Product Description Don Giovanni is one of the timeless classics of all opera. Mozart's music, and the words of his great collaborator Da Ponte, are brought to life in Francesca Zambello's engrossing production from 2002 with its rich and colourful designs by Maria Bjornson. The music is memorable, dramatic and enjoyable: from the seductive solo voices of the famous 'La ci darem la mano' to the fabulous ensemble as Don Giovanni's infatuated conquests, vengeful victims and their outraged relatives join forces for justice. And retribution does finally come to Don Giovanni, a serial womanizer and a murderer, with the searing flames of Hell ready to engulf him. Simon Keenlyside heads the outstanding cast, conducted by renowned Mozart expert Charles Mackerras.Press Reviews"If one of the cast it to be named above the rest, that should be Joyce DiDonato, an outstandingly accomplished Elvira, brilliantly projected, interestingly conceived, her singing concentrated in tone. Miah Persson is an adorable Zerlina, and I liked what she and others were encouraged to do by way of vocal ornamentation." (Gramophone) "Sir Charles Mackerras conducts an incandescent Overture which kindles the brilliance, clarity and indefatigable energy of his music direction throughout. This film powerfully captures the fiery essence of Francesco Zambello's production...Zambello makes Simon Keenlyside's harsh and diabolical Don Giovanni and Kyle Ketelsen's embittered Leporello a double-act of deadly dependency." (BBC Music Magazine)CastSimon Keenlyside (Don Giovanni)Kyle Ketelsen (Leporello)Eric Halfvarson (Commendatore)Marina Poplavskaya (Donna Anna)Joyce DiDonato (Donna Elvira)Ram贸n Vargas (Don Ottavio)The Orchestra of the Royal Opera House; Charles MackerrasProductionCompany: The Royal OperaStage Director: Francesca ZambelloDisc InformationCatalogue Number: OA1009DDate of Performance: 2008Running Time: 202 minutesSound: 5.1 DTS Surround; PCM StereoAspect Ratio: 16:9 AnamorphicSubtitles: EN, FR, DE, ES, ITLabel: Opus Arte Review For this opera to succeed in all its moral, emotional, and rhetorical complexity, it needs a Don Giovanni who's sufficiently appealing that we feel at least some ambivalence toward him. Otherwise, Zerlina's attraction to him, much less Elvira's attempt to redeem him even at the end, makes no sense. That need is especially pressing when we have an Elvira as strong and spirited as Joyce DiDonato (no discarded dishrag here) and when Masetto is shorn of his bumptious goofiness (as he is when portrayed by Robert Gleadow). The Don's fundamental charisma, unfortunately, is singularly absent from this production, especially when seen close up on video, where every grimace registers more forcefully than it would from back in the hall. Granted, Simon Keenlyside is an experienced exponent of the role; but his approach seems to have changed over the years. Ralph V. Lucano found him "a gentleman" on the Abbado recording (22: 3), while Raymond Tuttle found him rather neutral in his 2006 Zurich account (31:5). Here he's gone completely over to the dark side: from his sadistic torment of the dying Commendatore (he glares maliciously into his eyes, and then gives him a mocking kiss), we know we are watching a sociopath, a man driven not by hedonistic enthusiasm but by an undisguised and unquenchable desire to cause pain. There's little fizz in "Fin ch'han dal vino," little sensitivity to the serenade, and, more generally, no charm to counterbalance the cruelty. When, at one point, he threatens to castrate Leporello, you feel he might really do it. No surprise that the production fails to cohere as a dramatic whole. Still, as a series of operatic numbers, there's much to enjoy. Yes, Halfvarson lacks heft as the Commendatore; and Poplavskaya, a rather tight and unsympathetic Donna Anna, lacks the tonal panache and virtuoso conviction to bring off the ending of "Non mi dir" (in her defense, she was suffering from a throat infection during at least one of the performances that were coalesced into this video). But Ketelsen, who looks enough like Keenlyside to make the identity-switch credible, is a perversely sympathetic Leporello, and Ram贸n Vargas (vocally at least) makes Don Ottavio a plausible suitor, strong-willed and passionate (his awkward stage presence is another matter). Better still are the sweet-toned, finely controlled, and musically flexible peasants, Robert Gleadow and Miah Persson. Superbly matched singers, they have the kind of relationship--and the kind of underlying purity--that make you think Masetto and Zerlina could grow up to become Figaro and Susanna (in fact, Persson has taken on the role of Susanna with distinction; see 32:1). Best of all, though, is the fiery DiDonato, who enters with rifle in hand and who continues to dominate whenever she's present: this, in the end, is Elvira's story. Mackerras conducts with his accustomed clarity, although I found that the energy level tended to drop here and there, especially in the first half of the second act. The orchestra, as we've come to expect, plays magnificently. As for Francesca Zambello's production: originally premiered in 2002, it has come in for years of criticism, mainly from the British press. But in today's climate, you have to give it a kind of negative credit, if only for its lack of disrespect for the music and the libretto. It's generally colorful, and it evokes the 18th century without turning stiff or fussy; the pyrotechnical display in the final scene is fairly impressive. Yes, the men are having a bad hair day (never has a production so insistently called out for more shampoo), and yes, there are some odd moments: why does Ottavio walk off in the middle of "Non mi dir"? Then, too, the staging is often cramped. But unlike so many productions these days, it doesn't go out of its way to spit on the ideas of the composer and librettist. There's one major exception, though, and it's a big one. After the final sextet, the curtain opens to show us Don Giovanni in hell: there he is, in triumphant naked glory, holding a glamorous (and also, of course, fully unclothed) woman in his arms. So much for punishment. The video quality is first-rate, especially, of course, on the Blu-ray version; excellent sound, too. There's also a lengthy and provocative essay by David Nice in the booklet. The only complaint about the production is Opus Arte's decision to issue the Blu-ray version on two discs: it would easily have fit on one, which would have given the release an economic edge. Recommendation? This DVD is a compilation of two performances in September 2008, and readers with sharp eyes for details in headnotes and a good memory for cultural trivia might have noticed that the first of them is the notorious performance that was reserved for readers of The Sun. Those who were present, or those interested in the fascinating intersection between tabloids and opera over the years, may well want this set in their collections as a memento of the event. Others, though, should turn elsewhere. Among recent performances, I've been most taken with the Jacobs SACD (I've not yet seen his video account) and Kreizberg's Glyndebourne DVD, although neither has entirely alienated my affections from long term favorites presided over by Walter, Rosbaud, Krips, and Giulini. -- Fanfare Archive, Peter J. Rabinowitz, Nov/Dec 2009Some scenes, like certain recipes, look so simple on the page yet turn out to be next to impossible to stage credibly. Take, for instance, the end of the first act of Don Giovanni. We all know what has happened; the Don has accused Leporello of assaulting Zerlina, but nobody is buying his story. Somehow or other the Don gets away scot-free at Leporello's expense, as Leporello will complain at the beginning of the next act. But how? (This being the stretta of an opera buffa finale, there are no stage directions to guide us.) Usually the Don strikes some dashing pose or other center stage while everyone else mills about aimlessly, which doesn't get us from here to there. In the new DVD of Francesca Zambello's Covent Garden production of Don Giovanni from Opus Arte, Simon Keenlyside as Don Giovanni, having casually disarmed his enemies of their swords and pistols during the stretta, makes his escape by climbing the wall on a red rope dangled by one of his red-clad servants. It gets us from here to there, after a fashion, but rather crudely; which kind of summed up my feelings about the production. Red is a very important color in this production (sets and costumes, the latter fantastical late eighteenth-century, by Maria Bjornson). Don Giovanni is dressed all in red and reddish-brown, which flatters Keenlyside's complexion rather nicely. The ballroom of the palace of the Act 1 finale is all in red, with matching lackeys. This contrasts with the virginal white of Donna Elvira's Act 1 wedding gown and Zerlina's shift (a very unflattering garment for poor Miah Persson). Clearly we are meant to liken Don Giovanni to the Devil. There is plenty of fire in the final scene-none of it connected to the Commendatore, who rises from below looking just as he had when alive, and whose statue is represented by a hand-like structure made of blue lights at the back of the stage, scarcely visible at all in the previous graveyard scene, which moves to the front to the stage at last to cast the Don into hell. (Eric Halfvarson's wobbly singing as the Commendatore didn't help make him seem any more threatening.) But in a final touch, the last thing we see in the Epilogue is... Don Giovanni in hell holding a naked woman in his arms. What kind of punishment is this? Under the circumstances, Keenlyside literally climbs the walls a lot-the first verse of "Deh vieni alla finestra" is sung while hanging with one hand off Donna Elvira's garden wall-but piles on the soft legato charm with the ladies, achieving genuine vocal and physical elegance in "La ci darem la mano". The Devil can be a gentleman, as goes the old saying; but he can also be a positive ruffian with the men, as "Meta da voi" revealed-the duel with the Commendatore is rendered as a mugging pure and simple (not even with Don Giovanni's sword, but Leporello's dagger!) But this is a very violent production by traditional standards (props to fight director William Hobbs); even Donna Elvira in her opening scene brandishes a musket, though to no good use considering that just by pulling the trigger she could have dispatched Don Giovanni then and there. Also a very touchy-feely production; when during "Mi tradi" Zerlina and Donna Anna wander in and began taking things away from Donna Elvira, we seemed to have wandered into a group therapy session. Of the three ladies, vocal honors go to Joyce DiDonato's Donna Elvira. I was surprised at how large and how comfortable with the higher reaches of the music her voice seemed. What with her unremitting vocal and dramatic intensity throughout the first act, the notion that some misguided early-music conductor suggested the Fidelio Leonore to her seemed less crazy. (And having heard her in the Curtis Alcina, I marvel all the more that she can adjust her vocal approach from the delicate nuances of period-instrument Handel to the broader strokes of big-house Mozart.) Persson, as Zerlina, has the sort of light lyric soprano that projects as solidly in its lower octave as it gleams above the staff; she was the most enthusiastic adder of ornaments among the cast. Marina Poplavskaya threw herself into Donna Anna's plight with plenty of gumption, but the music doesn't show her voice to advantage; declamatory passages too often came out dark and foggy, and anything above the staff thinned out. Kyle Ketelsen, as Leporello, offered an exceptionally nuanced vocal performance matched to a smooth and ringing bass, without milking the audience's attention even though he rather overdid the physical awkwardness shtick. (I especially enjoyed his handling of the multivolume encyclopedia of Don Giovanni's conquests-did I tell you this is a prop-heavy production?) Ramon Vargas, as Don Ottavio, has vastly improved his posture since I last saw him as Ramiro in the Met Cenerentola back in 1998. He played the role as a properly manly aristocrat rather than the stereotypical wimp, to the point of rather barging his way through "Dalla sua pace" so that you realized what a difficult aria it was ("O mio tesoro" fared well, though). Robert Gleadow, the Masetto, sounded right, but he could have restrained his temper a little- or at least directed it to some object other than Zerlina- to dramatic advantage. Sir Charles Mackerras, in the pit, conducted with his usual energy; few of his patented added ornaments made it into this performance, but appoggiaturas abounded. So should you buy this performance? It's not one for the ages. There are better traditional Don Giovanni productions on DVD out there. Still, it's pretty well sung and conducted; it may not be worth preserving on DVD, but it would I imagine be an enjoyable evening in the theater. -- Partererre Box, Indiana Loiterer III, November 5, 2009TC has reviewed seven DVD versions of Mozart's Don Giovanni (Issues 115,137, 179, Arthaus; 160, 186, Opus Arte; 173, TDK; 197, EMI), but the eighth, from the Royal Opera (Covent Garden) in 2008, is the only production that treats the work as a tragedy with comic moments, according to the work's designation as a "dramma giocoso" (1009 D, two discs). The singing is terrific; Simon Keenlyside (Don Giovanni), Kyle Ketelsen (Leporello), Marina Poplayskaya (Donna Anna), Joyce DiDonato (Donna Elvira), Miah Persson (Zerlina). In addition, Ram贸n Vargas brings star-quality singing to the usually colorless role of Don Ottavio. Charles Mackerras leads the excellent orchestra in one of his most dynamic performances. All three female leads look their roles; the Don certainly would find them attractive, which is not always the case in performances of the opera. High definition video and great sound in all three formats. Several short bonus interviews are provided. -- Turok's Choice, Paul Turok, November 2009
T**Y
Brutale
The director, Francesca Zambello, is not working in top form here. She brings to her Royal Opera House DON GIOVANNI more than the rudiments of an interesting visual style, and she certainly shoulders some responsibility for thought about character and theme. But she draws from Simon Keenlyside one of the nastiest, most reptilian and charm-free Dons in my experience, surely her choice more than his, and balances the scales with the platitudes and bromides of a contemporary feminist. Over and over, her blocking emphasizes an idealized sisterhood which crosses class lines, with the three women achieving unity in their victimization and perseverance. A Virgin Mary icon literally watches over this trio of beauties as they bond in struggling against a male-dominated world of abusive brutes (Masetto), unrepentant lechers (Giovanni), and paternalistic patronizers (Ottavio, Commendatore). All three women join hands to wield one weapon against the Don at the close of Act I; Elvira and Zerlina console Anna during "Il mio tesoro"; "Mi tradi" is in part an Elvira suicide attempt prevented by the other two. Elvira appears radiantly happy in the final scene when announcing her plan to spend the rest of her days in the convent. Of *course* the Elvira of such a production would be happy about that prospect, both for what she is leaving behind and what she is heading toward: spiritually enlightened sisterhood forever.None of this is necessarily invalid, and dumber things have been done with this opera, but it is heavy-handed and anachronistic, and not realized with the subtlety and grace that might have gotten it over. Zambello's interest in the women comes at the expense of the men: the Giovanni and Masetto are just unpleasant, while the more genial Ottavio and Leporello seem undercharacterized, stock. Throughout the opera, parts that tend to play awkwardly even in good productions (the Don's slo-mo flight from Anna near the beginning, with Leporello chuntering away in the corner) predictably do so here, but easy parts are also muffed (the Don/Commendatore duel; the Don's escape at the first act finale, here done with a rope in the manner of a rock climb; the first Don/Leporello confrontation with the statue, done without a statue). It is a half-baked, neither/nor GIOVANNI, showing the impulse of "It's been done so often one way, and I want to do something else" without that impulse carried through to a thorough, convincing "something else."There are some excellent vocal performances, but that can be said for most DON GIOVANNI DVDs. Most successful are the mezzo Donna Elvira of Joyce DiDonato (a sympathetic and beautifully calibrated acting performance, allied to tight runs and an absolutely seamless voice) and the Leporello of Kyle Ketelsen (vocally wholly agreeable, and well drilled in the standard comedic Leporelloisms to the point of expertise -- but whether his performance has much to do with the production around him, or whether the director's imagination was seized by this character enough to really incorporate him, I am less sure). Also impressive is the Zerlina of Miah Persson, who gets all she can out of Zambello's very sexually liberated and sophisticated take on the peasant girl. The Don Ottavio, Ram贸n Vargas, gives a characteristic performance: never an actor, but sincerely engaged and likable. He sings the part mellifluously, if not as well as he subsequently would in fall 2011 at the Met (another lackluster GIOVANNI, that one by Grandage). In New York, it seemed to me he had achieved the stature of mature artistry; in London three years earlier, the long-breathed phrases in the middle of "Il mio tesoro" are a bit labored.If Vargas always seems to be Vargas rather than the character, his basic stage savvy is nevertheless put into sharp relief by the very green Masetto of Robert Gleadow. The latter has a nice voice, but his scenes are hampered by stiffness and diffidence, accompanied by furtive sidelong glances, surprising to encounter in a broadcast performance. No such concerns are raised by Marina Poplavskaya, who throws herself passionately into the production's very black-and-white, unambiguously virtuous and wronged Donna Anna (I did like the detail of the character's mourning veil). Poplavskaya's haunting timbre and compelling presence compensate for the shortish breath line and hit-or-miss fioritura. Zambello shrewdly has the Russian soprano let down her waist-length blond tresses as she prepares to navigate the rapids of the second half of "Non mi dir" -- the distraction is welcome. Eric Halfvarson is only a serviceable Commendatore. In the title role, Simon Keenlyside is in rough vocal estate, and portrays a facet of the character (brutality) with zeal and professionalism, while other possibilities are deliberately underexposed.I find the contribution of the conductor, the late Sir Charles Mackerras, a challenge to review. Speeds are on the fast side, attacks are aggressive, phrasing pushy; the period-style horns rasp away authentically, the timpanist clubs away with his hard sticks, and the overall sonority elicited is thin and watery. It is surely the performance Mackerras was trying to conjure up, it is academically defensible, and I am sure it is the way someone else likes music of this vintage to go. I found it a trial of the nerves, but my preference for the richer and sleeker sounds of, say, Riccardo Muti (especially on his second DVD, the one from Vienna), is a subjective one. What is more clearly problematic is the poor sound balance, every time to the detriment of the vocal soloists. I wondered how this came off in the house, and whether the octogenarian conductor was suffering a not-atypical decline in hearing acuity.Extra features are very good: a comprehensive behind-the-scenes video tour of the ROH hosted by Deborah Bull (not directly linked to this DON GIOVANNI; the Hytner DON CARLO was being prepared at the time), and five minutes each allotted for music director Antonio Pappano (whom I wish had conducted) to interrogate Mackerras and Zambello. Pappano's questions are better than the inane ones the Met's star singers typically pose to each other on Saturday afternoon movie broadcasts (e.g. "Is it difficult to go from tragedy to comedy?"), and Zambello is so thoughtful and poised that I wish I had enjoyed the product of her efforts more this time.
S**E
it's not pretty . . .
Simon Keenlyside is the most reptilian, repulsive, scuzzy Don Giovanni you are likely to meet, and he gives himself totally to Francesca Zambello's conception -- or, more accurately, to the conception that he and Zambello worked out together. Keenlyside is a fine singer, but here it's impossible to separate the musical from the histrionic effectiveness of this very fine performance. That sadism and ugliness is made manifest from the start, with the death of the Commendatore -- a good performance by Eric Halfvarson -- which is chillingly intimate, and in which the masked Don reveals himself to the dying man, just before Donna Anna returns to the scene with Don Ottavio. It's a world of sadists and masochists, and it's interesting that Anna and Ottavio are the ones who resist that dualism. Marina Poplavskaya's Anna is traumatized by her near, or perhaps actual, rape, but better than Donna Elvira -- well done by Joyce Di Donato -- she resists the siren song, even without the useless gun that Donna Elvira enters with. She is not to be distracted or won over -- and an unusually virile Ottavio (Ramon Vargas, in good form) backs her to the hilt. Ottavio and Anna can seem unattractive and life-denying, but not here -- it's the Don who is the Prince of Darkness and Elvira and Zerlina come perilously close to giving him a free ride. Poplavskaya's singing can seem a little underpowered in places, but it's always musical and dramatically pointed. Miah Persson is a very fine Zerlina, in this conception, and Robert Gleadow, a name I had never heard, is a strong-voiced, attractive Masetto. And Kyle Ketelsen is a superb Leporello.There were some sticky moments in the production. Like every other one I've seen, Don Giovanni's escape at the end of Act 1 seemed awkward. Granted, it involved impressive athletic ability by Keenlyside -- luckily he didn't have to sing again until after the interval! Also, the invitation to the statue seemed awkward -- on my TV screen, I wasn't quite sure what I was looking at. In neither of these scenes were there any musical problems, though. A very successful scene was Donna Elvira's "Mi tradi" scene -- very imaginatively conceived and executed, with Di Donato singing absolutely beautifully. In fact, that scene highlighted an interesting feature of this production -- how the women joined forces and helped and supported each other throughout, and seemed by the end of the evening to LIKE one another. Of these women, Donna Elvira was the most in need of help, but the women didn't judge one another, they just helped, no matter the differences of "class" or vulnerability. It was touching and affecting to see them interact, and in particular this focus humanized Donna Anna and contributed to the sense that in this production she is on the side of life.My TV sound-system isn't the best, but it all came through pretty well. Mackerras and the Covent Garden orchestra were forceful and spirited. The direction of the action was detailed to a degree rarely seen in Mozart (and superior to the Met's 2011 version with the rather dainty Marius Kwiecien as the Don). The sets were undistracting, but not particularly good to look at, but they were mobilized to keep the action moving. Recitative was handled idiomatically and very effectively. It all added up to a conception of the opera that made sense, whether or not you agreed with it. One can imagine more dignified Dons -- but this was the world of sexual predators and women who run with the wolves. Not a pretty sight, but compelling theater.
I**S
Three contrasting productions to consider chosen from three leading contenders
There are now several choices available of this opera of which this review considers three contrasting productions. They are the 2008 Royal Opera/Mackerras, the 2001 Zurich Opera/Harnoncourt and the 2002 Aix-en Provence/Harding productions.The Royal Opera production under Mackerras listed here has received conflicting critical reviews resulting in both enthusiastic and damning comments to be found on Amazon. This also reflects the previous press reviews that accompanied the original performances. The DVD issue is generally more enthusiastically reviewed than the Blu-ray version but for no apparent reason to do with the different format.This Keenlyside Giovanni figure is portrayed as particularly driven and is the most controversial figure in this production. Importantly, there is no real sign that he actually likes women - surely an essential requirement of a seducer. He is also shown throughout in somewhat sleezy attire - again, seemingly a rather unlikely attraction for the women when initial appearance is likely to be an important key to his success. Don Giovanni's charm therefore seems to be an unimportant consideration of this production. Given these concepts, both the singing and the acting are well done. However, bearing in mind this characterisation, it becomes difficult to believe that either Elvira or Zerlina would fall for such a man although it is obvious why Anna would hate him.Elvira comes over as rather strident in this production and this particular portrayal of Ottavio as a character is unlikely to be a serious physical threat to Giovanni even though the part is sung well enough. Both Zerlina and Masetto are excellent with Masetto being a satisfyingly stronger character than usual. Both Leporello and the Commendatore parts are well done.The setting of the opera is loosely in period but there are inconsistencies in staging that have to be ignored if this is to be enjoyed. The final hell-fire is rather tame though and the nude Giovanni apparently happy in hell and holding a naked woman in his arms at the very end seems doubtful as it undermines any idea of retribution. This concluding image of this opera's production is consistent with the portrayal of Giovanni more as a rapist than as a seducer and the ending seems a rather gratuitous use of nudity for non-musical ends.The orchestral contribution under Mackerras is totally outstanding with every detail making its mark and with good pace throughout. The sound in Blu-ray DTS seems vocally recessed and the volume needs to be turned up several decibels in order to achieve the required bite - then it is OK. This issue gives dramatic and musical satisfaction within marked constraints therefore.The Zurich production under Harnoncourt also features lively orchestral contributions and a good forward pace. The setting is traditional and does not contain any obviously worrisome inconsistencies as at the Royal Opera above.Don Giovanni as portrayed by Gilfry has the necessary charm as well as enough youthful vigour. (He portrays the part of Danilo in the Merry Widow, also at Zurich, with much charm too). He is thus very believable as a seducer of women. This therefore adds credence to the roles of both Anna and Zerlina. Sacca as Don Ottavio is in better shape both physically and vocally than Vargas in the Royal Opera production but it still remains rather a weak role - however this is mostly to do with the character as written.Both Zerlina and Masetto are well performed and convincingly portrayed. Leporello acts and sings well throughout and is a good and strong foil for Giovanni. The concluding scene with a strongly portrayed Commendatore and a markedly more dissolute, long and greasy-haired Giovanni builds well to its fiery end with a clear sense of final terror, but not remorse, clearly communicated by Gilfry. Donna Elvira, as portrayed by Bartoli, is more a matter of personal taste. There are some who find her `over the top' in her acted and sung levels of outrage and stridency. However, taken on its own terms, this is still acceptable and musically spot-on.The recording is good visually and sonically with clear surround sound (Dolby 5.1) while not quite being up with the latest in high definition technology. Overall, this is preferable to the Royal Opera production simply by not portraying Giovanni in such a deviant manner.That leaves the production at Aix-en Provence conducted by Harding. This is staged in the most minimalist terms - wooden poles and benches which are moved around to take on different meanings and totally devoid of time or place - intentionally universal therefore but with the message of the essential character types being applied to modern times by means of current clothing. The crucial destruction of Giovanni at the end with such limited means is extraordinarily effective.The performance is clearly on an outdoor stage at night with dark backgrounds. The stormy weather adds to the drama with hair and clothing blowing in the wind and including real thunder!The singing and acting throughout is simply superlative by a young and highly skilled team. Peter Mattei as Giovanni exudes charm in abundance coupled with extraordinary physical vigour. Delunsch as Elvira manages to chase hard but avoids stridency - in fact the whole cast is inspired resulting in a truly memorable experience.The director defends his minimal staging on the grounds that it focusses everything on the drama of the interaction between the characters. It does - and it works. Harding, conducting the fine Mahler Chamber orchestra, keeps a cracking pace and sense of building electricity. The whole thing is well recorded both visually and sonically (Dolby 5.1). This is a terrific performance of considerable musical and dramatic electricity.I would suggest that the Aix-en-Provence production leads this particular group, followed by Harnoncourt at Zurich with the Royal Opera production being mainly considered here being in third place. This is, without doubt, the most extreme and therefore controversial interpretation of this opera and those aspects will need to be considered carefully if this version is to be considered the finest over the other two briefly considered above.
A**R
Quality of voice and singing ability,also the production without the usual gimmicks.
The cast was the best I have heard. Joyce DiDonato Miar Pearsson,and Simon Keenlyside were all at the very top of their game.Keenlyside is the greatest British baritonde since Sir Garaint Evans. Thank goodness the producers did not change the period of the story,and kept to the original time of Mozart and Da Ponte.I have followed grand opera for over 75 years,and have heard many productions of the Don!
M**I
The 'Don of 'Don's'
The Royal Opera House excels itself with this stunning production of one of the top 5 operas ever written. If you want a traditional staging then this cannot be bettered and with Sir Charles Mackerras conducting,the music is of high quality. Simon Keenlyside makes a truly memorable Don Giovanni. He is by turns cruel,seductive,funny,evil and sexy-just as the Don should be. His interaction with the marvellous Kyle Ketelsen as Leporello was well done. In Joyce Di Donato we have a fiery and yet vulnerable Donna Elvira. Di Donato was in splendid voice. It was good also to be pleasantly surprised by the gorgeous tone of Ramon Vargas, a tenor who can be a little hit and miss for me, here he was a strong Don Ottavio. Praise too to Eric Halfvarson's Commendatore, Miah Perrson's Zerlina-conveying perfectly the balance between coquette and innocent,and Robert Gleadow's fine Masetto. I confess the only disappointment was Marina Poplavskaya as Donna Anna. While he vocal talent cannot be faulted I just felt that she held herself a little aloof and the pleas for 'vengeance' did not raise the hairs on the back of the neck(but then for that you really should listen to the late Dame Joan Sutherland). Keenlyside was an athletic and vital Don, bare chested for much of the final act he cut an inpressive figure and the final postscript,albeit brief, showed him to have just what he desired in purgatory-probably he didn't get such a bad deal going to Hell after all? As a humerous aside, keep your eyes open for the look on Ms Polavskaya's face when Joyce Di Donato gets a bigger bouquet than her at curtain call!! I also have a marvellous modern day production from Salzburg with the fabulous Thomas Hampson and Ildebrand D'Archangelo. This goes alongside it as the best traditional production.
P**R
Where is Don Giovanni??...
After months of hesitation between Harnoncourt 2002 version of Don Giovanni with Rodney Gilfry and Mackerras 2008 version with Simon Keenlyside, I took the risk of buying the last one according to some customer's reviews. Unfortunately the result wasn't the expected! A desappointment!Where was Don Giovanni?? I couldn't find Him! He simply wasn't there!The man on Stage had been unable to seduce me not even for a minute! And that was the big failure I couldn't surpass!To be precise, I think the roles were inverted: Kyle Ketelson should be Don Giovanni and Keenlyside Leporello! I'm sure Ketelson should impress us, Keenlyside ( so good in funny roles ) would be a fine Leporello, and we'd all benefit with the change!As Marina Poplavskaya never convinced me in any role, I'm suspicious and prefer not to comment...The Scenery isn't bad at all but deserved a less modern approach...So, God save Bass-Baritone Kyle Ketelson (amazing Leporello), Bass Eric Halfvarsen ( Commendatore ), Mezzo Joyce De Donatto ( Donna Elvira ), T茅nor Ram贸n Vargas ( Don Ottavio ), Miah Persson ( Zerlina ) and Robert Gleadow ( Masetto ).Royal Opera House Chorus and Orchestra with Mackerras are perfect and HD Picture quality is stunning. No doubt a great job, visually speaking!But not enough. "Don Juan" is missing...!Harnoncourt's version ( also available in Amazon UK ) should be my option! Not being a masterpiece is more suitable than this one. At least, we have an important brilliant Main Character!A strong cast supporting Him, includes the supreme interpreter of Vivaldi mezzo Cec铆lia Bartoli as Donna Elvira, in spite of her voice's extreme vibrato contrasting sometimes unconfortably with the other ones. And Laszl贸 Polg谩r as Leporello was a week choice.These were the two reasons why I've made the mistake of giving up of this version. A crucial error!Brian Large traditional presentation ( very different, visually speaking ), reflects more adequately the ambiance of 18th Century, and, the "Art of Seduction" is there!! The wonderful Bass-Baritone Rodney Gilfry, handsome on Stage, gives us a superb Performance creating the necessary atmosphere of arrogance sensuality and persuasion needed for the success of this important Role!Salminen ( Commendatore ) also does a convincing job, and the last scene not being so spectacular ( visually speaking ) because of the inexistence of Filming tricks, shines under the irreproachable Acting and Singing of the two strong male presences on Stage!Gilfry was also stunning playing Conte Di Almaviva, in 1994 Elliot Gardiner's version ( available in Amazon UK ) of Le Nozze Di F铆garo with a very interesting Cast.I know I'm not an easy listener of Opera, Oratorio and other Pieces related with Singing and Performing. And what is perfect for me may not be for others...But I have no doubts that Productions like these, deserve careful choices in terms of Casting, adequate Sceneries, Choreographies and Stage Directing so that Harmony can prevail. Otherwise there will be inevitable inconsequences and the essence of these exceptional Pieces will be lost!
M**S
Brilliant Don
I own several recordings of Mozart's masterpiece, Don Giovanni, and I think this one is my favourite. The performers are all excellent, both vocally and dramatically. Joyce DiDonato is a strong, powerfully sung Elvira, and I have to say that although I am a huge Simon Keenlyside fan, the star of this production, for me,is Kyle Ketelsen - the best Leporello I've ever seen. He has the most brilliantly comic facial expressions and a fine voice. The only minus on this recording in my opinion is the Don's rather ugly costume and even more hideous long ginger wig that often gets in his mouth, but that's a minor quibble. And I have to say that the final blink-and-you-miss-it flash of the Don in all his naked glory was a brave thing to do for a man who was then approaching 50, although he appears to be in fine shape for his age!
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