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17 of 17 people found the following review helpful
Format:Audio CD
This 2009 Decca re-issue of Josef Krip's 'Don Giovanni' featuring the 'King of Don Gs' Cesare Siepi is a timely one.
Siepi, who passed away this July at the age of 87, really owned the role in an era where great bass-baritones abounded: George London, Ebberhard Waechter, Dietrich Fischer-Dieskau, just to name a few.
Waechter was chosen by Giulini in the classic recording of the 1960's. George London at that time was the favourite 'Don' of Karl Boehm.
What makes Siepi's Don Giovanni so special? First of all, Siepi is a bass - basso cantante (lyrical bass), and not a bass baritone. However, his timbre has a gold-tip that sounds more burnished than many baritones. Hence he was doubly capable in handling the various aspects of Don Giovanni as few others could - as a sinister rogue; as a carefree playboy; as a suave womaniser. Listen to the various arias and duets, and especially the recitatives of Siepi in the various recordings of this role that he's made - for Furtwangler, and for Krips here. Few baritones or bass singers could tackle a 'Deh Vieni alla Finestra' to the same alluring degree as Siepi, and fewer could sing a similarly recklessly suave 'Finch'an dal vino'. His is the burnished darkness, the tingling Italianate squillo, the lyrical warmth, all in one.
The cast here also contained some other outstanding portrayals. Hilde Gueden and Lisa della Casa are both classic singers in Mozart operas. Suzanne Danco may be less well known in the role of Donna Anna, but she is fully capable in handling this role. Corena is, in my subjective view, even better than Taddei in the Giulini set as Leporello.
Josef Krips did not leave many operatic recordings, but as a seasoned Mozartian, this one represents one of his illustrious outputs.
Yes - this set is on par with the famous Giulini set. Do not hesitate to get this one to savour the luxurious performance by 20th century's great Don G.
Siepi, who passed away this July at the age of 87, really owned the role in an era where great bass-baritones abounded: George London, Ebberhard Waechter, Dietrich Fischer-Dieskau, just to name a few.
Waechter was chosen by Giulini in the classic recording of the 1960's. George London at that time was the favourite 'Don' of Karl Boehm.
What makes Siepi's Don Giovanni so special? First of all, Siepi is a bass - basso cantante (lyrical bass), and not a bass baritone. However, his timbre has a gold-tip that sounds more burnished than many baritones. Hence he was doubly capable in handling the various aspects of Don Giovanni as few others could - as a sinister rogue; as a carefree playboy; as a suave womaniser. Listen to the various arias and duets, and especially the recitatives of Siepi in the various recordings of this role that he's made - for Furtwangler, and for Krips here. Few baritones or bass singers could tackle a 'Deh Vieni alla Finestra' to the same alluring degree as Siepi, and fewer could sing a similarly recklessly suave 'Finch'an dal vino'. His is the burnished darkness, the tingling Italianate squillo, the lyrical warmth, all in one.
The cast here also contained some other outstanding portrayals. Hilde Gueden and Lisa della Casa are both classic singers in Mozart operas. Suzanne Danco may be less well known in the role of Donna Anna, but she is fully capable in handling this role. Corena is, in my subjective view, even better than Taddei in the Giulini set as Leporello.
Josef Krips did not leave many operatic recordings, but as a seasoned Mozartian, this one represents one of his illustrious outputs.
Yes - this set is on par with the famous Giulini set. Do not hesitate to get this one to savour the luxurious performance by 20th century's great Don G.
11 of 11 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
This is a relatively old recording made in Vienna in 1955. Together with a live recording (Sony) of a performance under Mitropoulos at the Salzburg Festival in 1956, it is my most favourite audio recording of this masterpiece.
All the singers were then top soloists at the Vienna State Opera. The conducting by Josel Krips (who re-established the Vienna State Opera after the World War II) is exemplary, and the Vienna Philharmonic provides a first-rate support.
There is almost no weak link among the singers. Cesare Siepi (in the title role as in Salzburg) sings with an attractive and resonant voice, and is perfect as the habitual seducer. Lisa della Casa (as in Salzburg) is excellent as the anguished Donna Elvira; her voice is pure and exquisite, and shows no strain as can easily happen in this taxing role.
Hilde Gueden (Zerlina) is very good here, although her singing in other recordings is sometimes slightly mannered. Suzanne Danco (Donna Anna) sings very well, although she has a rather thin voice. (Elisabeth Gruemmer in the other recording has a better voice.) Fernando Corena (Leporello) and Anton Dermota (Don Ottavio) are very well cast in their respective role.
This is a reminder of the high standard achieved in Vienna more than half a century ago. The early stereo recording - digitally remastered - by Decca sounds surprisingly good for its age; it has clarity and depth. Highly recommended.
All the singers were then top soloists at the Vienna State Opera. The conducting by Josel Krips (who re-established the Vienna State Opera after the World War II) is exemplary, and the Vienna Philharmonic provides a first-rate support.
There is almost no weak link among the singers. Cesare Siepi (in the title role as in Salzburg) sings with an attractive and resonant voice, and is perfect as the habitual seducer. Lisa della Casa (as in Salzburg) is excellent as the anguished Donna Elvira; her voice is pure and exquisite, and shows no strain as can easily happen in this taxing role.
Hilde Gueden (Zerlina) is very good here, although her singing in other recordings is sometimes slightly mannered. Suzanne Danco (Donna Anna) sings very well, although she has a rather thin voice. (Elisabeth Gruemmer in the other recording has a better voice.) Fernando Corena (Leporello) and Anton Dermota (Don Ottavio) are very well cast in their respective role.
This is a reminder of the high standard achieved in Vienna more than half a century ago. The early stereo recording - digitally remastered - by Decca sounds surprisingly good for its age; it has clarity and depth. Highly recommended.
10 of 10 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
This really is an marvellous Don. The singers are all excellent and sing with character as well as beauty. Krips' conducting is, as ever, full of life. The sound is very good for a recording made in 1955 - you don't need to make allowances for it. The obvious comparison with with the far more famous classic Giulini set, which was also set down in thr 50s. But, although that set has some wonderful moments ... it has often seemed to lack something to me. Is it the recording - which is a bit muddy - or is it that Giulini's direction lacks life and style? No such problems wit Krips - this performance moves forward with inevitability, sparkle and the pure beauty of Mozart's never-ending invention, and the sound is absolutely crystal clear. At a little more than £10 on Amazon this is an astonishing bargain.
I would, though, have been happy to pay more for it to have been a bit better presented: you just get track listings - no synopsis, no essay on the performance or the performers.
I would, though, have been happy to pay more for it to have been a bit better presented: you just get track listings - no synopsis, no essay on the performance or the performers.
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