Mozart: Don Giovanni
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Music CD Cover
Edition: Music CDFormat: Original recording remastered
CD Release Date: 2002-09-17
Music Label: EMI Classics
Soundtracks:
Music CD 1
- Sinfonia
- Notte E Giorno Faticar
- Non Sperar, Se Non M'Uccidi
- Lasciala, Indegno!
- Leporello, Ove Sei?
- Ah! Del Padre in Periglio
- Fuggi, Crudele, Fuggi!
- Orsu, Spicciam Presto
- Ah, Chi Mi Dice Mai
- Chi E La?
- Madamina, Il Catalogo E Questo
- In Questa Forma
- Giovinette, Che Fate All'Amore
- Manco Male E Partita
- Ho Capito, Signor, Si!
- Alfin Siam Liberati
- La Ci Darem La Mano
- Fermati, Scellerato!
- Ah! Fuggi Il Traditor!
- Mi Par Ch'oggi Il Demonio Si Diverta
- on Ti Fidar, O Misera
- Povera Sventurata!
- Don Ottavio, Son Morta!
- Or Sai Chi L'Onore
- Come Mai Creder Deggio
- Dalla Sua Deggio
- Lo Deggio Ad Ogni Patto
- Finch'han Dal Vino
- Masettoe, Senti Un Po'!
- Batti, Batti, O Bel Masetto
- Guarda Un Po'
- Presto, Presto, Pria Ch'ei Venga
- Tra Quest'Arbori Celata
- Bisogna Aver Coraggio
- Protegga Il Giusto Cielo/Vendichi Il Giusto Cielo
- Riposate, Vezzose Ragazze
- Venite Pure Avanti
- Ricominciate Il Suono!
- Ecco Il Bribo Ch T'ha Offesa!
- Trema. Trema, o Scellerato!
- Eh Via! Buffone, Non Mi Seccar!
- Leporello!...Signore?
- Ah Taci, Ingiusto Core!
- Amico, Che Ti Par?
- Eccomi A Voi
- Deh Vieni Alla Finestra
- V'E Gente alla Finestra
- Meta Di Voi Qua Vadano
- Zitto, Lascia Ch'Io Senta!
- Vedrai, Carino, Se Sei Buonino
- Di Molte Faci Il Lume
- Sola, Sola In Buio Loco
- Ferma, Briccone, Dove Ten Vai?
- Mille Torbidi Pensieri
- Dunque Quello Sie Tu
- Ah, Pieta, Signori Miel!
- Ferma, Perfido, Ferma!
- Il Mio Tesoro
- Il Quali Eccessi, O Numi
- Mi Tradi Quell'Alma Ingrata
- Ah, Ah, Ah, Questa E Buona
- O Statua Gentilissima
- Calmatevi, Idol mio!
- Crudele? Ah No, Mio Bene!
- Non Mi Dir, Bell'Idol Mio
- Ah, Si Segua Il Suo Passo
- Gia La Mensa E Preparata
- L'Ultima Priva Dell'Amor Mio
- Che Grido E Questo Mai
- Don Giovanni A Cenar Teco
- Da Qual Tremore Insolito
- Ah, Dov'e Il Perfido?
- Or Che Tutti, O Mio Tesoro
- Questo E Il Fin
Free Music Notes for Mozart: Don Giovanni
Free Music Review: Classically overrated
Hit: 4 Stars
The licentious rascal Don Giovanni is one the most recognizable and numerously portrayed villains in the realm of the opera. The great Feodor Chaliapin and Ezio Pinza epitomized the role in the era of primitive recording. Cesare Siepi and Nicolai Ghiaurov both lent their singularly dense basso voices to the libertine; Tito Gobbi, George London, Dietrich Fischer-Dieskau, and Ruggero Raimondi extended lighter, more exuberant voices to the philanderer. Most recently, Samuel Ramey, Ingvar Wixell, and Bryn Terfel have constructed accomplished performances under Karajan, Sir Colin Davis, and Solti, respectively. Eberhard W?chter's loutish, gruff voice is more or less perfectly suited for the role of Don Juan, despite the fact that he sounds almost totally irate throughout. With "Deh vieni alla finestra," he is airier, which is somewhat unbecoming. However, he is merciless and sublime during "Finch'han dal vino," the anthem of all libertines.
Luigi Alva is a robust, vital Don Ottavio. He conjures the glorious image of an enamored youth with "Dalla sua pace." His greatest achievement is "Il mio tesoro intanto," one of the most difficult arias Mozart ever composed. (It was, in fact, so challenging, that the tenor at the original premiere of Don Giovanni was unable to perform it and Mozart had to compose "Dalla sua pace" to accommodate him.) Alva's tone is sweet and demure and he handles the long-winded piece with adroitness. Giuseppe Taddei's Leporello is a matter of preference. Taddei is a more commendable actor than a baritone. His participation in the recitatives is often more hilarious and compelling than any of his arias. In the scandalous "Madamina, il catalogo ? questo," he is surprisingly charming and engaging, but still fails to inject the verve the piece requires. In short, one might prefer a singer more along the lines of Walter Berry, Fernando Corena, or Wladimiro Ganzarolli. If one favors Taddei, however, one is also likely to enjoy Ferruccio Furlanetto's no-nonsense performance in the Karajan recording. A young and booming Piero Cappuccilli is an absolute treasure as the bumpkin Masetto; one can hardly imagine a finer and more fitting performance of "Ho capito, signor s?." Gottlob Frick provides marquee value as the Commendatore. The role is designed for a deeper, more sonorous bass, such as Paata Burchuladze in the Karajan recording; however, the Wagernian bass's genius shines during "Don Giovanni, a cenor teco," the grandfather of all operatic finales and one of the most fearsome scenes of retribution in all drama. Frick is terrifying real as the hellish commandant descended from Heaven (even though Kurt B?hme, Walter Kreppel, Arnold van Mill, or Martti Talvela would have been sublime). Also, W?chter radiates contemptible pride and Taddei is appropriately frightened.
The ladies of the recording, however, are where the brilliance lies. Elisabeth Schwarzkopf is a luscious joy for the ears as the exacerbated Donna Elvira. During "Ah, chi mi dice mai," her fury is inconsolable and ineffable; one might mistake her for an Italian K?nigin der Nacht! She oscillates between vehemence and remorse with "In quali eccessi, o Numi" ... "Mi trad?, quell'alma ingrata" and is positively radiant in her conflict. Joan Sutherland perfected the role of the saintly Donna Anna by the close of her career. She, Schwarzkopf, and Alva are divine during the trio "Protegga il giusto cielo," which radiates a charming pre-Verdian quality. It is somewhat abstruse as to why, in the vast expanse of the world (when, in 1961, he could have found Beverly Sills, Victoria de Los Angeles, and Mirella Freni), Giulini chose Graziella Sciutti to perform Zerlina. She is simply awful, often off-key and phlegmatic. "L? ci darem la mano," one of Mozart's most beloved and recognizable duets, is marred; W?chter is in seductive voice, but Sciutti serves as a confounded, squawking anathema. She is also irritatingly inadequate during Zerlina's signature aria, "Batti, batti o bel masetto."
A young Carlo Maria Giulini produces an altogether fine recording with the Philharmonia Orchestra, which echoes his esteemed version of Le Nozze di Figaro, with a similar same cast: Schwarzkopf as the Countess, W?chter as the Count, Taddei as Figaro, and Cappuccilli as Antonio. The Overture draws out like a blade; it is ominous, foreboding, and echoes Don Giovanni's mortifying demise. If one operatic recording in the entire repertoire exists that is more celebrated than this 1961 recording of Mozart's greatest opera, it should be deemed the Eighth Wonder of the World. Though it may be beloved or despised, this controversial production is often considered the epoch of modern Mozartian masterpieces.
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