz
\nDonna Elvira:<\/strong> Magdalena Ko\u017een\u00e1
\nDon Ottavio:<\/strong> Amitai Pati
\nZerlina:<\/strong> Madison Nonoa
\nIl Commendatore:<\/strong> Clive Bayley
\nMasetto:<\/strong> Pawe\u0142 Horodyski<\/p>\n","protected":false},"excerpt":{"rendered":"

What\u2019s a sound designer doing in Mozart? In Don Giovanni at Aix, the collaboration with Sir Simon Rattle and Robert Icke led to an unusual rehearsal process \u2014 and one clear insight: an idea is not enough. You have to carry it through all resistance.<\/p>\n","protected":false},"author":1,"featured_media":12112,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[126,45],"tags":[],"class_list":["post-12126","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog","category-music-theatre","clearfix",""],"yoast_head":"\nDon Giovanni - Mathis Nitschke<\/title>\n<meta name=\"description\" content=\"What\u2019s a sound designer doing in Mozart? In Don Giovanni at Aix, the collaboration with Sir Simon Rattle and Robert Icke led to an unusual rehearsal process \u2014 and one clear insight: an idea is not enough. 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