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Don Giovanni Comp

Wolfgang Amadeus Mozart Audio CD
4.6 out of 5 stars  See all reviews (11 customer reviews)
Price: CDN$ 199.98
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Product Details


Disc: 1
1. Sinfonia
2. Notte E Giorno Faticar
3. Non Sperar, Se Non M'Uccidi
4. Lasciala, Indegno!
5. Leporello, Ove Sei?
6. Ah! Del Padre in Periglio
See all 28 tracks on this disc
Disc: 2
1. Masettoe, Senti Un Po'!
2. Batti, Batti, O Bel Masetto
3. Guarda Un Po'
4. Presto, Presto, Pria Ch'ei Venga
5. Tra Quest'Arbori Celata
6. Bisogna Aver Coraggio
See all 32 tracks on this disc
Disc: 3
1. Ah, Ah, Ah, Questa E Buona
2. O Statua Gentilissima
3. Calmatevi, Idol mio!
4. Crudele? Ah No, Mio Bene!
5. Non Mi Dir, Bell'Idol Mio
6. Ah, Si Segua Il Suo Passo
See all 14 tracks on this disc

Customer Reviews

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4.6 out of 5 stars
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2 of 2 people found the following review helpful
5.0 out of 5 stars Miraculous Sept. 12 2003
By A Customer
Format:Audio CD
I happen to disagree with the reviewer below. I think that this Don Giovanni is absolutely miraculous. Considering that it was studio made, it's miraculous that there is so much sense of theatre going on, as if it were a 'live' performance. This is one of those opera sets you have to have together with Klemperer's Fidelio.
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5.0 out of 5 stars Puzzle resolved Dec 24 2003
Format:Audio CD
It puzzled me for a long time how the old version could co-exist alongside this latest remastering. Fact is that the older 1997 remastering is actually better. This one is more muffled - that one is brighter and clearer. I think there must have been some degradation in the original tape quality in the intervening 5 years.
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3.0 out of 5 stars Surprisingly Bland Aug. 23 2003
Format:Audio CD
The LP version of this performance that I bought back in 1960 or '61 was my first complete opera recording. At the time, its main competitors were the somewhat earlier Krips stereo version, the older Furtwaengler Salzburg Festival mono versions and the downright venerable Busch Glyndebourne Festival set. Because a four-LP set was a major financial investment in those days, I read the available reviews and consulted my singer friends before laying my money down. I concluded that the newly-arrived Giulini and the hot, international soprano rage, Sutherland were worth the cost.
I bought the set and was dutifully impressed--not least by the beautiful 12"x12" booklet consisting of the libretto in three or four languages, cast photographs and biographies, essays on the opera and the recording, original artwork, all of which were typical of those long-gone, expansive days. The recording wasn't bad either, with the brilliant playing of the orchestra, the astonishing coloratura of Sutherland, the long-breathed vocalizing of Alva and the intensity of Schwarzkopf. I was quite content with my purchase and, if pressed then or for years after, would have spoken of it in words of praise to equal those expressed here in the Amazon customer reviews.
Time passed. The CD era arrived and with it the piffle of period instruments and worse, the retreat to the Prague version. Since then, I have listened to bass Giovannis and baritone Giovannis, romantically thundering Giovannis and limply tinkling period-instrument Giovannis, old Giovannis and new Giovannis. What I did not do was listen to this Giovanni. At last I broke down and acquired a CD of my old favorite and sat down to re-savor its joys.
I was appalled.
Waechter as the Don? How did that happen?
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By A Customer
Format:Audio CD
It is a lot of fun to hear different performances of DON GIOVANNI, as it is an opera that is open to an infinite number of different interpretations. Each time one hears a different maestro conduct the opera, or a different perfomer in one of the main roles, one hears something new in DON GIOVANNI. Some questions we might ask ourselves as we listen to the opera are,
Is Leporello proud of his master or ashamed of him? Should Donna Anna be portrayed as angry or as pathetic, and was she actually raped by the Don or just sexually "awakened"? And who IS Don Giovanni? A lover? An egoist? The devil in disguise?
In this recording Don Giovanni, sung by Eberhard Waechter, is clearly a demon in aristocrat's clothing -- yet he can also sound loving and sincere when wooing Zerlina ("La ci darem la mano") or Donna Elvira's maid ("Deh, vieni alla finestra"). This Don knows that time is running out on him: in the banquet scene, one senses that he is trying to fit a whole lifetime's worth of pleasure into a few minutes (and Giulini's fast tempo contributes to this feeling). Giuseppe Taddei plays Leporello as though he is Don Giovanni's court jester: he speaks the truth about his master's bad behavior, but in such a humorous way that the Don can't really punish him. Taddei's frustration during the "disguises" scene with Elvira is very funny ("Che imbroglio!"), and his pleading in "Ah, pieta signori miei" is actually touching. At times, Taddei does get a bit too "hammy" for my taste, but he is always lively; he also has a wonderfully rich bass-baritone voice.
Elisabeth Schwarzkopf's Donna Elvira is a classic portrayal: larger than life and very funny. Joan Sutherland is in her most youthful voice as Donna Anna.
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By A Customer
Format:Audio CD
It is a lot of fun to hear different performances of DON GIOVANNI, as it is an opera that is open to an infinite number of different interpretations. Each time one hears a different maestro conduct the opera, or a different perfomer in one of the main roles, one hears something new in DON GIOVANNI. Some questions we might ask ourselves as we listen to the opera are,
Is Leporello proud of his master or ashamed of him? Should Donna Anna be portrayed as angry or as pathetic, and was she actually raped by the Don or just sexually "awakened"? And who IS Don Giovanni? A lover? An egoist? The devil in disguise?
In this recording Don Giovanni, sung by Eberhard Waechter, is clearly a demon in aristocrat's clothing -- yet he can also sound loving and sincere when wooing Zerlina ("La ci darem la mano") or Donna Elvira's maid ("Deh, vieni alla finestra"). This Don knows that time is running out on him: in the banquet scene, one senses that he is trying to fit a whole lifetime's worth of pleasure into a few minutes (and Giulini's fast tempo contributes to this feeling). Giuseppe Taddei plays Leporello as though he were Don Giovanni's court jester: he speaks the truth about his master's bad behavior, but in such a humorous way that the Don can't really punish him. Taddei's frustration during the "disguises" scene with Elvira is very funny ("Che imbroglio!"), and his pleading in "Ah, pieta signori miei" is actually touching. At times, Taddei does get a bit too "hammy" for my taste, but he is always lively; he also has a wonderfully rich bass-baritone voice.
Elisabeth Schwarzkopf's Donna Elvira is a classic portrayal: larger than life and very funny. Joan Sutherland is in her most youthful voice as Donna Anna.
Read more ›
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