Mozart: Don Giovanni. Soloists, Philharmonia Orchestra and Chorus, Carlo Maria Giulini (cond.) Warner (EMI)
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@AmalijaKomar4 ай бұрын
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.
@user-et8mh2ki1c4 ай бұрын
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.
@einarkristjansson68124 ай бұрын
Thanks Dave. This is my favorite opera. Someone in America said once ''The Opera of all Operas''. Greetings from Iceland - Einar
@classicallpvault82514 ай бұрын
It's my favourite too - alongside Der Fliegende Holländer and Il Barbiere di Siviglia.
@bingbongtoysKY4 ай бұрын
it is, it's the best!!!!
@tom66934 ай бұрын
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.
@tom66934 ай бұрын
@user-qv4vh6sr6k That's right. And you're reminding me how many times the guys clustered up by the cash register and the store's turntable would drop the needle on the contested passages from different recordings and make real-time comparisons (of the sort Dave could do if he had permission). These were always enlightening for me.
@stephenmarmer5434 ай бұрын
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.
@onlygiovanniallthetime4 ай бұрын
\ wow. who was the cast for the wachter and gifry. a
@bbailey78184 ай бұрын
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.
@davidaiken10614 ай бұрын
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.
@davidaiken10614 ай бұрын
A quick note about availability of the Leinsdorf recording. Decca apparently owns the rights to this and a CD transfer was issued on that label many years ago. That set is difficult to find now. Can we hope for a reissue? I won't hold my breath.
@Tenortalker4 ай бұрын
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.
@GarthAstrology4 ай бұрын
Looking forward to your video on Carmen, and I bet the reference will be Thomas Beecham.
@holgadoencinasraul28204 ай бұрын
I bet it will be Berganza & Abbado.
@AlainArvelo4 ай бұрын
@@holgadoencinasraul2820 both great choices. I have to cast my vote for the Karajan with Bumbry, Vickers and Freni.
@paullewis24134 ай бұрын
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.
@doubleyouranger4 ай бұрын
sciutti sets my teeth on edge fron head to toe.
@misterflamingo2 ай бұрын
@@doubleyourangerso true! ! Grandiose!
@misterflamingo2 ай бұрын
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!
@bingbongtoysKY4 ай бұрын
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
@ugolomb4 ай бұрын
Harnoncourt is actually with the Concertgebouw, so technically on 'modern' instruments
@AlainArvelo4 ай бұрын
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.
@christophersmith5514 ай бұрын
There was a performance in the Festival Hall a couple of years later, which Harold Rosenthal wished had (also) been recorded. He felt that both Giulini’s and Waechter’s interpretations had matured in the meantime. He also preferred a warmer dramatic voice, such as Grummer’s, for Anna.
@bbailey78184 ай бұрын
Lilli Lehmann, the legendary Isolde and Brunnhilde (and Norma) sang Anna. So did other Wagner helden sopranos like Gadski and Leider. Gadski also sang Elvira and her recording is a model of the correct and liberal application of appoggiaturas which would have warmed the heart of Charles Mackerras who campaigned to restore them after decades of pedantic and ignorant German coaches and conductors.
@ER1CwC4 ай бұрын
@@christophersmith551 Grümmer is really a Viennese lyric soprano though. Sutherland had a big voice. The timbre is a little deceiving on records. But I agree that a heavier Anna is preferable. The character is stronger than Elvira, and Or sai chi o’onore is a killer.
@AlainArvelo4 ай бұрын
@@ER1CwC Or sai chi l'onore is in my opinion amongst the most difficult Mozart soprano arias. almost wagnerian vocal writting. Everyone always just remembers Non mi dir but Act 1 of Don Giovanni is incredible demanding of Donna Anna. Another common mistake i'm seeing on the scene lately is certain houses today will even cast mezzos as Elvira; which can absolutely disastrous to any young mezzo. the tessitura is absolutely brutal. Even for a high Mezzo who can sing something like Charlotte in Werther. I don't agree with it at all and always very hard to sit through.
@holgadoencinasraul28204 ай бұрын
definitely, Donna Anna's tessitura and expressiveness sound closer to Elettra in Idomeneo than to Susanna. A very dramatic role, indeed.
@markpullinger25004 ай бұрын
Peruvian tenor Luigi Alva turned 97 yesterday!
@rg33884 ай бұрын
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.)
@johanhendrix59074 ай бұрын
Wasn't Giulini stepping in for Klemperer in the recording sessions that ultimately became this reference?
@dennischiapello72434 ай бұрын
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?
@jdeeside4 ай бұрын
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?
@bostonviewer54304 ай бұрын
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.
@bbailey78184 ай бұрын
A dissent. My first encounter with Giovanni was that Klemperer recording. It put me off the opera entirely until I finally heard the Giulini. The latter balances perfectly the giocoso elements and seriousness of the drama. Klemperer overbalances it, all shade and precious little light. He was at home with the Magic Flute but definitely not the da Ponte operas.
@bostonviewer54304 ай бұрын
@@bbailey7818 I have to admit I preferred Giulini for a very long time and recently got a newly remastered SACD of the Klemperer and re-thought my first reaction. If you do listen again I'd like to know if your opinion changes even a bit. The pleasure of recordings... we get to go back and re-listen and maybe change our minds or fall in love again.
@kennethwayne68574 ай бұрын
Agree with you completely about Schwarzkopf!
@douglasbrayner4 ай бұрын
In your opinion, what is the best recording of Stravinsky’s “The Rake’s Progress”?
@jeffheller6424 ай бұрын
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?
@gregorystanton61504 ай бұрын
I don’t know if I would characterize Schwarzkopf as insincere - though she was certainly at her best in lighter works, particularly operetta.
@moby6284 ай бұрын
That was tongue in cheek. I think she's fantastic.
@lukewaddell674 ай бұрын
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...)
@bostonviewer54304 ай бұрын
I never miss the dialogue with Klemperer. The conducting and singing is unequaled anywhere. Even in the smaller roles; Ludwig, Schwartkopf and Marga Hoffgen the three ladies each with their own character!
@charlescron14543 ай бұрын
@@bostonviewer5430 Agreed entirely on all counts! Plus it has the sublime Lucia Popp as the Queen of the Night.
@michaeltravisano11614 ай бұрын
I'd like to hear your opinions of reference recordings of other operas.
@wouterdemuyt10134 ай бұрын
Reference recording Cosi Fan Tutte = Böhm. Still sounds great.
@jonobester58174 ай бұрын
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?
@DavesClassicalGuide4 ай бұрын
I don't believe it exists, at least as a regular commercial release.
@jonobester58174 ай бұрын
@@DavesClassicalGuide That's a somewhat diplomatic answer :-)) I think I know what you mean.
@classicallpvault82514 ай бұрын
Dave, could you do a video about your reference recording of Villa-Lobos' Rudepoêma?
@DavesClassicalGuide4 ай бұрын
Not in this lifetime!
@MusicologistJohn4 ай бұрын
Can you imagine watching Columbo with Dave?!
@drymice5004 ай бұрын
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.