- Orchestra: Esterházy Sinfonia
- Conductor: Michael Halász
- Composer: Wolfgang Amadeus Mozart
- Audio CD (22 Oct 2001)
- SPARS Code: DDD
- Number of Discs: 3
- Format: Box set
- Label: Naxos
- ASIN: B00005QISV
- Other Editions: MP3 Download
- Average Customer Review: 4.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 222,552 in Music (See Top 100 in Music)
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Product Description
Amazon.co.uk Review
This recording of Mozart's Don Giovanni would be worth acquiring even if it sold at full price: as a bargain issue it's an almost dream release. From the explosive opening bars through to the final epilogue the reading is dramatically high-voltage--conducted by Michael Halasz at energised tempi that nonetheless have room to breathe in a spacious recording ambience, which means that numbers like "Fin ch'han dal vino" register as something more than a garbled blur. The orchestral playing is crisp and alert, with clear projection of some often bypassed inner detail (like the cello underlay to "Batti, batti"); the ensemble singing is distinguished; and the solos come with real finesse--especially from Adrianne Pieczonka whose Donna Anna is disarmingly bright, fresh and youthful in a way that just for once explains what Giovanni sees in her. Regina Schorg's Elvira is a touch stern with a wide vibrato but no matter: it's a fine voice. And there's a superb Ottavio from Torsten Kerl: a name you won't know but should listen out for. Neither of the two main roles, alas, quite square up vocally to the best available on disc: Renato Girolami's Leporello doesn't shine for the recording, and Bo Skovhus--an accomplished Giovanni, as already heard on the Mackerras version--has a clouded tone that loses focus. But they both deliver theatre, almost to excess. Caveat emptor: (i) this is a Prague edition reading as opposed to the usual mix of Prague and Vienna, which means that two of the most celebrated numbers--"Dalla sua pace" and "Mi tradi"--are consigned to an appendix; (ii) the booklet gives you the libretto in Italian only, no translation. Otherwise, this recording gets a general and enthusiastic thumbs up. --Michael White
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Customer Reviews
Most Helpful Customer Reviews
2 of 3 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
I disagree with the Amazon reviewer that Michael Halász did a fine job.
The 'band' is fine, if not superb, but the conducting is the sole cause of all the problems that beset this otherwise very fine performance.
I utterly disagree that Girolami is a pedestrian Leporello. Far from that. It is just that we have had far too many 'star' Leporellos - they distract the audience (always mixing him up with the Don); they substract from the drama (by being too flambouyant).
Girolami's Leporello simply avoids 'all' such stuff - his is a dark buffa bas baritone, not easily found among the current breed. Bryn Terfel could have been such one, but his singing is never 'buffo' - he is far too serious for such, and hence, a good Wotan he makes, but as Leporello, he lacks the buffo (in Abbado's DG 1998 version).
This 2000 version of Naxos boosts of a wonderful pairing of Leporello and Giovanni, and another wonderful pairing of Ottavio and Anna.
Don Giovanni has been Skovhus's signature role. He is without doubt the BEST Don Giovanni since Cesare Siepi - he has the suave phrasing and sweetness of timbre; he also has the incisive heft denoting the underlying brute in the Don. His mellifluous duet with Raimondi (a very capable Zerlina), his swaggering Champagne aria, and the alluring serenade as well as the brutish aria that lures away the enemy Masetto are all done to such degree of vocal finesse that only 'perfection' would aptly describe.
On top of this, his pairing with Girolami's Leporello is simply a choice of genius - Leporello being the rustic, dark buffa guy, while the Don, the sophisticated libertine. Their marked contrast made their ensemble works (duets in particular) stand out as no other recording or performance has hitherto managed (not even Giulini, with Taddei feigning buffa all the time).
On top of all this goodies, the Donna Anna of Adrianne Pieczonka is a real revelation. Kerl's Ottavio may be a trifle to heroic, but such a change is welcome amid an entire batch of wailingly timid Ottavios. Polish bass Monarcha proves to be a steely Commemdatore.
The saddest bit is the non-purpose driven conducting of Michael Halász, who sags and lags, and at times pulls his soloists to well-nigh grinding halts.
Naxos was capable of lining up a wonderful line of soloists, but failed to choose the right conductor!
The 'band' is fine, if not superb, but the conducting is the sole cause of all the problems that beset this otherwise very fine performance.
I utterly disagree that Girolami is a pedestrian Leporello. Far from that. It is just that we have had far too many 'star' Leporellos - they distract the audience (always mixing him up with the Don); they substract from the drama (by being too flambouyant).
Girolami's Leporello simply avoids 'all' such stuff - his is a dark buffa bas baritone, not easily found among the current breed. Bryn Terfel could have been such one, but his singing is never 'buffo' - he is far too serious for such, and hence, a good Wotan he makes, but as Leporello, he lacks the buffo (in Abbado's DG 1998 version).
This 2000 version of Naxos boosts of a wonderful pairing of Leporello and Giovanni, and another wonderful pairing of Ottavio and Anna.
Don Giovanni has been Skovhus's signature role. He is without doubt the BEST Don Giovanni since Cesare Siepi - he has the suave phrasing and sweetness of timbre; he also has the incisive heft denoting the underlying brute in the Don. His mellifluous duet with Raimondi (a very capable Zerlina), his swaggering Champagne aria, and the alluring serenade as well as the brutish aria that lures away the enemy Masetto are all done to such degree of vocal finesse that only 'perfection' would aptly describe.
On top of this, his pairing with Girolami's Leporello is simply a choice of genius - Leporello being the rustic, dark buffa guy, while the Don, the sophisticated libertine. Their marked contrast made their ensemble works (duets in particular) stand out as no other recording or performance has hitherto managed (not even Giulini, with Taddei feigning buffa all the time).
On top of all this goodies, the Donna Anna of Adrianne Pieczonka is a real revelation. Kerl's Ottavio may be a trifle to heroic, but such a change is welcome amid an entire batch of wailingly timid Ottavios. Polish bass Monarcha proves to be a steely Commemdatore.
The saddest bit is the non-purpose driven conducting of Michael Halász, who sags and lags, and at times pulls his soloists to well-nigh grinding halts.
Naxos was capable of lining up a wonderful line of soloists, but failed to choose the right conductor!
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
4 reviews
2 of 3 people found the following review helpful
Up there with the best
19 Jun 2006
Format:Audio CD
This Cd is a must have. its so underated and unseen because of so many other great composers. but forget about the others, Halasz is far ahead of all others in this classic Cd of great singers and music. Don't let this one slip by, it deserves a good listening to. The experiance is lasting.
2 of 3 people found the following review helpful
Great!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
3 May 2006
Format:Audio CD
Adrianne Pieczonka is a godess. She is my favorite Donna Anna of all time and loved her in this performance. All the rest were pretty mediocre (except the brilliantly sung Donna Elvira of Regina Schorg) but she made up for them. Buy this CD with confidence.
If you like Adrianne than buy Don Giovanni by Glyndbourne or Don Giovanni by Muti with Carlos Alvarez and Michael Schade.
If you like Adrianne than buy Don Giovanni by Glyndbourne or Don Giovanni by Muti with Carlos Alvarez and Michael Schade.
1 of 2 people found the following review helpful
A fine performance almost sabotaged by the conductor.
14 Jan 2011
Format:Audio CD
I disagree with the Amazon reviewer that Michael Halász did a fine job.
The 'band' is fine, if not superb, but the conducting is the sole cause of all the problems that beset this otherwise very fine performance.
I utterly disagree that Girolami is a pedestrian Leporello. Far from that. It is just that we have had far too many 'star' Leporellos - they distract the audience (always mixing him up with the Don); they substract from the drama (by being too flambouyant).
Girolami's Leporello simply avoids 'all' such stuff - his is a dark buffa bas baritone, not easily found among the current breed. Bryn Terfel could have been such one, but his singing is never 'buffo' - he is far too serious for such, and hence, a good Wotan he makes, but as Leporello, he lacks the buffo (in Abbado's DG 1998 version).
This 2000 version of Naxos boosts of a wonderful pairing of Leporello and Giovanni, and another wonderful pairing of Ottavio and Anna.
Don Giovanni has been Skovhus's signature role. He is without doubt the BEST Don Giovanni since Cesare Siepi - he has the suave phrasing and sweetness of timbre; he also has the incisive heft denoting the underlying brute in the Don. His mellifluous duet with Raimondi (a very capable Zerlina), his swaggering Champagne aria, and the alluring serenade as well as the brutish aria that lures away the enemy Masetto are all done to such degree of vocal finesse that only 'perfection' would aptly describe.
On top of this, his pairing with Girolami's Leporello is simply a choice of genius - Leporello being the rustic, dark buffa guy, while the Don, the sophisticated libertine. Their marked contrast made their ensemble works (duets in particular) stand out as no other recording or performance has hitherto managed (not even Giulini, with Taddei feigning buffa all the time).
On top of all this goodies, the Donna Anna of Adrianne Pieczonka is a real revelation. Kerl's Ottavio may be a trifle to heroic, but such a change is welcome amid an entire batch of wailingly timid Ottavios. Polish bass Monarcha proves to be a steely Commemdatore.
The saddest bit is the non-purpose driven conducting of Michael Halász, who sags and lags, and at times pulls his soloists to well-nigh grinding halts.
Naxos was capable of lining up a wonderful line of soloists, but failed to choose the right conductor!
The 'band' is fine, if not superb, but the conducting is the sole cause of all the problems that beset this otherwise very fine performance.
I utterly disagree that Girolami is a pedestrian Leporello. Far from that. It is just that we have had far too many 'star' Leporellos - they distract the audience (always mixing him up with the Don); they substract from the drama (by being too flambouyant).
Girolami's Leporello simply avoids 'all' such stuff - his is a dark buffa bas baritone, not easily found among the current breed. Bryn Terfel could have been such one, but his singing is never 'buffo' - he is far too serious for such, and hence, a good Wotan he makes, but as Leporello, he lacks the buffo (in Abbado's DG 1998 version).
This 2000 version of Naxos boosts of a wonderful pairing of Leporello and Giovanni, and another wonderful pairing of Ottavio and Anna.
Don Giovanni has been Skovhus's signature role. He is without doubt the BEST Don Giovanni since Cesare Siepi - he has the suave phrasing and sweetness of timbre; he also has the incisive heft denoting the underlying brute in the Don. His mellifluous duet with Raimondi (a very capable Zerlina), his swaggering Champagne aria, and the alluring serenade as well as the brutish aria that lures away the enemy Masetto are all done to such degree of vocal finesse that only 'perfection' would aptly describe.
On top of this, his pairing with Girolami's Leporello is simply a choice of genius - Leporello being the rustic, dark buffa guy, while the Don, the sophisticated libertine. Their marked contrast made their ensemble works (duets in particular) stand out as no other recording or performance has hitherto managed (not even Giulini, with Taddei feigning buffa all the time).
On top of all this goodies, the Donna Anna of Adrianne Pieczonka is a real revelation. Kerl's Ottavio may be a trifle to heroic, but such a change is welcome amid an entire batch of wailingly timid Ottavios. Polish bass Monarcha proves to be a steely Commemdatore.
The saddest bit is the non-purpose driven conducting of Michael Halász, who sags and lags, and at times pulls his soloists to well-nigh grinding halts.
Naxos was capable of lining up a wonderful line of soloists, but failed to choose the right conductor!
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