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Mozart: Don Giovanni - Royal Opera House [Blu-ray] (2008)

Simon Keenlyside , Joyce DiDonato , Francesca Zambello , Robin Lough  |  NR |  Blu-ray
3.9 out of 5 stars  See all reviews (20 customer reviews)

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Product Details

  • Actors: Simon Keenlyside, Joyce DiDonato, Ramon Vargas, Miah Persson, Charles Mackerras
  • Directors: Francesca Zambello, Robin Lough
  • Writers: Wolfgang Amadeus Mozart, Lorenzo Da Ponte
  • Producers: Royal Opera House Covent Garden
  • Format: Multiple Formats, Blu-ray, Classical, Color, NTSC, Subtitled, Widescreen
  • Language: Italian (PCM)
  • Subtitles: Dutch, French, Italian, Spanish
  • Region: All Regions
  • Aspect Ratio: 1.78:1
  • Number of discs: 2
  • Rated: NR (Not Rated)
  • Studio: Opus Arte
  • DVD Release Date: May 26, 2009
  • Run Time: 202 minutes
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (20 customer reviews)
  • ASIN: B001U5V04O
  • Amazon Best Sellers Rank: #114,560 in Movies & TV (See Top 100 in Movies & TV)

Special Features


Editorial Reviews



Seville, Spain. The notorious seducer Don Giovanni (Simon Keenlyside) attempts to rape Donna Anna (Marina Poplavskaya). Her father emerges and challenges Giovanni, but is killed. Anna and her lover Don Ottavio (Ramon Vargas) vow to seek revenge.

Leporello, Giovanni's servant, attempts to convince his master that he must change. Donna Elvira (Joyce DiDonato), a former mistress of Giovanni, who has followed him to Seville, appears. Giovanni quickly disappears, leaving Leporello behind to deal with Elvira.

Masetto (Robert Gleadow) and Zerlina (Miah Persson) are about to get married. Giovanni appears and attempts to seduce Zerlina. Elvira arrives and saves Zerlina from the famous womanizer.

Anna and Ottavio appear and beg Giovanni to help them get their revenge. Elvira immediately warns them about Giovanni's true nature. Suddenly, Anna recognizes in him her father's killer.

Giovanni prepares for a ball. Zerlina meets her beloved Masetto and tells him that Giovanni did not take advantage of her. Elvira, Anna and Ottavio also prepare for the ball where they plan to get their revenge on Giovanni.

At the ball, Giovanni once again approaches Zerlina. Elvira, Anna and Ottavio appear and immediately address his actions. They also challenge Giovanni to a fight, but he runs away with Leporello.


Giovanni is after Elvira's maid. He exchanges clothes with Leporello, who must distract Elvira while Giovanni pleasures her maid. Masetto appears seeking revenge, but Giovanni outsmarts him and runs away.

Meanwhile, Elvira, Anna and Ottavio mistake Leporello for Giovanni and capture him. But Leporello reveals himself and announces that he mustn't pay for his master's sins.

Giovanni and Leporello are hiding in a mausoleum. Giovanni is warned from the grave of the Commendatore about his sins. Instead of repenting, he invites the ghost of the Commendatore (Eric Halfvarson) to supper.

In Giovanni's house. Elvira, who is still in love with Giovanni, appears and begs him to change. He unceremoniously rejects her. Shortly after, the ghost of the Commendatore appears and takes Giovanni to Hell.

Composed by Wolfgang Amadeus Mozart, on a libretto by Lorenzo Da Ponte, Gon Giovanni is an opera in two acts. It was first performed in the Estates Theatre in Prague on October 29, 1787. Blending comedy with drama, to this day Don Giovanni remains one of Mozart's most beloved and frequently performed works.

The production of Don Giovanni found on this Blu-ray disc is courtesy of the Royal Opera House, Maestro Charles Mackerras and Stage Director Francesca Zambello. It was recorded live at the Royal Opera House, Covent Garden, London on September 8 and 12, 2008. The first performance of the production was on January 22, 2002.

This rather recent European production of Mozart's Don Giovanni offers a more traditional rendition of the famous opera. Many of the controversial themes in it are treated with a sense of period elegance and tact that seem to have evaded a good number of recent North American productions where the desire to "provoke" has been of key importance. The emphasis on detail in particular is strong but not overdone.

The synchrony between pit and stage is terrific. The Orchestra of the Royal Opera House under the supervision of Maestro Mackerras delivers a well-paced yet inspired performance allowing the singers plenty of space for characterization. Their acting is also plausibly energetic and convincing.

What makes this specific production of Don Giovanni easy to recommend, however, is the lack of cheap provincial gimmicks that could have easily killed the atmosphere. The key characters are genuinely convincing and their actions not preposterous. As a result, the production conveys a sense of (authentic) finesse which knowledgeable opera aficionados will be hard pressed not to recognize.


Presented in an aspect ratio of 1.78:1, encoded with MPEG-4 AVC and granted a 1080i "live" transfer, Wolfgang Amadeus Mozart's Don Giovanni arrives on Blu-ray courtesy of Opus Arte.

This is a stunning presentation! I know that many of you are weary of hearing every couple of weeks how there is a brand new release that looks nothing like the one before it, but I hope that you take my words for granted and find a way to see Don Giovanni. I assure you, this disc may well end up being on many people's top ten lists at the end of 2009.

Contrast and clarity are fantastic. Whether via close-ups or mass scenes, the HD transfer reveals terrific detail and depth. The color-scheme is equally impressive - blues, grays, greens and blacks are lush and well saturated (the spot lighting in particular is terrific, thus allowing the viewer to appreciate even more the terrific stage decors). This said, neither edge-enhancement nor macroblocking are an issue of concern. Furthermore, the producers have made sure that motion-judder is kept to an absolute minimum. As a result, the picture quality is indeed one of a kind. Finally, there are no specific image deteriorations that I could detect. (Note: This is a Region-Free Blu-ray release, which you will be able to play on your PS3 or SA regardless of your geographical location).


There are two audio tracks on this Blu-ray disc: Italian LPCM 5.1 and Italian LPCM 2.0. I opted for the Italian LPCM 5.1 track and later on did a few random comparisons with the Italian LPCM 2.0 track for the purpose of this review.

I am looking at the back cover for this disc to find out who is responsible for the audio mixing. The only information listed is -BD Producer: Ferenc van Damme, BD Producer's Assistant: Elle de la Mare and BD Executive Producer: Hans Petri. I am unsure if these are the gentlemen responsible for audio encoding, but I hope that by mentioning them in this review, what I have to say below will reach the audio specialists who did the actual mixing.

Simply put, the Italian LPCM 5.1 track is flawless. There is terrific separation between the orchestra and the singers that allows for a fantastic listening experience. The actual music is also well balanced and I certainly did not detect any disturbing pops, cracks, or hissings to report here. Additionally, the annoying hall-effect that seems to be plaguing a lot of classical releases as of late is not an issue of concern here. On the contrary, there are certain arias in Don Giovanni that sound as if they were recorded in a studio. This said, the Italian LPCM 2.0 does not match the nuanced sound the LPCM 5.1 track conveys (particularly as far as the woodwinds are concerned as well as the manner in which they blend with the singers). Furthermore, there aren't any substantial improvements that I could detect in terms of balance. To sum it all up, I strongly recommend that you view Don Giovanni with the Italian LPCM 5.1 track - it is dynamically stronger and, arguably, amongst the best I have heard on a Blu-ray opera release. For the record, optional English, French, German, Italian, and Spanish subtitles are provided for the main feature.


This Blu-ray disc arrives with a stylish 32-page booklet containing a number of photographs from Don Giovanni as well as the terrific essay "Before and After the Fall: Don Giovanni and Don Juan" by David Nice. The essay focuses on history of the opera, its characters and tonal structure. (The author is a writer, lecturer and broadcaster on music. His Books include an illustrated history of opera and short studies of Elgar, Richard Strauss, Stravinsky and Tchaikovsky. The first volume of his Prokofiev biography, "From Russia to the West 1891-1935" was published in 2003by Yale University).

The Blu-ray disc contains an illustrated synopsis for the opera, cast gallery, a backstage tour of the Royal Opera House (with Deborah Bull), into the Royal Opera House (with plenty of footage showing actors, dancers and stage workers in action), an interview with Musical Director Charles Mackerras and another one with Stage Director Francesca Zambello.

Final Words

This is a fantastic release that I cannot recommend highly enough. The video and audio treatments are superb. The actual production is also of incredibly high quality. If you have not yet seen an Opus Arte Blu-ray disc, then I urge to get Don Giovanni. It does not get any better than this folks! --, Dr. Svet Atanasov, May 22, 2009

The Movie: If patience is a virtue, I must be about the most virtuous opera Blu-ray reviewer out there. After suffering the slings and arrows of some pretty rotten rotten product over the past several months (many of them from either Opus Arte or Art Haus Musik), I'm happy to report that keeping my head from exploding has evidently finally paid off, because this wonderful new BD of Mozart's Don Giovanni is practically perfect in every way. For once we don't have a director slathering his (actually in this case, her) "vision" over the proceedings like melted Crisco (and usually about as appetizing), and instead are given a "straight," though compelling and visually and aurally satisfying, reading of this piece that offers only one "cheat"--a very brief comic coda "sight gag" that some purists will take exception to, but which actually caps the night off swimmingly and at the very least brings the piece squarely into the opera buffa mode that Mozart himself ascribed to the piece.

Don Giovanni, one of countless retellings in various artistic genres of the Don Juan legend, has long been held up as a timeless masterpiece. Seamlessly blending dramatic, comedic and even supernatural elements, the opera offers Mozart at his most scintillating, with luscious melodies literally spilling from the mouths of the main characters, and an at times surprisingly rhythmically facile orchestra accompanying it all. The title character is perhaps opera's first anti-hero, albeit a strangely likable one. Don Juan is, after all, nothing more or less than a rake, a gigolo who burns his way through the amorous longings of every female with whom he comes into contact.

The opera focuses on a series of Don Juan's failed attempts, starting with an aborted rape that leads to murder, following up with a woman whom the lothario has abandoned but who has not given up carrying the torch for him, and the third a simple peasant girl Don Juan attempts to lure away from her betrothed. By the end of Act I, the walls are literally closing in on Don Juan. Director Francesca Zambello crafts a wonderful trompe d'oeil moment in the finale to the act when the masquerade ball hall starts folding in on itself and Don Juan and his semi-faithful servant Leporello search in vain for an escape from the vengeful hands of three women.

Act II traverses a tightrope that flirts with both farce (Leperello and Don Juan trade places, as it were) and tragedy (the Commendatore, the man murdered in Act I, returns as a ghost to demand Don Juan's repentance). The fascinating thing about these rather wide stylistic variances in the libretto is the homogeneity of Mozart's music. This is fluid melody and harmony pouring out from one inspired source, and whether we have Don Juan making a rather repulsive pass at a poor hapless lass, or Leporello acting the buffoon, Mozart's music is remarkably cohesive and self-referential. Any professional musician who's weathered a college level composition or theory class knows that the ghost scene that caps Act II is a favorite score for professors to foist on their students for analysis purposes, and that's for a good reason. The marriage of music to drama in this scene is absolutely miraculous.

What really sets Don Giovanni apart in the opera world is its rather relentlessly dour vision for its putative hero. Again and again throughout the two acts of the piece, Don Juan is cajoled, begged and even exhorted to repent of his evil ways. And yet he refuses. He seems to actually get a kick out of the drama he causes. This is played magnificently by Simon Keenlyside, in an almost Nietzschian interpretation. Look, for example, how he sidles up to the Commendatore after he's stabbed him. It's almost like a lover moving in on a conquest (and how apt is that?), until Don Juan suddenly laughs. It's obviously all just a game to him.

The rest of the cast is just as remarkable, including one of the best Donna Annas I've heard, Marina Poplavskaya. Kyle Ketelson as Leporello walks just the right fine line between the comedic and dramatic aspects of his character, and Joyce diDonato's Donna Elvira is suitably the moral center of the piece. If Zerlina (Miah Persson) and Musetta (Robert Gleadow) suffer just a bit by comparison, with Musetta especially seeming a bit on the petulant side, they still deliver the goods overall. The Commendatore is sung heroically by Eric Halfvarson, who makes the most of the climactic final showdown with Don Giovanni.

This beautiful Covent Garden presentation is aces in both production design and especially orchestral accompaniment. All I can say to Zambello and her team is thank you, thank you, thank you. For once, no radical "reimagining" has taken place, and we instead get a very distinctive, utilitarian set that features a weird columnar structure that assumes different uses throughout the opera. That's balanced against the ballroom scene, described above, and the incredible final scene, where we get everything from literal hell fires to a sort of Baron Munchhausen-esque flaming giant hand which is pointing the way to the nether regions where Don Giovanni is relegating himself by not agreeing to repent. Costumes are incredibly colorful without needlessly drawing attention to themselves.

I've long been a fan of conductor Sir Charles Mackerras. In fact his period instrument recreations of the original performances of Brahms' four symphonies remain some of my favorite versions of what are easily my most personally beloved 19th century symphonic works. Mackerras brings his calm assurance to the entire project, harvesting his orchestral forces easily and transparently. (I did have to wonder about his sometimes strange jaw movements--could Sir Charlie actually be chewing gum while he conducts?)

This is stellar opera performed just about as well as it can be, with a sterling physical production and unmatched orchestral accompaniment. (There are some very brief timing issues with the trio in the opening scene which I attribute either to nerves or perhaps to some monitor issues that were quickly resolved). Opus Arte has finally hit one out of the ballpark and even those not particularly enamored of this art form may find themselves unusually engaged by this Don Giovanni.

The Blu-ray

Video: With an AVC codec and 1.78:1 OAR, Don Giovanni, despite being 1080i, offers a wonderfully crisp and lusciously well saturated image. There are gorgeous colors galore in this production, from deep cobalt blues to fiery reds, and they are all rendered here flawlessly. Contrast and black levels are consistent and top notch. My only caveat is that the actual television direction is a bit spotty at times--when one person is singing, we occasionally are forced to look at another character. But the image itself is wonderful.

Sound: Again, the uncompressed PCM 5.1 and 2.0 mixes are both excellent, though the 5.1 offers greater fullness, if not that much more separation. Mozart's orchestral lines are wonderfully transparent, especially in the winds and reeds, and the singers all sound marvelous. There were one or two very brief moments when I wished individual singers had been mixed a little higher, but these were extremely few and far between.

Extras: As usual with these Opus Arte releases, a nice illustrated booklet is included in the insert. Disc 1 of this two BD set also offers the standard illustrated synopsis as well as a really fun backstage tour of the Royal Opera House, interviews with Mackerras and Zambello (though I wished the interviewer would have just shut up after a while and let the interviewees talk for a change), and a cast gallery.

Final Thoughts: To segue into pop music for a moment, hopefully Etta James won't come after me like she did with Beyonce when I say, "At last!" A brilliant opera, performed brilliantly, with none of the "EuroTrash" bells and whistles that are so annoying in so many modern reinterpretations of classic works. For any opera lover, this is easily a DVD Talk Collector Series title. For the public at large--take a chance on upping your cultural quotient and check out this beautiful production of Don Giovanni. Highly recommended. -- DVD Talk, Jeffrey Kauffman, May 27, 2009

It is a thrill to watch this two-disc Blu-ray recording of Mozart's ever-popular Don Giovanni, performed last fall at the Royal Opera House, Covent Garden. The high-def experience often feels more vivid than sitting in the auditorium itself. It is a pleasure to watch great performances like these on a big screen in the comfort of home.

The first-rate cast, crisp orchestral direction of veteran Mozart master Charles Mackerras and unfussy staging by Francesca Zambello add up to terrific opera. It would be a four-star performance, but for a slight lack of energy from some members of the cast.

Young Toronto bass-baritone Robert Gleadow, a familiar face at the COC, is a solid Mazetto. Simon Keenlyside is a bit bland in the title role and Kyle Ketelsen lacks the ideal comic touch to create a memorable Leporello, but both are in excellent voice. Marina Poplavskaya is okay as Donna Anna, while Joyce DiDonato blows everyone off the stage whenever she appears as Donna Elvira.

This production, first seen in 2002, is wearing well and if you're considering trying opera on Blu-ray, this is a great place to start (this title is available on DVD as well). There are several extras, including a backstage tour and very short interviews with Mackerras and Zambello. The booklet comes with a pompous introductory essay on the Don Juan dramas. --, John Terauds, May 26, 2009

Product Description

Simon Keenlyside, Kyle Ketelson, Eric Hallvarson, Marina Poplavaskaya, Joyce DiDonato, Ramon Vargas, Miah Persson, and Robert Glendow star in this Royal Opera production of the Mozart opera conducted by Charles Mackerras on 2 discs.

Customer Reviews

Most Helpful Customer Reviews
35 of 36 people found the following review helpful
5.0 out of 5 stars Superb In All Respects November 14, 2009
Format:Blu-ray|Verified Purchase
This is the most completely satisfying video production of Don Giovanni I have encountered to date. Allow me first to assuage concerns regarding the sound on this Blu-Ray disc -- succinctly put, the LPCM 5.1 sound is impeccable. The singing, acting, conducting, design, stage direction, and video direction converge ideally with each other to create a jewel of operatic performance. The result is an as near perfect production of Don Giovanni as I have ever seen (N.B. The search for such a well-balanced production of Don Giovanni, either in live performance in opera houses around the world or in video productions from film to Beta to VHS to Laserdisc to DVD, has been the "Holy Grail" of my opera enjoyment for the past thirty years. I believe I have found it.) I am heartened to think that this production on Blu-Ray may provide newcomers to Mozart and opera in general with an elegant and superb introduction to both the composer and the medium.
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14 of 15 people found the following review helpful
5.0 out of 5 stars A Splendid Gon June 16, 2009
Format:DVD|Verified Purchase
This is Keenlyside's second performance of DG to be committed to DVD. Overall it is a great performance. But then he (along with Malin Hartelius) justify perchase of the Zurich (earlier) performance: my recollection was that it was relatively inexpensive. The Zurich performance cannot boast of a "starry" cast, choosing many regulars for the remainder of the cast. It is also very regie oriented although not as obnoxiously as some of the director's other works, e.g., Peleas and Rosenkavalier.

It is quite interesting to compare SK's two different takes on the anti-hero. In Zurich there is some wit and irony in all that SK does with the role. He would appear to be amused at much of what is happening. In the ROH taping, this Don is demonic, possessed and dangerous. Needless to say in both his singing is beyond criticism. Even at the ROH when is needed (La cidarem, Vieni alla finestra, etc.)it is there. Because of the staging and direction at Zurich the ROH is more memorable if only because it is more conventional in approach. Overall the casting more than trumps the earlier set. I understand that the Anna, Marina Poplavskaya was ill; even so she is still able to triumph over her rival, Eva Mei (Zurich); clips on YouTube, notably from Salzburg allow you to hear her in top form. Joyce Didonato is the Elvira. I don't know when the idea of casting a mezzo for this role started, (Zerlina has also been given this role) but Didonato is very, very good. Even so I miss a soprano in the role. Miah Persson, the Zerlina (deluxe casting) really should have sung the Elvira. Kyle Ketelson is a wonderful Leporello, a superb singing actor. Ramon Vargas turned in a lovely performance of Ottavio. I have never heard him in Mozart and he is clearly up to the challenges of Il mio tesoro.
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9 of 9 people found the following review helpful
5.0 out of 5 stars Great in all respects August 7, 2011
This wasn't the Don Giovanni I expected to buy, but when I saw the cast I changed my mind. It didn't disappoint. The cast is superb from top to bottom. We particularly enjoyed Kyle Ketelsen who, in addition to having a fantastic voice, showed himself to be a very funny comic actor. The Orchestra is very cleanly recorded. (We were listening to the stereo soundtrack, but via HDMI). Highly recommended.
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6 of 6 people found the following review helpful
5.0 out of 5 stars GREAT PERFORMANCES!!! April 22, 2010
Format:DVD|Verified Purchase
"DON GIOVANNI" is one of my two all-time favorite opera's, (the other is "La Traviata"). This dvd is one of 7 Don Giovanni's in my dvd collection, and as I
watched it last night, I knew within minutes it would become one of my favorites.
Simon Keenlyside is a brilliant stage actor, as well as a magnificent voice in opera. He plays this Don Giovanni with a marvelous flair, and is a believable
seducer. His voice is a joy to listen to. Miah Persson is probably the best Zerlina I have seen. Joyce Didonato was a passionate Donna Elvira.
The Spanish Madonna on the stage for much of the opera was a nice touch. I also appreciate how the director brought forward the bonding of the women characters in
this production~ when Don Giovanni is exposed at the end of ACT I, the women
hold one knife together in their hands and point it at him. Keenlyside's intensity
is riveting as his character escapes at the end of the scene.
I thought the singer portraying Leporello was fabulous also~ great energy, great voice, and definitely looks like the Leporello one imagines.
Ramon Vargas~ what a voice! He is a gift to the opera world. I loved this production, and as I said, of my 7 versions of this opera, this will be the one I return to most often. My other fav is one with Carlos Alvarez and Ildebrando D'Arcangelo. Simon Keenlyside brings Don Giovanni to life! Beautifully!
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8 of 9 people found the following review helpful
3.0 out of 5 stars Brutale December 3, 2011
Format:DVD|Verified Purchase
The director, Francesca Zambello, is not working in top form here. She brings to her Royal Opera House DON GIOVANNI more than the rudiments of an interesting visual style, and she certainly shoulders some responsibility for thought about character and theme. But she draws from Simon Keenlyside one of the nastiest, most reptilian and charm-free Dons in my experience, surely her choice more than his, and balances the scales with the platitudes and bromides of a contemporary feminist. Over and over, her blocking emphasizes an idealized sisterhood which crosses class lines, with the three women achieving unity in their victimization and perseverance. A Virgin Mary icon literally watches over this trio of beauties as they bond in struggling against a male-dominated world of abusive brutes (Masetto), unrepentant lechers (Giovanni), and paternalistic patronizers (Ottavio, Commendatore). All three women join hands to wield one weapon against the Don at the close of Act I; Elvira and Zerlina console Anna during "Il mio tesoro"; "Mi tradi" is in part an Elvira suicide attempt prevented by the other two. Elvira appears radiantly happy in the final scene when announcing her plan to spend the rest of her days in the convent. Of *course* the Elvira of such a production would be happy about that prospect, both for what she is leaving behind and what she is heading toward: spiritually enlightened sisterhood forever.

None of this is necessarily invalid, and dumber things have been done with this opera, but it is heavy-handed and anachronistic, and not realized with the subtlety and grace that might have gotten it over. Zambello's interest in the women comes at the expense of the men: the Giovanni and Masetto are just unpleasant, while the more genial Ottavio and Leporello seem undercharacterized, stock.
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Most Recent Customer Reviews
4.0 out of 5 stars superb production in many ways, but ...
I felt the microphone placement / post-recording editing could have given more prominence to the vocal lines. Read more
Published 1 month ago by jonathan hardy
2.0 out of 5 stars Unfortunately, Don Giovanni is too old for what people ...
Unfortunately, Don Giovanni is too old for what people generally consider the image of an actor suitable for this role.
Published 2 months ago by Radu Gologan
5.0 out of 5 stars Love it.
Simon Keenlyside is wonderfull in all the way, his voice is amazing and his personality also. He is a good actor and the rest of the singers are very good. Read more
Published 4 months ago by chacha
5.0 out of 5 stars it's not pretty . . .
Simon Keenlyside is the most reptilian, repulsive, scuzzy Don Giovanni you are likely to meet, and he gives himself totally to Francesca Zambello's conception -- or, more... Read more
Published 5 months ago by Stanley Crowe
5.0 out of 5 stars Absolutely riveting!I
I gave this dvd 5 stars because I couldn't give more. This one of the best opera productions I have ever seen. Completely cohesive. The sets, lights and costumes were perfect. Read more
Published 6 months ago by RareRare
4.0 out of 5 stars Three worthy contenders to consider chosen from three leading...
There are now several choices available of this opera of which this review considers three contrasting productions. Read more
Published 24 months ago by I. Giles
3.0 out of 5 stars Not that good.
I agree with the other review. "Vocally, Simon Keenlyside's reprisal of Don G is a failure for himself. Read more
Published on November 3, 2011 by Purple Tang
4.0 out of 5 stars Upon reflection...
While viewing this, I was not taken with Keelyside, in fact he was a bit repulsive to me. I later digested it and found it/him to be very effective. Read more
Published on December 31, 2010 by S. J McKenna
5.0 out of 5 stars Superb all round
Having cut my teeth on the Furtwangler film version and over the years enjoyed the Losey and a Glyndebourne video-ed production, with the viewing of this DVD I have to say I have... Read more
Published on October 18, 2010 by Craig M. Wallace
3.0 out of 5 stars Don Giovanni a cenar teco m'invitasti e son venuto!
This was my first opera experience. I could never see the sense in going to an opera without being able to understand the language. Read more
Published on July 19, 2010 by cinemod
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