When Don Giovanni is a topic, it can not help to remind me of Claudio Abado and Muti. Mozart is my favorite composer, and this is my favorite opera by him.

Thank you, Dave. It's a credit to you that even after 60 years of being extolled, you can review this recording in a way that is fresh and interesting.

Thanks Dave. This is my favorite opera. Someone in America said once ''The Opera of all Operas''. Greetings from Iceland - Einar

When I was coming up in the '70s, I got my sense of reference recordings by reading back issues of Gramophone and High Fidelity for reviews, background, and history; but I got it most dramatically by hanging out in the same kind of record stores you did and listening in on the debates those older, more knowledgeable aficionados were always having about what was the best Schubert 9th, the best La Mer, the best Traviata, etc. It was all hugely entertaining but also hugely educational, especially for the way these extended, often heated discussions showed me how experienced listeners could have different opinions but could also agree on a consensus pick, a performance that was for the most part unexceptionably good and worthy of reference status, something to judge others by. The exception was this (and I remember it like it was yesterday-): when it came to best Don Giovanni recording there seemed an unbridgeable split between the Giulini/Philharmonia and the Krips/VPO. Think I came away feeling like in this case there might arguably be two reference recordings. Personally, I prefer Krips, the endlessly seductive tones of Siepi's Don, della Casa vs. Schwarzkopf, Corena vs. Taddei, Dermota vs. Alva, and the overall sense of "giacoso" that Krips captures. But personal taste aside, I think it's fair to say that both of these recordings have, for decades, been held up as a kind of standard for the opera.

The greatness of opera, especially this one, is exemplified by three performances I saw the same week. First Waechter in a production by Jonathan Miller in which the she was darkly lit and costumes were beige and gray. Waechter plated the Don as someone who had lost his touch a short time ago. The next night the Don was Rod Gilfrey who played the role as Mick Jagger. Two nights later I was at the Met in New York for the Zeffirelli production with Samuel Ramey. It was in bright primary colors. Ramey played the Don as a Libertarian breaking out of rigid restrictions, more as rebellion than sexuality. It just shows how inexhaustible opera can be. And I have over a dozen recordings but keep returning to Guilini.

You nailed it again. I fell in love with Don G only when I heard this recording, and I had heard a couple of others before. Critics seemed to dislike Waechter, thinking he was too hectoring, and Schiutti a bit brittle, but it never bothered me, and the totality is overwhelming--in a good way. Giulini brings it all together. It's still my favorite, and I've given copies as a gift. Runner up is Krips on Decca with Siepi, but I don't think it established itself as a reference unlike the Decca Kleiber Nozze.

Though the Don may be something of a cipher, he's also a seducer, and that's what I miss in Eberhard Wächter's contribution to the classic Giulini set. For a truly seductive Don from the same time period as Giulini, we must turn to Siepi (with his unforgettable sidekick, Corena). Of the three recordings featuring this dynamic duo, I lean toward Leinsdorf's powerful RCA version.

Great comments on Don Giovanni and a recording that I sit down and listen to at least once a year. Funnily enough Schwarzkopf said in an interview that she didn't like to play Donna Elvira as she is a ' crazy lady,' but it was one of the five operatic roles that she chose to specialise in / perfect from mid career onwards ( in consultation with Walter Legge ofcourse!) It suits her vocally so well. The whole cast and conductor are outstanding I agree. Sutherland's frank and full toned approach to Donna Anna is fantastic. Eleanor Steber had a similar frankness in the way she sang Mozart and it reminds me of Callas' comment that Mozart's music was not to be performed 'on tiptoes.' She herself sang very little Mozart, although parts of recordings of her fiery , but classically styled Constanza in Seraglio still exist.

Looking forward to your video on Carmen, and I bet the reference will be Thomas Beecham.

It has to be the Guilini recording (I believe it was recorded in 1959). A dream cast that could never be equalled today, absolutely impossible.

Hell Yes! This is absolutely my favorite 😁 mostly because of the cast - wachter is an amazing Don Giovanni, and so are sutherland, schwartzkopf and a lovely mention to graziella sciuti who does a wonderful Zerlina!

this is great Dave, I always think of Alex at the end of A Clockwork Orange, he's unrepentant-just like Don at the end. they accept themselves as they are! no apologies. I love these characters

Harnoncourt is actually with the Concertgebouw, so technically on 'modern' instruments

In my opinion, no role in opera is more miscast than Donna Anna in Don Giovanni. It is given to mostly lyric sopranos in theatres these days but it is absolutely a role for a young dramatic soprano. a stepping stone before growing into roles such as the Marschellin in Rosenkavalier and Elsa in Lohengrin. The very first Donna Anna I sang with just came off of singing Tosca and she said without question Donna Anna was a much more difficult role! Joan Sutherland is quintessential in this much much underestimated role.

Peruvian tenor Luigi Alva turned 97 yesterday!

I can confirm from experience that Giulini is most definitely the reference.( I imprinted on Klemperer back when it was new and have been totally satisfied with it ever since.)

Years ago I only had the Bonynge to listen to. I don't know how that happened, other than not having money for multiple sets of anything. There was almost nothing I liked about it but Mozart. To give the devil Bonynge his due, it accustomed me to the use of appoggiaturas in the recitatives. I thought it was mannered at first, but now I find it much more natural sounding than without. Wächter, as the Count in Giulini's Figaro is outstanding, with wonderfully vibrant characterization throughout. My guess is this might possibly be the reference?

There really can be no argument with this one. A lot has been said and written about the controlling Walter Legge but you cannot deny he could put a dream cast together; cannot be bettered. I'm looking forward to more reference opera recordings. Karajan's La Boheme? Karajan's Der Rosenkavalier? Karajan's Falstaff? Modern: Solti's Die Frau?

Giulini is the one everyone turns to and so yes that does make it a reference recording. But as you said Wachter is a bit anonymous which is not helped by the vocal similarities between him and Taddei, Alva is a nice light milquetoast tenor with no backbone, Sciutti is pale and that leaves Sutherland and Schwartkopf to lead the show... and Frick. Much better is Klemperer with the ultimate Don of Ghiaurov perfectly balanced with Walter Berry's genuinely human and funny Leporello, Christa Ludwig great Elvira and Mirella Freni as the best Zerlina ever. While Clare Watson cannot match Sutherland's voice she brings more character to the show partnered by the great Nicolai Gedda's Octtavio who has far more voice and presence than Alva and most important and not to be forgotten is Klemperer who brings gravitas from the first moment so the seriousness of the dramma giocoso is never in doubt while still makes much of the lighter moments. This is perfect! Perhaps later you might next do a series on recordings that are better than the references, though I'm enjoying this series very much. Keep them coming Dave. You keep us listening and thinking.

Agree with you completely about Schwarzkopf!

In your opinion, what is the best recording of Stravinsky’s “The Rake’s Progress”?

And let's not forget with virtually the same cast and conductor, Marriage of Figaro circa 1959. I wonder if that's considered the reference or perhaps the honor goes to Erich Kleiber?

I don’t know if I would characterize Schwarzkopf as insincere - though she was certainly at her best in lighter works, particularly operetta.

I'm guessing it's going to be either Bohm or Klemperer (or both?) for The Magic Flute. (Though maybe not Klemperer because it excludes the dialogue...)

I'd like to hear your opinions of reference recordings of other operas.

Reference recording Cosi Fan Tutte = Böhm. Still sounds great.

Hey Dave, several months ago I heard an exceptional recording on the radio of the Eroica Symphony and I think it was by the Buffalo Symphony and Joanne Folleta. Having played this work a few times it stands out, to me, as a dry, staid work of art. But this performance by the Buffalo Phil was something else again. Ii was full of energy, excitement, and all the wonderful words I cannot find but you can. Have you heard this recording?

Dave, could you do a video about your reference recording of Villa-Lobos' Rudepoêma?

Can you imagine watching Columbo with Dave?!

The Giulini is fantastic. My personal favourite is still Currentzis, but it takes so many liberties that it is highly controversial and will never become a reference by any stretch.