Putting aside the debate about the costumes for a moment. The singing of this aria by ID'A is an achievement. So many singers overload this aria, trying to sound bassy. The lyricism is refreshing. Muti brings theses qualities to music.
Yes, Ildebrando D'Arcangelo gives a awesome rendition of the aria. But his hat is so disturbing. I can't stop laughing each time I saw it... I can't sing the aria properly when I watch this video.
Dude I love these costumes; we were taught in animation to create a strong silhouette so you could recognize your character even in a shadow. These costumes have done that. Also Elvira looks like a huntress and I've never seen that before, but it's so fitting for her personality. I wish I could see this whole production. Also Ildebrando D'Arcangelo is so charming and playful in this aria.
GENIALE! La verve di d'Arcangelo, mirabile la sua interpretazione che riprende le figure incise dal Callot, i costumi e le movenze della Commedia dell'arte, l'atmosfera seicentesca, talora buffonesca, di Tirso de Molina del creatore del mito. ( certo aiutato dal regista, dal costumista ecc.).. E' forse una interpretazione arbitraria dell'opera di Mozart e del libretto di Lorenzo Da Ponte, così legato al Settecento contemporaneo , ma è affascinante.
Eesagerazione! Riconosco l'assurdità dell'accostamento, né Da Ponte, né Mozart avevano per nulla in mente il Seicento quando scrivevano l'opera e nemmeno la Commedia dell'Arte, siamo vicini alla Rivoluzione e Don Giovanni intona "Viva la Libertà".. ... E' solo un riflesso della lettura di un racconto su "Don Giovanni" di Hoffmann cupo e grottesco, che si adatta ai personaggi creati dall'incisore nel Seicento.e che la scena del video sembra riprendere.@@giovannipaisiello289
Voice= how great, how smooth, there aren't enough words to describe it. Thanks for the text "he likes them young, " which foreshadows the final woman, Zerlina. I see her as dramatic necessity. 3 is a magic number in storytelling. She's at her wedding or reception, when she'd be least vulnerable to another man, which underscores how potent a seducer DG is (unless he's finally fallen in love, and I haven't read the libretto, but doubt it). On the last day of his life, Don G meets women from Ana to Zerlina, A to Z (zed). Was that a deliberate writing decision from de Ponte and Mozart or just a happy coincidence? On the DVD, at the end, Ildebrando changes to black livery. He is the only character that seems genuinely sobered, more serious, more chastened, and more affected by the events. Don't know if it was planned, but that's how it looks, so Ildebrando conveyed the change via good acting. Now that I've read it, the DVD liner states this production's goal was to convey change via costume and makeup change.
There's an interpretation I really like where Don Juan doesn't ever actually have sex with the women he courts. He just comes into their lives, seduces them, creates utter chaos in the community they live in by doing so, and then leaves.
He probably would have died from HIV, AIDS, syphilis, or some other disease related to having unprotected sex with several women if he hadn’t gotten caught by the Commendore first.
I really like the musical direction and the voices in this, but the costuming seems a bit gaudy and cartoonish. Not to mention everything is absolutely white-washed. Even though I believe it to be intended to evoke nighttime, it sort of exaggerates that a bit. I guess that's just the direction they wanted to take with this.
While Leporello does looks a bit like a clown, Donna Elvira is amazing. She sure looks like a woman who'd rather go after revenge than sit down weeping. Plus I've always thought that women look far sexier with pants and boots than with dresses. ^^
Not a good idea to put an english translation under the movie. This piece is Italian, should be heard in Italian, and is very poor in English. I agree, not everybody understands Italian (hard for me to) but it is better to try to understand it in Italian than to reduce it to "International English"
Vocally excellent singing, especially with the up-tempo -- which is as it should be -- but also had said baritone looking directly into the pit the entire time. Perhaps what's needed here isn't so much acting lessons but better blocking from the director for both Leporello and Donna Elvira? Oh, and can we get some some dance/movement lessons for D'Arcangelo? It's distracting to see such an awesomely capable musician physically move about with all the grace and fluidity of associated with someone with glue on their shoes carrying a backpack of bricks.
Sounds like The Righteous Brothers (but more powerful). Make you realize that a good deal of the roots of music genres such as soul, are actually European.
To all english speakers who need subtitles to know what he's saying, when he goes: "Nella Bianca, la dolcezza."( 2:27), it's not "with pale girls", hes talking about old women with white hair :)
@@thunder8bunny When I was 10 and was studying in the music school, this particular part of the lyrics in the textbook was translated to make it not understandable that Leporello is singing about old women. Idk why, every other part was translated rather literally, but the translation of this line was intentionally made covert because people perceive it as even more scandalous than the rest of the text.
