Customer Reviews

Mozart - Don Giovanni / Gilfry, Orgonasova, Margiono, James, Prégardien, D'Arcangelo, Gardiner

5 star:		(6)
4 star:		(3)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Of the 3 Da Ponte operas, Don Giovanni is Gardiner's most successful recording. Hi fiery conducting is both stylish and exciting, not unlike the magnificent Carlo Maria Giulini. His cast is admirable, I certainly prefer a high baritone than a deep bass as Don Giovanni. Let's not forget that Mozart wrote the role for the 21 year old Luigi Bassi, sure labeled a bass, but later in life he became a tenor, so most certainly he was what we now call a baritone. Rodney Gilfry is suave and sexy in the title role, and he contrasts nicely with the Leporello and especially with the Commendatore. The Donna Anna takes the vocal honours of the recording, the great slovak soprano Luba Orgonasova is nothing short of sensational, worthy of the greatest Donna Annas ever recorded. Charlotte Margiono is no less exciting and even more moving, this Donna Elvira is madly in love with the rascal. The Zerlina is more annonymous and could have been improved. It was wise to choose an Italian as Leporello, as young as Don Giovanni, but vocally well diferentiated. The Commendatore is sonorous and commanding. The period orchestra is beyond praise. If you want a digital recording of the greatest of all operas, deffinitely choose this one. If you already own the classic Giulini set, still this great recording is certainly worth owning.

This Don Giovanni is widely considered to be the best modern recording of all, and though I haven't heard all the recordings, I think this one would be hard to top. I've played it nearly every day since I got it!
For me, the star of this performance is conductor John Eliot Gardiner. Every time I hear one of his recordings I'm more convinced that he's one of the very best living conductors, and it shows in this fiercely dramatic Don. If you're used to another recording, like those of Giulini or Davis, you might find the overture and final scene to be breathlessly fast, but personally I find either option perfectly correct. But in any case don't assume that this recording is rushed simply because it is a period-instrument version. All of Gardiner's tempi probably do at least lean toward the quick side, but almost nothing here strikes me as excessive or idiosyncratic. The tempi here virtually always add to the effectiveness of the drama. Don Giovanni is one of the most brilliantly vigorous and enthusiastic operas ever written, and Gardiner's incisive conducting of the English Baroque Soloists, the orchestra he founded and clearly has a remarkable rapport with, brilliantly brings that out. I actually recommend heading to the final scene first of all--it really is a shocking, incredibly effective denouement, and in my opinion this version does it justice more than any other.
None of the singers stand out to me quite as much as Gardiner and his fantastic English Baroque Soloists, but this is not so much their inadequacy as the conductor's uniqueness and verve. In fact, they're all quite good and very equipped to cope with Mozartian challenges. You can find starrier casts (none so brilliant or classic as Carlo Maria Giulini's has been assembled since), but there are simply no weak links in this production, and they work well as a cast--this is a live recording, after all.
Rodney Gilfry and Ildebrando D'Arcangelo are well paired here as master and man, their voices clearly distingishable. Gilfry has become associated with the role of Don Giovanni, and for good reason--he really has the measure of the Don's character, and is an excellent vocal actor. D'Arcangelo's Leporello may seem a bit understated compared to many more over-the-top interpretations, and he perhaps could have taken a few more risks, but I actually think he is letting the music and words speak for themselves, and going for a more dry-humor effect, which works very well. His voice sounds great.
As Don Giovanni's nemesis, Andrea Silvestrelli is boomingly magnificent. I would not have accepted his invitation to dinner! He's one of the most resonant Commendatores I've heard, and is picked up to great advantage by Deutche Grammophon's mikes.
Of the other men, it's Christophe Pregardien's Don Ottavio that especially stands out to me. He makes the pyrotechnics in his famous arias sound easy, and the voice is truly beautiful and stylish. Julian Clarkson's Masetto doesn't stand out to this degree--he is a light Masetto (which is not really a problem) but his voice is good and he well expresses his character's irony in "Ho capito, signor si".
The women (Luba Orgonasova as Donna Anna, Charlotte Margiono as Donna Elvira, and Eirian James as Zerlina) are likewise all good and equipped to sing the most brilliant parts of their often quite difficult arias. Eirian James as Zerlina gets considerably more time on stage than usual, because this recording is of the Vienna version and includes a rather extended, and quite fun, exchange between she and Leporello, and she does quite well at it.
That is one of the most interesting features of this set. Almost invariably, the Prague version of Don Giovanni, with some added arias from the Vienna, is heard in performance and on disc. Some give the Prague version alone; this is a fairly recent phenomenon. Even rarer is a performance which gives the full Vienna version, complete with the Leporello/Zerlina duet. Here, Gardiner's tempi are brisk enough that the entire Vienna version is played, with all differing Prague numbers included as an appendix. Hence, you can program your CD player to use the appendix numbers, and hear the Prague version instead. Multiple versions of an opera are always a pain (if you think this is bad try Boris Godunov!) but I think the problem is well solved here.
This recording is marvelous. Gardiner and his orchestra were born to play this music, and I imagine Mozart himself would approve of the vivacity and crisp attack of these period instrument performers. Don't let anyone convince you to pooh-pooh period-practice until you've heard it for yourself; these instruments have a delightfully unique timbre. And I mustn't forget to add that all this is captured in faithful sound by DG's state-of-the-art recording technology--the sound is truthful and the bass comes out brilliantly, especially in the final scene. Besides all this, you get a cast that is a real, performance cast, captured during actual live performances. This should not be passed up.

i have heard many recordings of Mozart's Don Giovanni, and I can surely say that this one is the best, although is not perfect.
The High couple (Anna and Ottavio) is perfect arranged in Luba Orgonasova and Christoph Pregardièn voices. Charlote Mrgiono is the best Elvira since Dame Kiri Te Kanawa (only reached by Lynne Dawson, Cecilia Bartoli and Della Jones) and the pleasent couple is very hilarious with Eirian James (although I still prefer Barbara Bonney in this role) and Julian Clarkson. But the best thing in this Don Giovanni is the singer who leads the title role. Rodney Gilfry's voice has - at the same time - light and shade, fear and courage, anger and love, better than Fischer-Diskau, he is above all the baritones of his generation.

Excellent performance! I had my initial reservations...originally borne of ignorance, I must confess. I mean, I wasn't sure about Luba Orgonosova as a Mozartian. The result? A most sultry, agile and vocally graceful Donna Anna! Donna Elvira gave me similar reverberations but, as if Charlotte Margiono's dramatic reading didn't already go a far way, her excellent vocal control and elegant line set the seal on that role. I've since discovered that Ms. Orgonosova is QUITE the coloratura diva! Her bargain Naxos set of arias have banished my previous ignorance. Simply put, she's amazing.

I've always found the Act 1 exchange between Donna Anna and Don Ottavio to be very moving. Pregardien's Don Ottavio is immediately compelling. All the warmth required to tell her that she has a father and lover in him, when appealing to her passions after her father's death. Yet, without ringing bravado, he is a firm, committed avenger ("Lo giuro!"). His "Dalla sua pace" is smooth, elegant and sublime.

I interject to say that this is the best recording that I've heard to date. I'm not going to dare say that this exceeds the Giulini but I do prefer it. Why? The singing is excellent, the conducting is superb and I've not encountered this much drama in ANY of the other readings I've heard! Just in case you miss it, let me inform you- this is a live recording (hence the superlative sense of drama). The audience is more than well-behaved...listen hard and maybe you'll hear a muffled cough or two but otherwise, not a peep.

Admittedly, I thought Raimondi was great but Gilfry is BRILLIANT! Consumed by his own virility and confidence, this Don Giovanni is the most believable. His laughter, sneers, jeers, passions...poignant delivery. His final scene with the Commendatore's statue is climatic arrogance...his "Eccola!" is delivered with a fire I've not heard elsewhere. As for the Commendatore himself, Andrea Silvestrelli, as one reviewer rightly said, is the most booming Commendatore I've ever heard. And the final scene is the most spectrally haunting, (again) DRAMATIC account I've heard. I dare say, not even on the Giulini set! (I relented in the end...had to say it!).

The pace here is much faster than the conventional and let me assure you- NONE of Mozart's stately elegance is lost. The Orchestra is superb and Sir Gardiner's conducting here is distinctively skilful, insightful and (again) dramatic. Now, after delving so deep and far into the realms of Italian, German and even Russian opera, I finally see why it's been said that Don Giovanni could be the greatest opera ever written. This reading is a strong advocate of that sentiment.

I found Erian James' Zerlina to be every bit in keeping with the rest of the cast- very involved and beautiful singing. True, Clarkson's Masetto isn't particularly distinctive but it's very acceptable. D'Arcangelo's Leporello however, is superb! I don't like over the top opera buffo performances. While he does not go into the realm of the ridiculous, he gives a very animated and amusing performance, with a very pleasing tone; whispering at times to convey his bone-chilled trepidation of Il Commendatore.

Tastes will always vary (especially surrounding this opera) and so I only advocate my experience with this set in the hope that those seeking similar qualities will discover it. But I make no compensations here...this is a Don well worth the investment.

And now for the best bit: this opera has been reissued (with Italian libretti but alas no English translations) with Sir Gardiner's `Cosi Fan Tutte' and `Le Nozze di Figaro' and ALL THREE are the same price as this single opera! Bargain! It's worth it for this opera ALONE. Even though I have differing opinions about the other 2 operas, you can't lose.

Taking a chance, I bought this CD set with little knowledge of opera and only having heard Act II, Scene XV of Don Giovanni from another CD set. I am overjoyed that I took this chance, for I have been listening to these songs everyday now for the past months!

Comparing this to the recordings from "Don Giovanni: Leporello's Revenge" and the one redording I had of Act II, Scene XV, this version's tempo seems to be a bit faster for most songs, though the vocals still retain their clarity and emotion perfectly; indeed, they've seemed clearer than those I have heard otherwise. The parts which are sped up a bit in "Don Giovanni, a cenar teco" help to add a panicked feeling to the ordeal, which fits perfectly with the atmosphere of the scene; what would one truly do if a marble statue of the man whom they had just killed came in to eat supper?

The way some lines are sung never cease to make me smile, such as how Eirian James as Zerlina sings "senza sapone" in "Restati qua". The comic relief is, in this version, always accented perfectly, especially by Ildebrando D'Arcangelo as Leporello. Before buying this set, I would never have imagined that opera could be so fun - and this is coming from a teenager!

I could not conceive of someone having enough interest in Mozart's Don Giovanni as to buy this CD who would be disappointed in their purchase. This set is definitely one to consider, and I'm sure you won't have any regrets!

while the overture may seem perverselybrisk for some(it did to me)eliot-gardner emerges from this recording as the most stylish period instrument specialist since hogwood burst onto the scenein the late 60s.his missionis clear:correct the injustices perpetrated by the klemperer, bohm,and the other german arch-romantics of the past.he assembles a young international cast of up and coming singers the ladies being a particular delight.orgonasova as donna anna and margiono as donna elvira combine creamy mozartian voices,sure intonation, and dramatic commitment to their respective roles.gilfrey as the ill-fated don and d`arcangelo as his sidekick leporello are also a winning team.under gardiner`s energetic baton this great music comes alive as almost it never has.on period insrtuments the textures become cleaner and more tranparent:this is mozart playing(by the english baroque soloists) at its finest.the occasional stage noise and audience coughs with betray a live performance,but not obtrusively so.excellant production and liner notes.all in all the ideal recording of this masterpiece particularly for period instrument enthusiasts.

I join the praise bestowed on Gardiner and the cast by others already and I add a couple of points. First, Gilfry is perfectly cast, and I mean perfectly. There are many actors with equally good voices per se, but few rival him as a vocal actor--his recitatives are as gripping as his arias. Most importantly, he truly embodies Don Giovanni here, and he is unsurpassed in this. The oh-so-stunning sex appeal, the mercurial mind, the devilish charisma, and the depravity of course--all come across very well. It draws you in irresistibly. The evocation of Mephistopheles on the cover is apt. Admittedly, my assessment is coloured by having seen Gilfry's magnetic performance on the DVD version with Harnoncourt. I highly recommend that one too, and this is my second point. I cannot imagine a better dramatic portrayal of Don Giovanni even by a top-notch drama actor, and Gilfry has to do a lot more than talk the talk and walk the walk (and lift actresses as if they were dolls in the DVD version)! I would not necessarily call the Harnoncourt version better than this one, but it is certainly as good. Harnoncourt trusts the actors more, it seems to me, and the whole performance flows more naturally at times. But this may be an unfair comparison since one can see the action on the DVD version; the listener has to make do with only the voices on the CD. Whatever the comparative attractions of the two renditions, this is a great set. It holds up easily to the more recent recordings. It is even more enjoyable in conjunction with the Harnoncourt-Gilfry-Polgar-Bartoli-Nikiteanu-et al. version on DVD.

while the overture may seem perverselybrisk for some(it did to me)eliot-gardner emerges from this recording as the most stylish period instrument specialist since hogwood burst onto the scenein the late 60s.his missionis clear:correct the injustices perpetrated by the klemperer, bohm,and the other german arch-romantics of the past.he assembles a young international cast of up and coming singers the ladies being a particular delight.orgonasova as donna anna and margiono as donna elvira combine creamy mozartian voices,sure intonation, and dramatic commitment to their respective roles.gilfrey as the ill-fated don and d`arcangelo as his sidekick leporello are also a winning team.under gardiner`s energetic baton this great music comes alive as almost it never has.on period insrtuments the textures become cleaner and more tranparent:this is mozart playing(by the english baroque soloists) at its finest.the occasional stage noise and audience coughs with betray a live performance,but not obtrusively so.excellant production and liner notes.all in all the ideal recording of this masterpiece particularly for period instrument enthusiasts.

John Eliot Gardiner was born under th luckiest star imaginable, given that his not exactly stellar talent has been enough to earn lavish over-praise for his entire career. Here he comes closer to delivering the goods than in any of the other Da Ponte operas he recorded for DG Archiv. Under the inspiration of a live performance, he gives an enthusiastic, dramatically convincing reading of the score. Assuming that you find period-performance style congenial, his approach is exemplary in terms of execution.

As for the cast, they benefit from the lighter texture and smaller orchestra that supports them. I don't find that any singer erases memories of the best in any particular role, but for the most part these are accomplished, assured performers. Gilfry's Don is energetic, young-sounding, and imbued with a touch of charisma. The Leporello, Donna Anna, and Don Ottavio could hold their own anywhere. Given that casting a completley excellent cast for this opera is very difficult, this ensemble easily passes muster.

If this is one of Gardiner's best efforts, the bad news is that Daniel Harding (Virgin) and especially Rene Jacobs (Harmonia Mundi) have come along with even finer period performances -- more imaginative, dramatic, and better cast. Still, Gardiner's set held the field for quite a few years and still rewards a listen.

John Elliot Gardiner's way with most music (including Mozart) is to strip almost all color from the orchestra and (especially) from the singers in an amateurish attempt at being "authentic." Rodney Gilfrey has a lovely baritone voice, but he suffers from this approach. The one singer that escapes from this unscathed is the fabulous soprano Luba Orgonasova. I'm sure we would've heard even more glorious color from this magnificent voice had another conductor been chosen. That aside, check out Ms. Organosova's recital of arias on the naxos label. She rivals even the great Joan Sutherland in her mastery of the bel canto showpieces.