Which meant dramma Giocoso en la era Mozart? Is Don Giovanni a hero or a villain? Is opera a comedy or a tragedy? Does your conclusion dramatizes the moral victory executed upon the sinner, or celebrate the heroic defiance of a freethinker?
The opera, like its protagonist, refuses to capitulate to the conventional order: If a school of thought for the work is essentially a comic opera, an Italian comedy (although individual characters through music welcomes them and is) to another line of Germanic tradition falls squarely in dramatic composition, aroma oozing sacrum. The richness, ambiguity and complexity the work have allowed us to approach from different concepts, even antithetical, with equally encouraging results. Amalgam of genres (the mythic themes of the ancient theater: love, revenge, justice, death) that meanders through the pass in complex and contradictory character of the score, which always raises a whole. The music, rather than the script, tells the story underlines the emotions, all the subtleties and nuances that distinguish psychological Don Giovanni as an opera of operas.
Since 1934 in the green hills of Sussex is looking jealously Mozart stylistic perfection, setting new standards in its musical and dramatic reading. Fritz Busch recorded the first complete recording of Don Giovanni with flexible authority and sensuality to the Festival Orchestra, taking advantage of painstaking representations Glyndebourne 1936. Diaphanous refined, elegantly lyrical and narrative eloquence, variety, freshness, spontaneity (not to be confused with triviality) improper these days, and above all, the unitary concept, the game almost unparalleled scenic, proper pulse dramatic and the excellent choice vocal team, well contrasted (especially females). The aristocratic and stylish John Brownlee (Don Giovanni) is a baritone, not too dark, solid bass, of impeccable opulent and resonant timbre that lends itself to irony as the flirtatious romantic suggestion. Salvatore Baccaloni varied and grotesque (Leporello), the only singer with the appropriate idiomatic expressions to communicate the grace cunning of his role, and is aware that due to their excessive rhythmic freedoms one day received a telegram of protest signed by WAM Considering the great Ina powerful technical security Souez (Donna Anna), and Luise Helletsgrüber as a (Donna Elvira) almost ideal for the construction its vibrant character (with some difficulty in agility), the extraordinary reach of the pier voice Koloman von Pataky: toned, flexible, sensitivity and beauty in equal parts (Don Ottavio). The (Masetto) Roy Henderson is well outlined with particular emphasis cockney, also has some British involvement the (Zerlina), Audrey Mildmay, and imposing authority (if not the vocal power) by David Franklin (Commendatore). Torrential recitatives accompanied by the director on piano. Accuses recording age, but it's perfectly enjoyable (Naxos).
We must first live recording Bruno Walter, who represented the New York Metropolitan Opera Orchestra (Naxos, 1942) created his fatalistic view of the work, tempi and rhythms compelling, and stands out above all by perhaps the most beautiful voice-century Italian The low fleshy, perfect legato, impeccable diction, phrasing and attack matizadísimo always pure: the charming and diabolical character delineated by Ezio Pinza, no doubt the (DG) de los años 30 y 40- engarza ejemplarmente con el carácter cómico de Alexander Kipnis (L). Completan el reparto Rose Bampton (DA), Jarmila Novotna (DE), Charles Kullmann (DO), Mack Harrell (M), Bidu Sayao (Z), y Norman Cordon (Com). La brevedad del comentario corresponde al padecimiento de una toma de sonido pésima, y aún así mucho mejor que la previa de 1937 editada por Andrómeda: sólo para fanáticos del mono más exiguo, please email me .
Wilhelm Furtwängler (Gala, 1953) conecta la tragedia clásica y suntuosa de un Gluck entreverada con rasgos y sentimientos Beethoven. And listening to the call involving the vehement coven timpani in the opening chord is noted that this is a special Interpetación: Solemn, coherent and united in the unfolding drama, oscillating smoothly between the Olympic and tragedy, rhetorical, expressive, severely moral , Furtwängler embodied the idea that each interpretation should be "a great improvisation ", hence the sometimes bewildering ductility of tempi , large in general. The magnificent team of singers starting with the dashing Cesare Siepi, emerging powerful, virile protagonist huge quake, vocal and dramatically cruel and elegant at the same time, a low baritone with a dark timbre, a priori unsuitable, but he made no doubt the (DG) of the fifties. Without the appropriate contrast, Otto Edelmann (L) of size and decidedly Germanic vocals, best lens instrument lyrical Elisabeth Grummer (DA), their vulnerability credible, firm and sincere. Elisabeth Schwarzkopf as technically flawless (DE) of temperamental fiercely articulated in its characterization, subtly (OD) of Anton Dermota of nasality attractive, sarcastic Teutonic (M) Walter Berry, Erna Berger creates a naive (Z), tenacious and fearsome (Com) Raffaele Arie. The Vienna Philharmonic Orchestra phrasing so romantic damask weaving textures. Sound making at the Salzburg Festival is historic pejoratively, with light saturation, and echo and noise that recreate several scenic breath, and yet, comparatively higher than the record 1950 (Laudis). One last question. It is known that Furtwangler was gestural technique, as such, erroneous, his arms gave no clear indication of the number of raids in a bar in a circular motion that could not be interpreted as a steady pace to give the entry made mysterious signs raised, lowered his baton and the orchestra attacked soon after. And if the musicians were asked how they knew when they should go in the middle of all this ceremony, responded: "I do not look ."
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Josef Krips seeks and finds a balance serene, relaxed, warm, light and smiling (I self-citations), pause to put tempi threatening, ponders dynamics, accentuated by logic and control, to breathe in the dark atmosphere of the work. From this accommodative Viennese elegance, of apparent placidity dramatic and transparent simplicity, Cesare Siepi deadly gently seduces us (DG), mimicked vocally with the sardonic and even exaggerated Fernando Corena (L), convincing both in the recitatives of perfect enunciation. At a lower level on the women, accurately and dispassionately but angelic musical (DA) Suzanne Danco, while Lisa Della Casa (DE) sings brilliantly but somewhat blankly. In particular timbre (OD) of Anton Dermota little agile in the coloratura, superb the sympathetic (M) Walter Berry, excellent golden timbre Hilde Gueden giving life to a sleeper (Z), and right Kurt Böhme (Com). Fantastic studio recording of the Vienna Philharmonic (Decca, 1955), whose excellent stereo presence allows us to appreciate the delicacy and clarity of instrumental line studded with the voices perfectly where flash multitude of subtle details, unheard of in other versions.
Greet also the technique of Dimitri Mitropoulos, who never used no baton and sheet music: "Lead with baton is like playing the piano with gloves on. " On the podium beating the air with their fists, in a bizarre repertoire of gestures and grimaces that reflected every emotion, from terror to ecstasy. And this is what is proposed in this paper: A fustigante narrative tension, galvanic, eloquent, varied and detailed scenes (revolutionary at the Salzburg Festival in 1956, after the death of Furtwängler), a Vienna Philharmonic all its glory, and above all a stunning vocal equipment (mostly coincident with the above): Cesare Siepi vicious, dangerous and even violent (DG) also shows good chemistry with the histrionic, idiomatic and excellent vocal actor as Fernando Corena (L). Vigorous and painful Lisa della Casa (DA), Elisabeth Grummer and exciting manor (DE); sweetly delicious (what pianissimi !) Leopold Simoneau (DO), Walter Berry (M) also phenomenal, highlights the sensuality of vibrato Rita Streich (Z), and the solid but little canon (Com) due to Gottlob Frick. Sony's edition boasts better sound than the corsair (Arkadia), using the original tapes of the Austrian Broadcasting. Despite its immediacy, is unequal in size, with plenty of saturation, and scenic highlights the usual noises, movements of the singers on the microphones, and applause from the respectable (sometimes before they run out of numbers), but Mozart was a man of the theater!
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Put aside the vocally Ferenc Fricsay irregular versions (DG, 1958) and Erich Leinsdorf (Decca, 1959) to give way to reading more balanced sound and style. Random was the genesis of this recording with the Philharmonia Orchestra leggeriana , and burnished by Otto Klemperer, who was replaced, gravely ill, after three days of recording sessions by Carlo Maria Giulini, who although he had never conducted the opera, transformed undoubtedly felt the same (EMI, 1959): "Mozart must be understood always and essentially from singing and from theatrical sense." To Giulini refulje spark Neapolitan opera buffa good synthesis the Germanic element. From this basis it earnestly breathe the orchestra with athletic vitality, eloquence, wealth of accents, conviction and balance between lightness and severity. As with Busch, raw sense of common cause, with a clearly defined goal, the understanding of the musical expression of the characters and the dramatic motivation: fornication, murder, blasphemy in the end. Uniformly splendid vocal sharing: Eberhard Wächter presents a (GD) lewd, juvenile and crude fiercely (and somewhat lacking in charisma), but bright sparkling tone of the recitatives (delicious), which also shines the exceptional (L) Giuseppe Taddei, varied and dynamic, funny without exaggeration Baccaloni natural successor. Maybe an obstacle (or at least less) to the canonization of this register is given by the similar timbre between the two. The donnas couple is prodigious: Joan Sutherland as elegantly aristocratic (DA) in lovely timbre, while vocally flexible and accurate only in the acute, not slash and vocal perfection Elisabeth Schwarzkopf (DE), but has the character entirely in every detail, Luigi Alva (DO) sweetly refined in the difficult coloratura, Ladino and overreacted Piero Cappuccilli (M), malicious genuine Sciutti Gabriela (Z); superb, nuanced dominant, the creepy and cavernous (Com) Gottlob Frick. Take orchestrally sound somewhat distant, but good-clear timbre and texture, highlighting the grim strings.
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The aforementioned bunch of recordings contain such a high artistic level that generated shadows on Productions the following decades.
Six years after its failed attempt, Otto Klemperer took over the controls of the New Philharmonia Orchestra (EMI, 1965). Highlight the narrative genius, the wonderful orchestral work, the clarity of exposition with amazing virtuoso details, but tended to get lost in dense and solemn instrumental meditations, rather than paying attention to the very essence of theater. Slow and stately granite end table. Excellent cast, the male vocal (DG) of Nicolai Ghiaurov, all enamel and dominion, Walter Berry makes a rough and Germanic (L), insufficient Claire Watson (DA), most required tessitura of Christa Ludwig (DE), a Nicolai Gedda (DO) whose intonation say have impurities, expectorant (M) Paolo Montarsolo, the sensual (Z) of Mirella Freni, consistent (Com) because that Franz Crass- the mortuary drown tempi, especially in the dismal recitative supported by a key stark. Exceptional recording magna orchestral timbre, perfectly balanced strings and wood balance.
In his smooth and hassle-free online metaphysical Karl Böhm gives a reference point half, unable to make clear the tragic aspect, disturbing and ambiguous work, both in their first approach, with the Orchestra of Opera Prague (DG, 1967), sincerely wrong vocal equipment: forced to cloy Dietrich Fischer-Dieskau (DG), Ezio Flagello ( L), Birgit Nilsson clearly wrong choice in a lyrical role as that of (DA), also out of style as Martina Arroyo (DE), Peter Schreier (DO), Alfredo Mariotti (M), Grist rerio (Z), Martti Talel (Com) - as in the rearwardly at the Salzburg Festival, Wiener Philharmoniker (DG, 1977) Sherrill Milnes (DG), Anna-Sintow Tomowa (DA), Zyllis-Gara (DE), Walter Berry (L), Peter Schreier (DO), Dale Duesing (M), Edith Mathis (Z), John MaCurdy (Com) -.
Colin Davis (Philips, 1973) recreates another careful reading partially successful, acceptable tone and rhythm, but without imagination, unable to obtain adequate theatrical climate. The cast include the wonderful female, especially as Mirella Freni (Z): Ingvar Wixell has the fascination of the movement of a snake (DG), Wladimir Ganzarolli (L), superb Martina Arroyo (DA), smooth the (DE) of Kiri Te Kanawa, Stuart Burrows velvet (DO), Richard van Allen (M), a powerful Luigi Roni (Com).
output Decca producer John Culshaw was a sharp decline in the quality of operatic achievement of Georg Solti. In this reading rudely violent, detached, neutral, like a perfect exercise of the London Philharmonic orchestra (1978) stands only a fabulous outlining a haughty Margaret Price (DA) (controladísima issue, timbre and phrasing well designed); Bernd Weikle ago (DG) of rough German steel, unable Sylvia Sass (DE), Gabriel Bacquier (L), cold courtesy of Stuart Burrows (DO), Anton Sramek (M), Lucia Popp (Z), a powerful and secure Kurt Moll (Com) .
Lorin Maazel recorded their version to the reins of the Paris Opera Orchestra (Sony, 1978) and was included in the study as erotofóbica soundtrack of the film Joseph Losey. Therefore, his dramatic considerations take precedence over music (there are inaccuracies and distortions even rhythmic), imposing a sadistic icily Ruggiero Raimondi (DG). The rest of the cast includes Edda Moser (DA), Kiri Te Kanawa (DE), José van Dam (L), Kenneth Riegel (DO), Malcolm King (DO), Teresa Berganza (Z), John MaCurdy (Com).
Bernard Haitink tried to recreate in the Glyndebourne Festival 1983, the strong team spirit that animated the primitive reading of Fritz Busch. A magisterial reading anything, but so detailed and imaginative in concept as fluid and natural in the recitatives. Led by the demonic, lascivious, threatening Thomas Allen (DG)-an excellent Italian-line and right, the cast includes the dark (L) by Richard van Allan, subtle use of softly, and a couple of females in good credibility dramatic, energetic and Carol Vaness (DA), and determined in his libel Maria Ewing (DE). Keith Lewis (DO), John Rawnsley (M), Elisabeth Gale (Z), Dimitri Kavrakos (Com) have an almost entirely British misalignment. The London Philharmonic Orchestra is covered with discretion (EMI).
For this record
Herbert von Karajan devised a secret plan session, without disclosing to the last moment what was recorded then, and in this manner the entire team remained vocal on edge, alert and permanent tension. So it is even more surprising the stony coldness (uninflected rhythm, and tempi very slow) that follows the glossy shine of the Berlin Philharmonic, on which lay, inert, the characters Mozart: Samuel Ramey magnetized one (DG ) of good manners, intelligence and vocal line, conspiring with an extrovert Ferruccio Furlanetto (L) with no authority or desire for revenge Anna Tomowa-Sintow respectively as (DA) and Agnes Baltsa as (DE), contrasting with the resolute (OD) of Gosta Winbergh, sullen as Alexander Malta (M) and too childish the (Z) by Kathleen Battle, sign (Com ) Paata Burchuladze. Similarly, very flat and uninteresting, making sound, full of editing errors (DG, 1985).
Nikolaus Harnoncourt shows its appetite for risk with a modern orchestra effective and comprehensive, the Royal Concertgebouw of Amsterdam (Teldec, 1988). We are entering a new era tonal and harmonic, controversial, wicked, steep accents and dynamics of extreme although sometimes tempi are conventional and prosaic and textures are not as clear that the theory predicts harnoncourtiniana . Thomas Hampson flexible and current experiences a craving teen (DG) and is backed up by the earth (L) of László Polgár, discreet couple donnas : Edita Gruberova (DA) rebellious and proud, Roberta Alexander (DE), Hans Peter Blochwitz (DO), Anton Scharinger (M), Barbara Bonney (Z) flirts mocking, light the (Com) Robert Holl. The recording suffers from pauses between the numbers of the discontinuity generating stage.
When appeared the version of the dilettante Arnold Östman (L'Oiseau-Lyre, 1989) found that the concept of opera was gutted in the experiment to recreate in the little theater of the Swedish town of Drottningholm mozartina work as supposed was represented at the time, with the media and stage machinery of the time. The Court Theatre Orchestra has reduced the faint sound of instruments acid original, and evanescence in the sonic textures (remember that Mozart had only six violins at the premiere of 1787). The result vocal, with light-and declining performers the (DG) of Hakan Hagegaard, Gilles Cachemaille (L), Arleen Auger (DA) Della Jones (DE), Nico van der Meel (DO), Barbara Bonney (Z), Bryn Terfel (M), Kristinn Sigmundsson (Com) - remains in mild proposals, details of accent, rhythm, faster in recitatives, Jacobin in tempi Fancy accelerating multiple times (duos, trios, ensembles) and slowing down some solos. Wanted intimate comedy to the detriment of the epic tragedy, missing something of grace and spontaneity.
swift and steady pulse of Riccardo Muti with the Vienna Philharmonic (EMI, 1990) emphasizes the melodrama Verdi (smoothness of lines, gentle but stern and epidermal construction) and not enough flavor to the Neapolitan comic drama of a Giulini. Obsessive Interestingly the (DG) of William Shimell, Samuel Ramey (L), provided excellent singer, this is far from the theatrical effectiveness of their live performances. Competitive vocally the rest of the cast, but far from an internalized interpretation of the phrase (and the words are extremely important in Mozart)-Cheryl Studer (DA), Carol Vaness (DE), Frank Lopardo (DO), Natale de Carolis (M) , Suzanne Mentzer (Z), Jan-Hendrik Rootering (Com) -. Excessively reverberant acoustic which blurs the recitatives.
Neville Marriner's approach to the Academy of St Martin in the Fields (Philips, 1990) exemplifies the virtues and limitations of the production end of the century: Absolute clarity of texture, lightness and liveliness of tempi seemingly appropriate for the comic side of the work. Careful implementation of continuous recitative. Without proper vocal cast, with weakness in women: Thomas Allen (DG), Simone Alaimo (L), Karita Mattila (DE), Sharon Sweet (DA), Francisco Araiza (DO), Claude Otelli (M) Marie McLaughlin (Z), Robert Lloyd (Com). Excellent shot sound, great presence.
Going a step further than Östman, the version proposed by Roger Norrington London Classical Players with (EMI, 1992) becomes a fluid balance, stylistically respectful, constant rhythmic base and studied contrast, dominance of the winds in the low (and strategically arranged) orchestra. Relief of tempi (with some excess), wise management of timbres and sound levels, including discrete ornaments, and generous inclusion of appoggiatura. Overly schematic approach, adopting a lively and graceful narrative tone, and stealing almost demonic dimension. Solid vocal equipment, not always consistent with this graceful program: Very appropriate juxtaposition of the couple: Andreas Schmidt as brutal (DG), which Slavic Don Cossack the (L) Gregory Yurisch. Dramatically inert (DA) Amanda Halgrimson, Lynne Dawson (DE), John Mark Ainsley agile enough as (DO) to adhere to the tempo fast, well-characterized partner (M) - (Z) due to Gerald Finlay and Nancy Argenta, Alastair Miles (Com). The studio recording includes a number of artificial scenic effects.
The character of John Eliot Gardiner is imposed on this recording: sober elegance of concept, intelligent sense of theater, alternating tempi , exciting timbre, articulation agility, abruptness in attacks, ornamentation somewhat liberal. Extreme brevity and lightness overture to palates open to new experiences, such as timber dialogical contributions, or continuous recitative fortepiano by whom he is sometimes joined by a cello. The minimum noise does not impair the spontaneous stage proposed by the crystal clear live recording (Philips, 1994). The great Baroque Soloists Inglés incisively accompany a juvenile and correct vocal ensemble that starts with the agile and powerful baritone Rodney Gilfry (DG) and continues with his sidekick ring pasty, Ildebrando d'Arcangelo as (L). For its part, Ljuba Orgonasova (DA) is amazing in its ability to coloratura, Charlotte Margiono delighted with his brave (DE), and Christoph Prégardien recreates a warm and soft (DO); passable partner Julian Clarkson (M), Erian James (Z), and relentless Andrea Silvestrelli (Com).
La London Philharmonic Orchestra dirigida por el preciso y prosaico Georg Solti cumplimenta un discurso musical diáfano, pleno de lógica y falto de misterio, audible ya desde la vertiginosa obertura (Decca, 1996). Irregular el estelar reparto de voces: El (DG) perfilado by Bryn Terfel is a sinister sexual psychopath, high vocal flow but little agile skill that wastes the lively (L) because Michele Pertusi. Females worse: the (DA) of Renée Fleming in tune with the character required by the script, perfectly forgettable delivery (?) Vocal by Ann Murray (DE), and Monica Groop sophisticated too much to their (Z). Passable Herbert Lippert (DO), Roberto Scaltriti (M), and Mario Luperi seeking a supernatural (Com). Collection takes warm sound in concert, not a stage performance.
Despite nods to historicist practices ( tempi, ornamentation) Claudio Abbado seems to have not fully identified with grammar Mozart and Rossini bias from a kind provided for management of the Chamber Orchestra of Europe (DG, 1997) his usual sharpness, clarity ... and caution, clothing an inconsistent vocal cast that are outstanding baritones: Interesting differentiation between characters, with an acid that fits Bryn Terfel scenic much better the role of (L) and Simon Keenlyside, smart, sassy, \u200b\u200bbut unsubtle (DG). Carmela Remigio as lackluster (DA) at odds with the distinguished (DE) of Soile Isokoski, and the rest merely conventional, Uwe Heilmann (DO), Ildebrando d'Arcangelo (M), Patricia Pace (Z), Matti Salminen (Com) -. Manicured the recitatives, building characters and their relationships as a result of previous representations to the (analytical) recording.
More than a revolution, the last step (so far) in the revelation of sonority Mozart: René Jacobs (HM, 2006) eliminates the heroic demon-aesthetic The writers of the century XIX had painted composition. And makes music from the baroque tradition, dissolving the added layers, the romantic myths (the longing for the impossible, redemption through love). Jacobs reminds us that most of the singers available by Mozart for the premiere of the work were very young, and meets a cast fresh and spontaneous (heck, as Busch 36), full of enthusiasm stage: Immature, rebel quasi-poisonous velvet tenor Johannes Weisser (DG) contrasts well with a lewd Lorenzo Regazzo (L), in their rustic electrical responses, while both wander fiasco fiasco, the lyric-light (DA) of Olga Pasichnyk, naive Jacobs includes sensitive as the score; Hurricanes (DE) Pendachanska Alexandrina. Elegant and candidly performance as Kenneth Tarver (DO), eighteenth-century archetype of the enlightened citizen, balanced between reason and emotion. The robust Borchev Nikolay (M) seeks rest in the sweet little voice as Sunhae Im (Z), being dry and poor intervention as an elder Alessandro Guerzoni (Com), however in the last scene resurrects (more) powerful. Compelling, vibrant virtuosity of the Freiburger Barockorchester. The role of the timber reaches a new stage in the general trend is giving prominence to the orchestra rather than the vocals (which, incidentally, free ornamentation perpetrated in the repetition of the arias). New timbral effects (timbales pyrotechnic metals threatening) and weightless tempo give the opening a touch Becquerian . The question of tempi (apparently experimental and surprising) is dictated by the search for Jacobs mimicked popular dance rhythms in the score, with continuous changes of pulse marked by the rhythm of the stage action and tend to emphasize giocoso. The talkative recitatives are accompanied by an improvisational and licentious couple fortepiano and cello, that maintain and enrich the musical tension (what a soundtrack for the Looney Tunes cartoons ). Anthology, irresistible recording, very detailed, spatially pan. The alternative most exciting in decades.
