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Don Giovanni
It is well documented that a star-studded cast of Don Giovanni is far from a guarantee of a success. The Mozartian line has a tendency to expose flaws in the technique of even great artists and the intricate ensembles require singers to fully embrace the idea of ensemble (a concept that is often at odds with operatic-sized egos.) This performance, however, delivers, on the promise of its glittering cast, treating the listener to a style of Mozart that is both grand and delicate at the same time. Kostas Paskalis' baritonal Don exudes sensuality without ever crossing over into vulgarity. A young Eva Marton excels just as much in the florid passages of Donna Anna's music as the dramatic. Teresa Zylis-Gara is radiant as Donna Elvira creating a character who is sympathetic and three-dimensional as opposed to just the butt of the joke. Peter Schreier brings grace and technical ease to Don Ottavio, and Giuseppe Taddei's Leporello provides quick-fire comic timing all while matching Paskalis in vocal beauty. The conducting of Hans Swarowsky is not particularly distinguished and the players of the Vienna Philharmonic, despite moments of impressive virtuosity, make many sloppy mistakes.
Track List
Act I
1. Sinfonia
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
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
Act II
13. Come mai creder deggio... Dalla sua pace
14. Io deggio ad ogni passo
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. Ecco il birbo che t'ha offesa!
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
14. Io deggio ad ogni passo
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. Ecco il birbo che t'ha offesa!
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
Act III
26. Di molte faci il lume
27. Sola, sola in buio loco
28. Mille torbidi pensieri
29. Ah, pietà, signori miei!
30. Il mio tesoro intanto
31. In quali eccessi... Mi tradì quell'alma ingrata
32. Ah, ah, ah, questa è buona, or lasciala cercar
33. O statua gentilissima
34. Crudele? Ah no, mio bene!... Non mi dir
35. Già la mensa è preparata
36. L'ultima prova dell'amor mio
37. Don Giovanni a cenar teco
38. Da qual tremore insolito
39. Ah, dov'è il perfido?
27. Sola, sola in buio loco
28. Mille torbidi pensieri
29. Ah, pietà, signori miei!
30. Il mio tesoro intanto
31. In quali eccessi... Mi tradì quell'alma ingrata
32. Ah, ah, ah, questa è buona, or lasciala cercar
33. O statua gentilissima
34. Crudele? Ah no, mio bene!... Non mi dir
35. Già la mensa è preparata
36. L'ultima prova dell'amor mio
37. Don Giovanni a cenar teco
38. Da qual tremore insolito
39. Ah, dov'è il perfido?
Customer Reviews
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4.5
Based on 2 reviews
✓ Top Reviewer
United States
Fine Performance in Good Sound!
We don't hear this kind of Don Giovanni often anymore. Swarowsky was of a different generation and his approach to the score is slightly slower and less concerned with such things as appoggiaturas and ornamentation. The singers, however, not only have fine voices, but strong personalities and know how to use them to create a stirring performance. It's easy to forget that Marton started out in a different repertoire than she eventually sang. Would she had stayed with more classical roles and stayed away from the hoch-dramatisch repertoire (and all those Turandots!) that caused her voice to become prematurely worn and wobbly. Here she is a formidable Anna who negotiates the coloratura of "Non mi dir" and elsewhere with ease. She even has a trill! Zylis-Gara is a first-rate Elvira and Mathis a silken Zerlina. Paskalis sings a sexy Giovanni and Taddei a fluent, funny Leporello. Both have excellent diction too. Schreier receives a well-deserved ovation after "Il mio tesoro". Kreppel and Holecek are more than competent in their roles. The sound is good, probably from an in-house tape, the voices clearly heard over the orchestra. Recommended, especially if you're tired of hearing "authentic" performances of this magnificent opera.
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✓ Top Reviewer
United States
Walter Hartman
This is a performance that demonstrates what wonderful performances Zylis-Gara, Mathis, Taddei and Schreier gave in the theater. They are well known for these roles from various studio released recordings and all live up to their excellent reputations here. The novelties are to hear Paskalis and Marton as Giovanni and Donna Anna. Both are very persuasive and satisfying.It is wonderful to hear Marton when she had such control and finesse in her singing. Paskalis sings well and creates a strong characterization.
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