This set contains the arias of both versions created by Mozart (Prague 1787, Vienna 1788)
Johannes Weisser (Don Giovanni), Lorenzo Regazzo (Leporello), Alexandrina Pendatchanska (Donna Elvira), Olga Pasichnyk (Donna Anna), Kenneth Tarver (Don Ottavio), Sunhae Im (Zerlina), Nikolay Borchev (Masetto), Alessandro Guerzoni (Il Commendatore)
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If there is one thing that marks out René Jacobs’s approach to Mozart, it is the way he constantly asks himself questions – and the specifically musical brilliance of the answers he comes up with. The success of his recent version of La clemenza di Tito is proof of that! After Così fan tutte and Le nozze di Figaro, his recording of this centrepiece of the Mozart/Da Ponte trilogy offers us the latest fruits of his reflections on Classical opera. Premiered at the 2006 Innsbruck Festival and recorded shortly afterwards, this production is nourished by his thoughts on Don Giovanni as taboo-breaker and on a ‘physiology of roles’ that respects Mozart’s intentions as nearly as possible
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Also available on HMC801964.
Mozart: Don Giovanni - Ouvertura
Mozart: Don Giovanni - Act 1: Notte E Giorno Faticar
Mozart: Don Giovanni - Act 1: Ove Sei?
Mozart: Don Giovanni - Act 1: Ah Del Padre In Periglio
Mozart: Don Giovanni - Act 1: Fuggi, Crudele, Fuggi!
Mozart: Don Giovanni - Act 1: Orsù, Spicciati Presto
Mozart: Don Giovanni - Act 1: Ah Del Padre In Periglio
Mozart: Don Giovanni - Act 1: Chi È Là?
Mozart: Don Giovanni - Act 1: Madamina, Il Catalogo È Questo
Mozart: Don Giovanni - Act 1: In Questa Forma Dunque
Mozart: Don Giovanni - Act 1: Giovinette Che Fate All'Amore
Mozart: Don Giovanni - Act 1: Manco Male È Partita
Mozart: Don Giovanni - Act 1: Ho Capito, Signor Sì
Mozart: Don Giovanni - Act 1: Alfin Siam Liberati
Mozart: Don Giovanni - Act 1: Là Ci Darem La Mano
Mozart: Don Giovanni - Act 1: Fermati Scellerato
Mozart: Don Giovanni - Act 1: Ah Fuggi Il Traditor
Mozart: Don Giovanni - Act 1: Mi Par Ch'Oggi Il Demonio Si Diverta
Mozart: Don Giovanni - Act 1: Ah Ti Ritrovo Ancor
Mozart: Don Giovanni - Act 1: Povera Sventurata!
Mozart: Don Giovanni - Act 1: Don Ottavio, Son Morta!
Mozart: Don Giovanni - Act 1: O Sai Chi L'Onore
Mozart: Don Giovanni - Act 1: Come Mai Creder Deggio
Mozart: Don Giovanni - Act 1: Dalla Sua Pace
Mozart: Don Giovanni - Act 1: Io Deggio Ad Ogni Pdon Giovanni
Mozart: Don Giovanni - Act 1: Fin Ch'Han Dal Vino
Mozart: Don Giovanni - Act 1: Masetto - Senti Un Po'
Mozart: Don Giovanni - Act 1: Batti, Batti, O Bel Masetto
Mozart: Don Giovanni - Act 1: Guarda Un Po' Come Seppe
Mozart: Don Giovanni - Act 1: Presto Presto Pria Ch'Ei Venga
Mozart: Don Giovanni - Act 1: Tra Quest'Arbori Celata
Mozart: Don Giovanni - Act 1: Bisogna Aver Coraggio
Mozart: Don Giovanni - Act 1: Riposate, Vezzose Ragazze
Mozart: Don Giovanni - Act 2: Eh Via Buffone
Mozart: Don Giovanni - Act 2: Leporello., Signore.
Mozart: Don Giovanni - Act 2: Ah Taci, Ingiusto Core
Mozart: Don Giovanni - Act 2: Amico, Che Ti Par?
Mozart: Don Giovanni - Act 2: Deh Vieni Alla Finestra
Mozart: Don Giovanni - Act 2: V'È Gente Alla Finestra!
Mozart: Don Giovanni - Act 2: Metà Di Voi Qua Vadano
Mozart: Don Giovanni - Act 2: Zitto! Lascia Ch'Io Senta
Mozart: Don Giovanni - Act 2: Vedrai, Carino
Mozart: Don Giovanni - Act 2: Di Molte Faci Il Lume
Mozart: Don Giovanni - Act 2: Sola Sola In Buio Loco
Mozart: Don Giovanni - Act 2: Ferma, Perfido, Ferma
Mozart: Don Giovanni - Act 2: Restati Qua!
Mozart: Don Giovanni - Act 2: Per Queste Tue Manine
Mozart: Don Giovanni - Act 2: Guarda Un Po'Come Stretto
Mozart: Don Giovanni - Act 2: Andiam, Andiam, Signora
Mozart: Don Giovanni - Act 2: In Quali Eccessi, O Numi
Mozart: Don Giovanni - Act 2: Mi Tradì Quell'Alma Ingrata
Mozart: Don Giovanni - Act 2: Ah Ah Ah Ah, Questa È Buona
Mozart: Don Giovanni - Act 2: O Statua Gentilissima
Mozart: Don Giovanni - Act 2: Calmatevi, Idol Mio
Mozart: Don Giovanni - Act 2: Crudele! Ah No, Mio Bene!
Mozart: Don Giovanni - Act 2: Non Mi Dir, Bell'Idol Mio
Mozart: Don Giovanni - Appendix: Ah, Si Segua Il Suo Passo
Mozart: Don Giovanni - Appendix: Già La Mensa È Preparata
Mozart: Don Giovanni - Appendix: L'Ultima Prova
Mozart: Don Giovanni - Appendix: Don Giovanni, A Cenar Teco
Mozart: Don Giovanni - Appendix: Ah Dove È Il Perfido
Mozart: Don Giovanni - Appendix: Dunque Quello Sei Tu
Mozart: Don Giovanni - Appendix: Ah Pietà, Signori Miei
Mozart: Don Giovanni - Appendix: Ferma, Perfido, Ferma
Mozart: Don Giovanni - Appendix: Il Mio Tesoro Intanto
September 2006
“Regazzo's brilliant diction and timing put him in the first
rank…Pendatchanska's Elvira seemed in each of her appearances like a Fury descending not only on Giovanni, but on all the other characters too.”
28th September 2007
***
“There is much to admire...especially from the playing of the Freiburg Baroque Orchestra as primed by Jacobs's tensely dramatic phrasing and pacing…”
20th October 2007
“Jacobs's recording of the 1788 Vienna version (with the discarded Prague numbers included in an appendix) is always exhilarating...I found its zest and mercurial spirit refreshing, often compelling.”
2010
“If Jacobs is hardly the first modern conductor to present the opera in its 'original colours', his Don Giovanni is among the liveliest and most enjoyable on offer. It is certainly one of the most brilliantly played. The Freiburg band, forwardly balanced, are eager, involved participants in the drama. Mozart's wonderful woodwind commentaries are as pungent as you will hear, while rasping, minatory valveless brass and gunfire period timpani create a properly terrifying frisson in the Commendatore's retribution scene. Jacobs being Jacobs, there are controversial things here. Tempi can suddenly spurt forward or slow down, usually – as in the opening scene – with dramatically exciting results. Both finales hurtle forward with thrilling impetus. Elsewhere speeds can sound a shade frenetic: in the Act 1 Quartet, for instance, or in Zerlina's two arias. As in Jacobs's Figaro, the recitatives are done in a natural, conversational style, with fortepiano and cello adding their creative 'commentaries', like the instruments in the arias. For Jacobs, Donna Elvira is the opera's central female character. Accordingly, he casts Anna with the relatively light-toned Olga Pasichnyk, who sings 'Non mi dir' tenderly and gracefully, and sounds more sorrowful than vengeful in 'Or sai chi l'onore' – a more vulnerable and more likeable figure than usual. Conversely, Alexandrina Pendatchanska's Elvira is as hysterically obsessive as any on disc, with a mingled desperation and tragic grandeur in her big Act 2 recitative: it's an exciting performance, certainly, though her phrasing can be disconcertingly gusty. Smooth legato is hardly a priority for Johannes Weisser either. His Giovanni is less the sinister, demonic anti-hero, more an over-sexed, heedless young bounder with a taste for danger and a penchant for cruelty. He is casually seductive with Sunhae Im's coquettish, sweet-toned Zerlina, rapier-sharp in his exchanges with Leporello, where his youthful, tenorish timbre contrasts strongly with Lorenzo Regazzo's bass-baritone. Regazzo's is a charismatic performance, never descending to caricature; his lubricious relish in the Catalogue aria does not preclude a hint of elegance. The mellifluous-toned Kenneth Tarver makes a sympathetic, concerned Ottavio, the Masetto is aptly sullen, the Commendatore amply imposing. But few could deny the zest, sweep and sheer theatrical charge of this recording.”
2010
***
“René Jacobs conducts a bitingly sharp account of Don Giovanni...the cast list does not sound distinguished, yet they make a superb team with no weak link, and Jacobs's speeds are sensible rather than exaggerated. The soloists all have fresh, clear, firm voices”
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Mozart: Don Giovanni - Ouvertura
