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Don Giovanni
At just 25 years old, James Levine demonstrates remarkable skill both with the orchestra and in his dramatic approach to phrasing and articulation. This performance embraces an unabashedly old-school approach, making a compelling case for the grandeur and proto-romantic qualities of Don Giovanni.
Ezio Flagello delivers a standout Leporello, blending stunning vocalism with impeccable comedic timing. Lorna Haywood, in her role debut as Donna Anna, impresses despite having only a week's notice. Jan Peerce, already in his mid-60s, shows that he still possesses the vocal power and technique needed to navigate two of Mozart's most challenging tenor arias.
Italo Tajo brings charm and humor to Masetto, and Ramón Vinay, as the Commendatore, commands the role with such authority that you would think he had been singing bass roles his entire career.
I don't often single out the basso continuo, but the exquisite playing by Lynn Harrell (also 25 at the time) deserves mention. Clearly, he learned a thing or two about following a singer from his father, Mack Harrell, one of the greatest Lieder singers of his generation.
Track List
Act I
1. Overture
2. Notte e giorno fatica
3. Ma qual mai s'offre, oh Dei
4. Ah, chi mi dice mai
5. Madamina, il catalogo è questo
6. Giovinette, che fate all'amore
7. Ho capito, signor, sì!
8. Là ci darem la mano
9. Ah! fuggi il traditor!
10. Non ti fidar, o misera
11. Don Ottavio, son morta!
12. Or sai chi l'onore
13. Dalla sua pace
14. Io deggio ad ogni patto
15. Finch'han dal vino
16. Batti, batti, o bel Masetto
17. Presto, presto, pria ch'ei venga
18. Bisogna aver coraggio
19. Riposate, vezzose ragazze
20. Trema, trema, o scellerato!
2. Notte e giorno fatica
3. Ma qual mai s'offre, oh Dei
4. Ah, chi mi dice mai
5. Madamina, il catalogo è questo
6. Giovinette, che fate all'amore
7. Ho capito, signor, sì!
8. Là ci darem la mano
9. Ah! fuggi il traditor!
10. Non ti fidar, o misera
11. Don Ottavio, son morta!
12. Or sai chi l'onore
13. Dalla sua pace
14. Io deggio ad ogni patto
15. Finch'han dal vino
16. Batti, batti, o bel Masetto
17. Presto, presto, pria ch'ei venga
18. Bisogna aver coraggio
19. Riposate, vezzose ragazze
20. Trema, trema, o scellerato!
Act II
21. Eh via, buffone, non mi seccar!
22. Ah taci, ingiusto core!
23. Deh vieni alla finestra
24. Metà di voi qua vadano
25. Vedrai carino
26. Di molte faci il lume s'avvicina, o mio ben
27. Sola, sola in buio loco
28. Mille torbidi pensieri
29. Ah, pietà, signori miei!
30. Il mio tesoro
31. In quali eccessi... Mi tradì quell'alma ingrata
32. Ah, ah, ah, questa è buona, or lasciala cercar
33. O statua gentilissima
34. Calmatevi, idol mio!
35. Non mi dir
36. Già la mensa è preparata
37. L'ultima prova dell'amor mio
38. Don Giovanni a cenar teco
39. Ah, dov'è il perfido?
22. Ah taci, ingiusto core!
23. Deh vieni alla finestra
24. Metà di voi qua vadano
25. Vedrai carino
26. Di molte faci il lume s'avvicina, o mio ben
27. Sola, sola in buio loco
28. Mille torbidi pensieri
29. Ah, pietà, signori miei!
30. Il mio tesoro
31. In quali eccessi... Mi tradì quell'alma ingrata
32. Ah, ah, ah, questa è buona, or lasciala cercar
33. O statua gentilissima
34. Calmatevi, idol mio!
35. Non mi dir
36. Già la mensa è preparata
37. L'ultima prova dell'amor mio
38. Don Giovanni a cenar teco
39. Ah, dov'è il perfido?
Customer Reviews
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4.0
Based on 1 review
✓ Top Reviewer
United States
Ebullient, Strong Performance in Good Sound!
The 25 year-old James Levine leads an energetic, briskly paced performance sung by a strong cast. Franco Iglesius has a very good voice, notable for its contrast with Flagello's darker timbre as Leporello. Both men play off each other well, delivering the recitatives with style and panache. Iglesius became very well-known as a voice teacher later on with many distinguished students to his credit. Peerce still sings a respectable Ottavio though his runs in "Il mio tesoro" are a little sketchy. He can always be heard in the ensembles, something that isn't true for a lot of Ottavios. Tajo hams up Masetto and Vinay is a very imposing Commendatore. The women all sing very well. Haywood and Endich are not ideally contrasted in timbre, but they both sing with enthusiasm and skill. Their big arias are highlights of the performance. Sadly, Endich died less than three months after this performance was given. Mandac is a very beautiful Zerlina. I always thought she should've been better known, but that's the Opera Business.This was recorded by someone in-house who had some trouble keeping still. The voices are a little recessed, but very audible. The audience receives these singers very enthusiastically; I can't tell whether this was fully-staged or a concert performance. Levine's conducting gifts are already very apparent.For Don Giovanni enthusiasts and fans of the conductor and/or singers.
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