Il Commendatore: Franz-Josef Selig Don Giovanni: Carlos Álvarez Leporello: Ildebrando D'Arcangelo Conductor: Riccardo Muti Chorus and Orchestra of the Vienna State Opera Live from the Theater an der Wien , 1999
La Statua del Commendatore : Don Giovanni, a cenar teco m’invitasti, e son venuto. Don Giovanni: Non l’avrei giammai creduto. Ma farò quel che potrò! Leporello, un’altra cena fa’ che subito si porti! Leporello : Ah, padron, siam tutti morti! Don Giovanni: Vanne, dico… La Statua del Commendatore: Ferma un po’. Non si pasce di cibo mortale chi si pasce di cibo celeste. Altre cure più gravi di queste, altra brama quaggiù mi guidò! Leporello: La terzana d’avere mi sembra, e le membra fermar più non so. Don Giovanni: Parla dunque: che chiedi, che vuoi? La Statua del Commendatore: Parlo, ascolta, più tempo non ho. Don Giovanni: Parla, parla, ascoltando ti sto. La Statua del Commendatore: Tu m’invitasti a cena, il tuo dover or sai. Rispondimi: verrai tu a cenar meco? Leporello: Oibò, oibò, tempo non ha, scusate. Don Giovanni: A torto di viltade tacciato mai sarò! La Statua del Commendatore: Risolvi! Don Giovanni: Ho già risolto. La Statua del Commendatore: Verrai? Leporello: Dite di no, dite di no! Don Giovanni: Ho fermo il core in petto: non ho timor, verrò! La Statua del Commendatore: Dammi la mano in pegno! Don Giovanni: Eccola! ohimè! La Statua del Commendatore: Cos’hai? Don Giovanni: Che gelo è questo mai! La Statua del Commendatore: Pentiti, cangia vita! È l’ultimo momento! Don Giovanni: No, no, ch’io non mi pento! Vanne lontan da me! La Statua del Commendatore: Pentiti, scellerato! Don Giovanni: No, vecchio infatuato! La Statua del Commendatore: Pentiti… Pentiti! Don Giovanni: No!… No!… La Statua del Commendatore: Sì! Don Giovanni: No! Leporello: Sì, sì! Don Giovanni: No, no! La Statua del Commendatore: Ah, tempo più non v’è! Don Giovanni: Da qual tremore insolito sento assalir gli spiriti! Donde escono quei vortici di fuoco pien d’orror? Demoni: Tutto a tue colpe è poco! Vieni! c’è un mal peggior! Don Giovanni: Chi l’anima mi lacera! Chi m’agita le viscere! Che strazio, ohimè! che smania! che inferno! che terror! Leporello: Che ceffo disperato! Che gesti da dannato! Che gridi! che lamenti! Come mi fa terror!
Only Mozart can make such a scene work, and feel like it is real., Make it actually feel like you must repent your sins yourself (even as atheist), fearing the terrible supernatural powers of such an otherworldly creature and of God, and simultaneously cheering for the ghost to take Don Giovanni to hell for his crimes
+Shachar Har-Shuv I love it, but the Losey version blows this one out of the water. I tried to give this one a fair chance, but it's just terrible compared to Losey's version...
This is my all-time favourite moment in the opera, so much that I felt satisfied with every version that I've seen. The music and the bass voice always give me chills! Recently I have seen a more modern version where they recreated the graveyard with dancers all painted in white, holding crosses and in disturbing poses that reminded me of some images from Dante's Inferno. The moment they all animated and dragged Don Giovanni in hell was pricelessly terrifying.
@@abshproelec4537 I knew what it was even before I clicked, lol! To be honest, I think the singing was good and concept was cool (kind of?), but executed wrong and unfaithful to the libretto.
Vero! Penso al sacrificio dei cantanti che oltre a cantare devono indossare vestiti pesanti, come penso sia questo.Questa è vera classe e professionalità!
Some people shun those who have come here from Sherlock... But I genuinely appreciate modern movies sharing knowledge and awareness of good classical plays. And I do indeed plan on getting tickets to an official play of the whole story when I can.
I have been a fan of classical music and Opera for quite a while now and on the one day I decided to watch a movie I chose Sherlock Holmes, I found this act on there, and kept searching for it ever since, and now I'm blessed to find this I love it 🖤🖤🖤🖤
Not only are the singers and acting great, what ties the fear and drama together is the orchestration. The particular use of the individual instruments. The strings push the fear and blood pressure of the audience. This performanperfecte is the first time the woodwinds screaming impending doom can be heard in this production. Bravo, Maestro Muti. Generally, it doesn't come out.
The DETAILS in this version... the tenderness of the Commendatore's invitation, as if he were the father of the prodigal son, trying to convince his prodigal to come home... the tremor in the Commendatore's voice as HE realizes it is the last chance for his host... the fact that he KEEPS HIS HAND EXTENDED, hoping against hope -- and Don Giovanni reaches for it, but TOO LATE! One captures here a sense of things no longer felt in most churches... a yearning for the souls of the lost, a determination to reach out with love against all odds, and the sorrow and resolution both of knowing: people have both a right to their own decisions and the consequences thereof.
You do realise that Don Giovanni murdered the Commendatore, and he was dining in his own home? It's not a father-son relationship, it's murdered and murderer. Mozart composed the music, not the script or the story. In the Amadeus movies it's said that Mozart was projecting his own father on the ghost, but that's fiction. There was a religious message of penance, that's why the ghost kept trying to get him to repent.
@@rachell452 I have studied it in detail. One in particular stands out. The murdered man has been to heaven, and returns, unlike in all versions going back to around the 12th century, on a mission of mercy. Bear in mind that both Mozart and Lorenzo Da Ponte were Catholic ... so if the Commendatore has indeed been in heaven, He would have returned with Heaven's Master's viewpoint ... and THAT is the viewpoint of a Father Who loves His prodigal sons, including men like Don Giovanni, and wishes them to be saved. Remember also what every Catholic knows: the Lord, while being murdered, said, "Father, FORGIVE THEM, for they know not what they are doing." NOW, reconsider the invitation ... "Come dine with me in Heaven ... leave your sins behind and repent" ... a devout Catholic (or Protestant such as myself) would even know the reference from the Gospels ... a rich man told his servants to go out into the highways and byways and compel men to come to dine with him. A devout Christian would also know Revelation 3:20: "Behold, I stand at the door and KNOCK, and if any man will hear my voice and open the door, I will come in and sup with him, and he with me." How does the Commendatore gain entrance, again? If you know, you know, Rachel. If you don't ... well, now you do.
Congratulations Mozart. I am certain you are listening. Do you know the power of what you gave me? Yes? Yours Julian. God bless you and your dear ones.
Monster Master Gojira No, I said irony because this scene is performed in Sherlock Holmes A Game of Shadows, which Robert Downey Jr. stars in. But good point.
Mozart's decision to drown out the vocals with the sound of the violins is genius; it's a reference to the Old Testament, in which God's wrath is described as a potent wind that drowns out the spoken word.
Great performance. This scene is unquestionably the genius of Mozart at its best.... Another contributor to this timeless masterpiece is Lorenzo da-Ponte, the librettist of "Don Giovanni", "The Marriage of Figaro" and "Cosi fan Tutte". An incomparable triple musical hat trick....
Kurt Moll is also my favorite, and this is my second favorite ... Moll's Commendatore gets across the awesome gravity of the matter, and his voice touches the dimensions of the choice at hand with equal might, and Selig's Commendatore gets across the deep compassion necessary forforgiveness between humans, and the grief of loss when that compassion is refused ... that last reach of the hand when Don Giovanni reaches back too late always gets to me!
Even in the most dire of moments, Mozart inserts some banal humour, turning the debate of salvation against damnation into an ordinary yes - no argument.
Все крутые, особенно музыка господина Моцарта, руководство господина Риккардо Мути и исполнительское мастерство оперных певцов и хора. Belissimo, Molto bene!
Can someone please share the link for the full opera piece. I am searching for it but was unable to find it. Or please upload the full opera, it is such a beautiful production and perfect music. Please 😢 request from a genuine fan.
Usually I feel bad when someone goes to hell, but in Don Giovanni's case, after seducing and assaulting women and girls, I don't think Hell is enough pain for what he did. Well, maybe, I don't know what hell is like
The Very first D minor Chord is cut!! In Don Giovanni!! By Mozart!! Sir, this is not Justin Timberlake or Rihanna, or anything alike!! How can you dare?! I wish, i had 1000 thumb downs...I only have one...Very shame!!
Loved this production. The gimmick is that costumes evolve from scene to scene, going through different eras, starting in the 16th century like the original story and eventually coming to the late 19th century.
One of the best perfomances of this famous scene I've ever scene! Bravo maestro Muti! Perfect balance and interaction between the orchestra and the singers and good acting and directing work! (y)
dang, wonderful costumes, not overdone and not underdone but just right, same with the acting. really easy to overdo the drama of the situation but they do it just right, very serious and dramatic but still professional and believable. excellent show
Questi primi piani sono terribili. Quando un personaggio canta bisogna mostrare la reazione che suscita negli altri, fare i primi piani a turno dei cantanti è di una noia mortale e uccide il teatro, già pesantemente sacrificato dalla ripresa televisiva. Spero che questa moda dei primi piani passi al più presto possibile.
well after 1000 versions played, 1 conducted and even singing commendatore.... This one, like the more. Profi opinion, but I like Bariton/tenor in the role of Giovanni... and Commendatore is just great. even if not deep enough
Moll is my favorite also ... this is my second favorite ... there are things that Franz-Josef Selig brings out here that are unique. He is not as awesome, or majestic, but "come let us reason together ... though your sins be as scarlet, they shall be white as snow" -- Selig is the Commendatore who epitomizes that part of the divine invitation.
Kurt Moll's version is the best in so many aspects , an example can be , that Kurt Moll do a D2 instead a D3 in the last Part... Kurt Moll is the best bass in the history
I wouldn't say that ability, by itself, would be enough to define better or worst. Even without that D2, Moll still has the kind of voice that fits Commendatore the best.
Today March 26, 2020, confined at home in Huldenberg (Belgium) because of the corona miseria, I have been listening over and over again to this overwhelming aria and to me bringing together Franz-Josef Selig, Carlos Alvarez and Ildebrando D'Arcangelo is a real masterpiece, never heard better!
Anyone else get really annoyed by the way subtitles prefer native english phrasing over accuracy. He says Don Giovanni to dinner with you, you invited me.
Comparing four versions of the Commendatore that I have seen. this one is unintentionally hysterical instead of frightening! IF I were Don Giovanni, I would have burst out laughing instead of getting my ire up during Mozart's brilliant confrontation. This makes the serious and frightened expressions of the other two men onstage impossible to believe. Nothing could save this scene because of the travesty.perpetrated by the designer. This mise en scene missed the mark!
Nice bass but on the lyrical side, does not really make one tremble. And Don Giovanni here is lame.. look for other versions. One with Giorgio Tadeo is the best by far.
leporello is a light tenor.... and the commendatore does not reach baritone level.......... forget basso profundo level. I know the Don Giovanni so I will not say anything about this performance.
The true extent of artistic achievement; not only coming up with the idea of a true-to-life sinner being literally dragged to hell during dinner, but also building an amazing libretto and music around it; this is art.
@young Link No, a _Mass Effect 2_ reference. And looking back, I see that the reference didn't work fully. Perhaps a reference to this song in a clip from the _Twilight Zone_ episode "Death's Head Revisited" would have worked better, since the sadistic Nazi ex-commandant's trial by the ghosts of his victims is very clearly a last chance for him to repent.
This version of Don Giovanni bears a striking resemblance to Robert Downey Jr.'s Sherlock Holmes. Incidentally (or not) in the second Holmes movie starring him, "Don Giovanni" plays during one of Moriarty's bombing schemes.
