This whole opening scene is actually my favorite musical number of the opera. The subsequent introduction of each of the 4 characters demonstrates the genius of both Da Ponte & Mozart. The whole thing is really epic if you think about it. Sort of encapsulates the entire opera. And there are many little musical moments in this intro that I literally listen to over and over on a daily basis.
what a luxurious cast, and what an awesome trio starting at 4:20 - the perfect atmosphere, the right interpretation of the quotation form the Requiem "flammis acribus addictis" (with another text here) wow!
Wonderful cast. Bryn Terfel is much better in Buffo roles than serious (he's not bad in those --he's just a natural inthe comedic). Salminen is awesome, as always.
@Baritanist Tenors??? Terfel is a bass-baritone. I don't think that a microphone makes the difference...with or without, Terfel is a big singer, with a really wonderful voice, very rare, and is a fantastic actor too. Is very expressive, he speaks with his eyes and enchants with his voice. I can't wish more from a opera singer. Love him so much!
@Gabba02 Yes, it does. On DG - Don Giovanni / Keenlyside, Salminen, Remigio, Heilmann, Terfel, Isokoski, D'Arcangelo, Pace, Chamber Orchestra of Europe, Abbado. One of THE BEST!
Terfel is exceptional as leporello in this recording. but others i find him slightly slacking compared to furlanetto. think i spelled that right. i'd love to see hvorostovsky do it with leporello. listen to the version with Samuel Ramey, Dawn Upshaw, kurt moll, and furlanetto. its in parts on youtube under the user elias something. just search don giovanni elias and it will come up. enjoy!!!
It is visually very funny when he towers over DG and Masetto who are of the same stature, which gives a funny power relations structure of who is who is who in this story.
I'm more used to Terfel as Don Giovanni as well, but I must admit he's not bad as Leporello (though without the comic streak of Corena or the distinction of Van Dam).
Agree about T. -his Don is funny, SK is charming in this production, but his todays Don is vampire-like, though this is also possible if he lived long and ultimately got tired of all his revelry. Could you be in love with such a Don too (see Francesca Zambello production) - I wonder... Poor Elvira was.
This is so different from the DG he was doing these years who is really a devilish psychopath, this one is more sympathetic no doubt, but go back to 1954 Salzburg production with Cesare Siepi, it is great. In any case DG cannot grief long for his victim and has to go on with his feminas search.
It looks like DG was fighting left-handed for staging purposes. So the disarming might have been the result of him not being a natural lefty to begin with. :)
the music is good but the set isn't. what are the chairs doing. Secondly, leporello should be hiding throughout, not coming towards don giovanni while he struggles with donna anna.
Well, musically, it's a beautiful trio, but beyond that, it shows how tragic, personal, and intimate this murder is. Don Giovanni surprises himself. Remorse and self-doubt begin immediately. He has connected himself to the commendatore by killing him, and flees from this baring of his own corrupt soul for the rest of the opera. This treatment of violence is miles above any contemporary movie. Much more eerie. Much more homoerotic. And very sad.
Notte e giorno fation perchi mullo sa gradir piver e vento sopperteu mangirina malte e mal drmir Voglis far il gentilhuomo E non voorglio piu serviv E non voglia piu servir no no no no no no non veglio pui seryir
This is one of the dullest productions of DON GIOVANNI imaginable. Beginning with the sets and costumes - was this supposed to be a provincial school production? The stage direction - perfunctory at best. The conducting - no dramatic point. The singers - they sing the notes. There's no urgency, terror, fear, lust, nothing. Keenleyside looks bored and totally lacking in sexuality or menace, Terfel is barely a stock character...
