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Mozart - Don Giovanni

3.8 out of 5 stars 6 customer reviews

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(Apr 10, 2007)
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Editorial Reviews

Special Features


Product Details

  • Actors: Peter Mattei, Gilles Cachemaille, Mireille Delunsch, Mark Padmore, Daniel Harding
  • Directors: Peter Brook, Vincent Bataillon
  • Writers: Wolfgang Amadeus Mozart, Lorenzo da Ponte
  • Producers: Francois Duplat, Festival d'Aix-en-Provence
  • Format: Multiple Formats, Classical, Dolby, Widescreen, NTSC, Color
  • Language: Italian
  • Subtitles: Spanish, French, German, English
  • Region: All Regions
  • Aspect Ratio: 1.77:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Alliance
  • DVD Release Date: April 10, 2007
  • Run Time: 190 minutes
  • Average Customer Review: 3.8 out of 5 stars  See all reviews (6 customer reviews)
  • ASIN: B000NA6MRW
  • Amazon Best Sellers Rank: #275,967 in Movies & TV (See Top 100 in Movies & TV)

Customer Reviews

Top Customer Reviews

Format: DVD
Since the memorable Giulini's version recorded in 1961, I had never heard a so well balanced production of Mozart's best opera. The title role is wonderfully performed by the acclaimed Swedish baritone Peter Mattei, who has revealed as one of the best gifted Dons in modern times, maybe with the exception of Thomas Hampson. The warmth of his voice and his subtleness to declaim the recitatives reminds us of Eberhard Wächter. His acting is also remarkable: he makes a diabolic Don Giovanni we can not avoid to hate and find irresistible at the same time. Gilles Cachemaille makes a perfect Leporello. Having played the title role before he has an extraordinary capacity to switch roles with the Don, a quality that is hard to find in other singers, maybe with the exception of Ferrucio Furlanetto during the prime of his career. The beautiful French soprano Mireille Delunsch makes a fragile Donna Elvira who makes us believe capable of redeeming the Don. She has recently played Violetta in a recent production of La Traviata by Peter Musbach. The gorgeous Canadian soprano Alexandra Dehorties is also sensational as Donna Anna. With the exception of Renee Fleming in recent times and Joan Sutherland in the sixties there are very few sopranos capable of facing the arias with the delicacy required for that role. Mark Padmore is great as Don Ottavio, his way of singing the two famous arias "Dalla Sua Pace" and "Il Mio Tesoro" can be compared with Luigi Alva in Giulini's version. Lisa Larsson is a delicious Zerlina. Daniel Harding's conduction is superb and so is Peter Brook's production. His mise en scene is minimalistic and quite similar to Deborah Warner's in the 1986 Glyndebourne Festival Opera.

This is definetively a must buy.
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Format: DVD Verified Purchase
Since the moment I first saw (and heard) this production, I have been waiting and searching the web for a DVD. The singing - every role - is fabulously performed. All of the actors are young, sexy and supremely talented. I was delighted with the minimally staged production as it keeps your eyes and ears where they belong anyway - on the singers and the music.

Owning this DVD is a no brainer for opera lovers everywhere. It is a must buy!
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Format: DVD
This is a very unusual production and performance which in turn leads to an equally unusual final result. The key word to describe all of these factors is `intensity'. A good place to start might be to watch the 15 minute interview with director Peter Brook who answers a number of perceptive questions in relevant and justified detail.

Peter Brook has, up to this point, avoided directing operas (of which he clearly has a considerable knowledge) because of the compromises which would normally be imposed upon him by other considerations which would dilute his control relative to that when producing plays. A major condition in taking on this directorship was that all participants (singers, conductor, and orchestra -everybody involved) would be fully committed to a whole year of repeat performances on tour instead of the usual few nights. In the event this production ran for two years worldwide without any major changes to personnel.

Thus was such a familiarity achieved between the participants that he was then able to direct the actual production like a Shakespearian play with enormous concentration on the words and the acting. The props were reduced to minimum on the basis that the words and the acting were sufficient and the opera would also be released from its historical context and thus become a universal statement.

Does this work? The answer is a resounding "Yes" which has been reinforced by similar responses supplied by other reviewers. This is without doubt the most involving and dramatic performance of this particular opera, or any other opera one is tempted to add, that collectors are likely to experience. The singers are all of superlative quality and grippingly believable in their respective roles.
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