BaL 7.07.18 - Mozart: Don Giovanni

[aeolium]

As to DVDs, I have the aforementioned Czinner film of the Furtwängler, plus Karajan and Muti, both finely played and sung performances with conventional productions (pictures of Muti's face far too intrusive at times ) but I don't think I would choose any of them over the several really excellent audio recordings I have heard.

One of those excellent recordings is a live Sawallisch one from Munich in 1973, with a fantastic cast (Margaret Price as Anna, Raimondi as DG, Varady as Elvira, Lucia Popp as Zerlina, Stafford Dean as Leporello, Kurt Moll as Commendatore). I think Sawallisch a really underrated conductor in all sorts of repertoire, but he was superb in Mozart operas (Die Zauberflöte also excellent) and Schubert choral music in particular.

[Stanfordian]

As to DVDs, I have the aforementioned Czinner film of the Furtwängler, plus Karajan and Muti, both finely played and sung performances with conventional productions (pictures of Muti's face far too intrusive at times ) but I don't think I would choose any of them over the several really excellent audio recordings I have heard.

One of those excellent recordings is a live Sawallisch one from Munich in 1973, with a fantastic cast (Margaret Price as Anna, Raimondi as DG, Varady as Elvira, Lucia Popp as Zerlina, Stafford Dean as Leporello, Kurt Moll as Commendatore). I think Sawallisch a really underrated conductor in all sorts of repertoire, but he was superb in Mozart operas (Die Zauberflöte also excellent) and Schubert choral music in particular.

Talking about The Magic Flute, I was told by conductor that I interviewed in Dresden that translations into English of 'The Magic Flute' meant that the innuendo and double meanings in the libretto were lost to a non-native German speakers.

[verismissimo]

I've several of the versions recommended above, much loved, but it's hard to go past Guilini's superb cast of 1959 with Sutherland, Schwarzkopf, Sciutti, Alva, Frick, Taddei, Cappuccilli …

Time to talk singers?

[waldo]

Great to see I am not the only one who loves the Ostman recording, or the Norrington. The Ostman is probably my first choice, but that may just be due to the great affection I have for the recording - it was the first Giovanni I really loved. The singing is just perfect for Mozart and cast is fabulous throughout: Arleen Auger, Bryn Terfel, Barbara Bonney.....If I have a criticism - or rather, a slight regret - it is that the orchestra seems a little out of focus or recessed overall. Whether this is due to the recording itself or this is just the way the orchestra sounded (it was early days for the period gang - lots of rough, scrubby sounds from the strings etc) I don't know. Even so, it still deserves a top recommendation.

For modern, I suspect I am one of the few who really likes the Abaddo set with the Chamber Orchestra of Europe. Much like his Figaro, which is also not that well liked, it is a recording of exceptional lucidity and musicality. I can see that it might be a bit forensic or even stately for some; it isn't exactly the most dramatic performance. But it is immensely revealing throughout and beautifully judged in all details.

A quick note on Jacobs........ This was one of the Jacobs set I really didn't take to. I didn't like the voices, for one thing, and found it all a bit lurchy. Too many accelerandos etc Though I do love his Figaro and Cosi, so I am not exactly immune to his general approach.

[Conchis]

A smooth win for Haitink (with Thomas Allen and the LPO) wouldn't surprise me.

[ferneyhoughgeliebte]

A smooth win for Haitink (with Thomas Allen and the LPO) wouldn't surprise me.

From Nick Kenyon? Not impossible, but he tends to prefer HIPP or HIPP-like readings. Gardiner? Or perhaps an "off-field" (in the sense that I don't think it's been mentioned on this Thread yet) newer recording, such as Curentzis?

[Eine Alpensinfonie]

I was first introduced to Don Giovanni by John Mayall, who worked in the record department of Avgarde Gallery in Manchester in the 1960s. They had great equipment in the shop, but John invited me to hear his personal hi-fi system, which was superb. He played the final scene with the Commendatore and Don Giovanni, using Giulini's then quite recent recording. It's an experience I've never forgotten.

Subsequently, I bought the stereo version I could afford (Krips) in Decca Ace of Diamonds Grand Opera Series. This is very fine too, but lacks the impact of the Giulini.

Next came the Colin Davis, first on LP and later on CD. Davis was a great Mozart conductor and he had a superb cast, so it doesn't disappoint.

Furtwangler (1954) came later, in the 107 CD boxset, but I've yet to get to know this one. There is a problem here: Frau Alpensinfonie finds the opera too overwhelming, so I can only listen to it when she's out of the house, or when using headphones.

[Barbirollians]

Giulini and Furtwangler for me.

[aeolium]

Just for clarity, I think there are actually four different recordings of Don Giovanni by Furtwängler, all from the Salzburg Festival:

1) The 1950 live one with Gobbi, Welitsch et al
2) The 1953 live one with Siepi, Grümmer, Edelmann, Schwarzkopf et al
3) The 1954 live one with a virtually identical cast to 1953, apart from Ernster as the Commendatore
4) The Paul Czinner film in 1954 based on the 1954 production, with virtually identical cast to (3) apart from Lisa della Casa as Elvira instead of Schwarzkopf

I don't expect any of them to be given more than the briefest of mentions by NK next week, btw.

[Eine Alpensinfonie]

3) The 1954 live one with a virtually identical cast to 1953, apart from Ernster as the Commendatore

Prompted by this forthcoming BaL, I listened to this Furtwangler performance today. What a great performance this is. We are so lucky that so many of the great man's live performances were recorded. Right up to his death, more and more great gems were preserved for future generations.

[BBMmk2]

Well this will be a cheap one for Me!

[visualnickmos]

Love this opera -I have Krips (Decca) early stereo, but still excellent sound - fabulous singing all round….

and Bohm (DG) which I haven't listened to for years - need to refresh my hearing of it!

Isn't Maazel's supposed to be a version of some note?

[ferneyhoughgeliebte]

Isn't Maazel's supposed to be a version of some note?

Only as many as necessary.

[Eine Alpensinfonie]

Just for clarity, I think there are actually four different recordings of Don Giovanni by Furtwängler, all from the Salzburg Festival:

1) The 1950 live one with Gobbi, Welitsch et al
2) The 1953 live one with Siepi, Grümmer, Edelmann, Schwarzkopf et al
3) The 1954 live one with a virtually identical cast to 1953, apart from Ernster as the Commendatore
4) The Paul Czinner film in 1954 based on the 1954 production, with virtually identical cast to (3) apart from Lisa della Casa as Elvira instead of Schwarzkopf

I don't expect any of them to be given more than the briefest of mentions by NK next week, btw.

There are some excerpts from the 1950 Tito Gobbi recording in the 107 CD Furtwangler set (in addition to the full 1954 performance). I'd like to hear the rest of this one.

[aeolium]

There are some excerpts from the 1950 Tito Gobbi recording in the 107 CD Furtwangler set (in addition to the full 1954 performance). I'd like to hear the rest of this one.

I said upthread that I thought this was the most exciting of the Furtwängler DG recordings, though more flawed than say the 1953 one. It has an incandescent performance from Ljuba Welitsch as Donna Anna (far more dramatic than Grümmer in 1953 imv), the wonderful Erich Kunz as Leporello, Seefried as Zerlina, Greindl as the Commendatore and a comically menacing Alfred Poell as Masetto. The main problem, at least on my recording, is the sound which is worse than on any of the other WF recordings of this work, but it's a thrilling performance nonetheless.