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MOZART: Don Giovanni (Home of Opera) / Mahler Chamber Orchestra, Harding, Mattei, Cachemaille, Gens Coffret, Import
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Description du produit
Mozart: Don Giovanni / Harding, Mattei, Cachemaille, Gens . Release Date: 04/03/2012 . Label: Virgin Classics . Catalog #: 55536 . Spars Code: DDD . Composer: Wolfgang Amadeus Mozart . Performer: Peter Mattei, Carmela Remigio, Véronique Gens, Mark Padmore, ... Conductor: Daniel Harding . Orchestra/Ensemble: Mahler Chamber Orchestra, Aix-en-Provence European Music Academy Soloists . Number of Discs: 4 . Works on This Recording: 1. Don Giovanni, K 527 by Wolfgang Amadeus Mozart Performer: Peter Mattei (Baritone), Carmela Remigio (Soprano), Véronique Gens (Soprano), Mark Padmore (Tenor), Guodjon Oskarsson (Bass), Lisa Larsson (Soprano), Till Fechner (Baritone), Gilles Cachemaille (Baritone) Conductor: Daniel Harding Orchestra/Ensemble: Mahler Chamber Orchestra, Aix-en-Provence European Music Academy Soloists Period: Classical Written: 1787; Prague Date of Recording: 07/1999 Venue: Live Aix-en-Provence Length: 155 Minutes 9 Secs. Language: Italian
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Commentaires client les plus utiles sur Amazon.com
Maybe it had something to do with the supreme genius of the music. I generally prefer Haydn to Mozart, except when it comes to opera. All bets are off then. Mozart's opera is a musical genre unto itself.
I have Giuilini's "Don Giovanni" and now this great Leinsdorf set from Amazon (and the Krips performance for good measure).
I suspect I will have learned Italian by the end of next week.
Much like Ormandy, the Austrian conductor serves as archery practice on Amazon. I cannot answer for his wider accomplishments. I greatly enjoyed his survey of Mozart's symphonies. Here, he's in fine form yet again.
To a cardinal point: the stereo recording is sensational. It was overseen by Ray Minshull who also produced Kertesz's Dvorak cycle. Its spaciousness and depth are phenomenal. When the Chorus of Devils makes an appearance - and how - it's bewitching. Sound-effects have been tastefully added (for instance, a bell chimes away in the Graveyard Scene). Balance is excellent. The Vienna Philharmonic burns down the house. Its cello line is so evident.
Whatever one might make of this soloist or that, a narrative is being told and masterfully so. One gives a damn about their fate. The quick-fire recitatives, particularly those between Leporello and his master, are enthralling. How the Don stares down Eternity in the Supper Scene! What a ride to Hell! And the rarely heard duet "Per queste tue manine" (K 540c) is included too.
There are three trumps in the cast: Cesare Siepi (arguably the greatest Don of the mid Twentieth Century), Cesare Valletti (has "O Mio Tesoro" ever been sung with such ease and beauty of tone - and more widely, he matches, in his own way, the Don's mojo) and Leontyne Price (roll over Aunty Lizzy - this is the Donna Elvira of dreams - what a Rolls Royce of a voice!). That leaves the rest of the cast. Fernando Corena is solid as Leporello and handles the buffo elements with aplomb. Eugenia Ratti is girly enough as Zerlina but somewhat of a squawker. Heinz Blankenburg as Masetto and Arnold van Mill as the Commendatore are serviceable in their respective roles. Birgit Nilsson in Mozart could be likened to a Bugatti Veyron that is being driven tamely at the speed-limit. Perhaps lyricism and lightness - so important in this domain - are not fully there but her characterisation is not in doubt: this dame ain't happy. And the voice is never less than captivating.
When Tchaikovsky viewed the manuscript of Don Giovanni, he felt the presence of divinity. This affords a similar experience. And what fun it is! Hesitate not!
Heading that cast is one of the two or three indisputably greatest Dons of the 20C, Cesare Siepi, the epitome of saturnine charm and leonine elegance. Cesare Valletti was an under-rated tenore di grazia who sounds a little weedy and tentative in his first entry but soon warms up to sing one of the most graceful, long-breathed Don Ottavios on record. Leontyne Price was at the at time alternating the role of Elvira with that of Donna Anna and if anything sounds more comfortable here in that slightly lower-lying part, her vibrant tone lending a welcome touch of hysteria to her characterisation. Fernando Corena is an old school "fruffly-wuffly", funny-voiced Leporello which for me borders on hamminess but he is wholly inside the role partnering his Don expertly, commenting knowingly on proceedings. Heinz Blankenburg made a light, clean-voiced Figaro at Glyndebourne a few years later and is here an equally pleasing Masetto. Leinsdorf's tempi, phrasing and emphases seem entirely appropriate to me, without any excesses and the supper scene rocks, the momentum and tension mounting from the very opening whereas too many conductors go off the boil here.
Drawbacks? They range from the minor or negligible, such as Siepi's Milanesi, frenchified "r" which annoys some listeners - he tamed it as his career progressed - to the more pertinent. Arnold van Mill's Commendatore is a tad ordinary and urbane - he hardly chills the blood although the recording gives his voice some ghostly reverb - but he is admirably steady and serviceable and the demons really are scary; Eugenia Ratti is her usual squeaky, rather twittery self, making Zerlina more pert than charming but she's no blot on the set. The biggest debate centres on Birgit Nilsson's dubious suitability as Donna Anna; even at this early stage of her career the big voice was too unwieldy hard and laser-like to negotiate the requisite Mozartian style but there is no doubting the commitment of her portrayal and the voice per se is impressive.
Reservations notwithstanding, I cannot withhold any stars from such a starry, energised account, especially when too many more modern versions seem intent on miniaturising this darkest and most imposing of Classical period operas.