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Comment: No Dust JacketPacked with care; Shipped promptly.This item shows wear from consistent use, but it remains in good condition and is readable.It may be marked, have identifying marks on or in it, and may show other signs of previous use.Packed with care, shipped promptly. Audio CD
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Don Giovanni Enhanced


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Audio CD, Enhanced, August 20, 2002
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Product Details

  • Audio CD (August 20, 2002)
  • SPARS Code: ADD
  • Number of Discs: 3
  • Format: Enhanced
  • Label: Decca
  • ASIN: B00006469K
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #366,916 in Music (See Top 100 in Music)

Disc: 1
1. Don Giovanni, opera, K. 527: Ouvertura
2. Don Giovanni, opera, K. 527: Act 1. No. 1. Introduzione. Notte e giorno faticar... Non sperar, se non m'uccidi... Lasciala, inde
3. Don Giovanni, opera, K. 527: Act 1. No. 2. Recitativo istromentato e Duetto. Ma qual s'offre, o dei... Fuggi, crudele, fuggi!
4. Don Giovanni, opera, K. 527: Act 1. No. 4. Aria. Madamino, il catalogo è questo
5. Don Giovanni, opera, K. 527: Act 1. Recitativo. In questa forma dunque mi tradì il scellerato!
6. Don Giovanni, opera, K. 527: Act 1. No. 5. Coro. Giovinette che fate all'amore
See all 9 tracks on this disc
Disc: 2
1. Don Giovanni, opera, K. 527: Act 1. Recitativo. Mi par ch'oggi il demonio si diverta... Ah, ti ritrovo ancor
2. Don Giovanni, opera, K. 527: Act 1. No. 9. Quartetto. Non ti fidar, o misera... Recitativo. Povera sventurata!
3. Don Giovanni, opera, K. 527: Act 1. No. 10. Recitativo accompagnato ed Aria. Don Ottavio, son morta!
4. Don Giovanni, opera, K. 527: Act 1. No. 10. Recitativo accompagnato ed Aria. Or sai chi l'onore
5. Don Giovanni, opera, K. 527: Act 1. Recitativo. Io deggio, ad ogni patto, per sempre abbandonar questo bel matto!
6. Don Giovanni, opera, K. 527: Act 1. No. 11. Aria. Fin ch'han dal vino calda la testa
See all 13 tracks on this disc
Disc: 3
1. Don Giovanni, opera, K. 527: Act 2. Recitativo. Di molte faci il lume s'avvicina, o mio ben
2. Don Giovanni, opera, K. 527: Act 2. No. 19. Sestetto. Sola, sola, in buio loco... Recitativo. Dunque quello sei tu che il mio Ma
3. Don Giovanni, opera, K. 527: Act 2. No. 21. Aria. Il mio tesoro intanto andate a consolar
4. Don Giovanni, opera, K. 527: Act 2. No. 21a. Duetto [K540b]. Per queste tue manine, candide e tenerelle... Recitativo. Amico! pe
5. Don Giovanni, opera, K. 527: Act 2. No. 22. Duetto. O statua gentilissima del gran Commendatore
6. Don Giovanni, opera, K. 527: Act 2. No. 23. Recitativo accompagnato e Rondo. Crudele! Ah no, mio bene!... Non mi dir, bell;idol
See all 7 tracks on this disc

Customer Reviews

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Most Helpful Customer Reviews

15 of 16 people found the following review helpful By G. Golding on October 8, 2003
Format: Audio CD
I love this performance very much. Price is the most beautiful Anna singing with richness, purity and drama. Popp is also wonderful and golden toned as Zerlina. Sass is good, but is not conventional as Elvira. Imagine Callas singing Mozart.
Personally, I thing Stuart Burrows has the most beautiful tenor voice I have ever heard. He is the Renato Bruson of tenors singing with tone that I can only describe as pure velvet...rich and creamy. His Lensky on the Solti Eugene Onegin is fabulous. I also really enjoy performances by Weikl and Bacquier as the Don and Leporello. Vocal acting is first rate!
I also like Solti's conduting very much. I don't like a super "light" style that has no guts to it. I think that's fishy!
Highly recommended
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13 of 14 people found the following review helpful By Michael K. Halloran on May 3, 2003
Format: Audio CD
It takes a special kind of conductor to integrate the comedic and dramatic elements of Mozart's most Shakespearean opera. Georg Solti, unfortunately, is not that conductor. He takes a taut, driving view of the score which may be exciting to some listeners, but verges on the manic in my opinion. Zerlina and Masetto's entrance is so frantic that they sound like they're preparing for a debauched Roman orgy rather than a peasant wedding.
There are, however, two performances here which give unalloyed pleasure: Margaret Price as Donna Anna and Lucia Popp as Zerlina. Both are among the top recorded interpreters of their roles. Price's silvery, vibrant soprano moves effortlessly through Anna's high tessitura, always beautifully controlled and dramatically alert. There are no squally high notes or misjudged attacks - only Sutherland on the Giulini set is in Price's class. Popp has a fuller voice than is often heard in Zerlina's music, (sopranos like Sciutti and Gueden sound tiny by comparison) but it pays off in the nuances and inflections she puts into the music. She is both alluring and innocent at the same time. Luckily, we get to hear her in even more of Zerlina's music than usual, as the duet with Leporello, "Per queste tue manine" is included.
Sylvia Sass is dramatically potent and can float a lovely messa di voce, but she is a little woolly for Elvira - her best work has always been in Verdi. Stuart Burrows as Ottavio sings beautifully, but fades into the background dramatically (although this is more the fault of the role itself than anything Burrows does). The final touch of individuality is all he lacks to be in the front rank of Ottavios.
Kurt Moll's Commendatore is fine, but the other low voices disappoint.
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2 of 2 people found the following review helpful By Ralph Moore TOP 500 REVIEWER on August 28, 2013
Format: Audio CD
I part company with some previous reviewers who seem to be uniformly delighted by all the singers here. For me, this is a real mixed bag, insofar as some performances are truly delightful, while others are distinctly sub-par. As for Solti's conducting, he is by no means too aggressive but he certainly finds more drama and momentum in proceedings than, for example, Nézet-Séguin in his recent Baden-Baden concert recording. The crucial last scene is grand and steady, building inexorably to a suitably chilling climax.

Definite advantages are: the shimmering, impassioned Donna Anna of Margaret Price, who, despite some weakness in the lower reaches of the voice, makes light of the higher stretches of the role; Lucia Popp's pert, charming and sappy-voiced Zerlina - a role too often under-cast; Sylvia Sass as Donna Elvira who makes a really dramatic impact despite not being a natural Mozartian, with a voice somewhat too heavy and unwieldy for the part; Stuart Burrows yet again demonstrating that his plangent, liquid, long-breathed tenor is ideal in Mozart; and finally the black-voiced Kurt Moll bringing real menace and a very firm, beautiful line to his Commendatore.

The problems are with the Don, Leporello and Masetto. Bacquier works so hard at inflecting every phrase with comic import that he forgets to sing - and indeed he seems at times to be virtually voiceless, crooning and patching over the notes with very little resonance in the tone.
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