I don't know that a performance like this with its eclectic cast could or would be assembled today. Nonetheless everyone performs well together even if some of the elements are stronger than others.Siepi had probably sung Giovanni hundreds of times when this performance took place. He is still very dapper, but has toned down some of the more overt moments he used earlier. He now sings his scream as he is dragged down to hell instead of the bloodcurdling shriek he used to do. Overall he is more elegant here than in earlier performances. Jones is a splendid Anna, handling the coloratura with ease. She receives a huge ovation after "Or sai chi l'onore" and deserves it. Lotte Rysanek sings with passion and clarity (Hager cuts "Mi tradi".) She not only shares a vocal resemblance with her sister, but lets out a formidable scream in the last scene that rivals any of the screams Leonie let out. Donath is a terrific Zerlina, giving marvelous renditions of her two arias. Fissore is an excellent Leporello. For whatever reason some in the audience are not pleased and boo him after "Madamina". The rest of the cast is just fine. Hager leads a solid performance that includes the entire final duet for Anna and Ottavio. The sound is a little muddy, but perfectly listenable. A very enjoyable recording made all the more fun by the occasional audience participation!

I bought this because I like Karl Ridderbusch's singing (not his character: if the rumors are true, and they pop up often in many places, he was a neo-Nazi and quite a nasty fellow) and he sings the Commendatore. It's not documented that he's Commendatore, but I know his voice very well and it's definitely him. He's sings the part quite well, not as great as some others, but not bad at all, definitely worth the price of admission, to hear him do it. His special blending of commanding size and warm, free delivery is recognizable and enjoyable.I disagree with one of the other revewers here: to my ear, Siepi sounds old and used-up. Time to retire, big guy. I haven't yet gone through the rest of the opera, only Ridderbusch's scenes, so I can't say anything about the other singers at this time.

Cesare Siepi's Don defies not only Heaven but the years, singing with an ease and grandiosity of utterance that belies his seniority among the cast members. In a very rare Mozartean outing, Dame Gwyneth Jones gives an outstanding performance, tracing the recitatives with pose and delivering the arias and ensembles with superb discipline, culminating in an excellent account of "Non mi dir"'s fioratura. Helen Donath sings like an angel and offers a bit more spunk than most Zerlinas. Heinz Holecek is idiomatic as her spouse but Enrico Fissore disappoints (and gets booed) with a standard-issue Leporello. Lotte Rysanek is a competent Donna Elvira but rarely more ("Mi tradi" is either cut or omitted from the recording). One could say similar things about Leopold Hager's conducting.

In spite of beeing a “in house” recording,very good sound.Al singer perfect, specialy Jones, only Leporello -Fissore,realy bad.Sadly it is no mention of who sings Il Comendatore and Masetto.

The Commentadore was sung by Karl Ridderbusch, Masetto by Heinz Holecek.Interestingly, this was a role that Jones sang only infrequently and right around this time. Opera Depot has one of the Covent Garden performances that feature her, and she also sang the role at the Opera Geneva.