Mozart: Don Giovanni [Blu-ray] [2008]

There are now several choices available of this opera so in this review I am going to consider three contrasting productions. They are the 2008 Royal Opera/Mackerras, the 2001 Zurich Opera/Harnoncourt and the 2002 Aix-en Provence/Harding productions.

The Royal Opera production under Mackerras here has resulted in both enthusiastic and damning comments to be found on Amazon. The DVD issue is generally more enthusiastically reviewed than the Blu-ray version but for no apparent reason to do with the different format. The Keenlyside Giovanni figure is portrayed as particularly driven. Importantly, there is no real sign that he actually likes women - surely an essential requirement of a seducer. He is also shown throughout in somewhat sleezy attire - again, seemingly a rather unlikely attraction for the women when initial appearance is key to his success. Charm therefore seems to be an unimportant consideration of this production. Given these concepts, both the singing and the acting are well done. However, bearing in mind this characterisation, it becomes difficult to believe that either Elvira or Zerlina would fall for such a man although it is obvious why Anna would hate him. I personally find Elvira rather strident here and surely Ottavio is unlikely to be a serious physical threat to Giovanni even though the part is sung well enough. Both Zerlina and Masetto are excellent with Masetto being a satisfyingly stronger character than usual. Both Leporello and the Commendatore parts are well done. The setting of the opera is loosely in period but there are inconsistences in staging that have to be ignored if this is to be enjoyed. I find the final hell-fire is rather tame though and the nude Giovanni apparently happy in hell and holding a naked woman in his arms at the very end seems doubtful as it undermines any idea of retribution. The orchestral contribution under Mackerras is totally outstanding with every detail making its mark and with good pace throughout. The sound in Blu-ray DTS seems vocally recessed and the volume needs to be turned up several decibels in order to achieve the required bite - then it is OK. This issue gives pleasure very much on its own terms therefore.

The Zurich production under Harnoncourt also features lively orchestral contributions and a good forward pace. The setting is traditional and does not contain any obviously worrisome inconsistencies as at the Royal Opera above. Don Giovanni as portrayed by Gilfry has the necessary charm as well as enough youthful vigour. (He portrays the part of Danilo in the Merry Widow, also at Zurich, with much charm too). He is thus very believable as a seducer of women. This therefore adds credence to the roles of both Anna and Zerlina. Sacca as Don Ottavio is in better shape both physically and vocally than Vargas in the Royal Opera production but it still remains rather a weak role - however this is mostly to do with the character as written in my opinion. To carry it off you would have to be a strong physical character as well. Both Zerlina and Masetto are well performed and convincingly portrayed. Leporello acts and sings well throughout and is a good and strong foil for Giovanni. The concluding scene with a strongly portrayed Commendatore and a markedly more dissolute, long and greasy-haired Giovanni builds well to its fiery end with a clear sense of final terror, but not remorse, clearly communicated by Gilfry. Donna Elvira, as portrayed by Bartoli, is more a matter of personal taste. There are some who find her `over the top' in her acted and sung levels of outrage and stridency. This, for me, is the area that I have found to be the most challenging to my enjoyment. However, taken on its own terms, this is still acceptable and musically spot-on. The recording is good visually and sonically with clear surround sound (Dolby 5.1) while not quite being up with the latest in high definition technology. Overall I find this preferable to the Royal Opera production.

That brings me to the surprise winner - that at Aix-en Provence conducted by Harding. This is staged in the most minimalist terms - wooden poles and benches which are moved around to take on different meanings and totally devoid of time or place - intentionally universal therefore but with the message of the essential character types being applied to modern times by means of current clothing. The crucial destruction of Giovanni at the end with such limited means is extraordinarily effective as I see it. The performance is clearly on an outdoor stage at night with dark backgrounds. The stormy weather adds to the drama with hair and clothing blowing in the wind - and I am sure I detected thunder! The singing and acting throughout is simply superlative by a young and highly skilled team. Peter Mattei as Giovanni exudes charm in abundance coupled with extraordinary physical vigour. Delunsch as Elvira manages to chase hard but avoids stridency - in fact the whole cast is inspired resulting in a truly memorable experience. The director defends his minimal staging on the grounds that it focusses everything on the drama of the interaction between the characters. It does - and it works. Harding, conducting the fine Mahler Chamber orchestra, keeps a cracking pace and sense of building electricity. The whole thing is well recorded both visually and sonically (Dolby 5.1) and, for both me and my wife, this is a clear first choice. Terrific!

All the directors (including the choreographer)of this fiasco should find another line of work.

Don Giovanni has just leapt from Donna Anna's window trying to escape and is confronted by the Commendatore who tells Giovanni to" leave her alone". No wonder the old man lost the fight, he must have been blind, as Giovanni is nowhere near Donna Anna who is still in the upstairs bedroom.

Goivanni wears a mask but Leporello doesn't. So how hard would it have been to identify him through his manservant?

Donna Elvira looks as if she wandered onto the wrong opera. A gun-toting wench who has no idea how to use the weapon she is carrying. Having been wronged by Giovanni I would have thought she'd have shot him on sight. To bring guns into the story is about as absurd as it can be, especially towards the end of Act 1 when Don Ottavio, Donna Anna, Donna Elvira and Zerlina all take turns to hold a pistol to the Don's head but nobody shoots.

Giovanni looks more like a bum than a gentleman and knight. As a matter of fact he looks so sweaty and repulsive that I fail to see how he managed to bed any woman at all.

The sets and costumes were all done on the cheap. Even the Catalogue Aria uses such small books to record Giovanni's conquests; they must have been the forerunners of Reader's Digest condensed books.

The dance sequence towards the end of act 1 is pathetic.

I didn't bother with most of Act 2, by the end of Act 1 I had enough. And I don't think I was the only one, there seemed to be more people in the audience at the end of Act 1 than at the beginning of Act 2.
Some may find this Blu-ray appealing but there is more to opera than a high-definition picture. Turn off the video and enjoy the music and singing, which is the only redeeming feature of this production.

Joseph Losey's film of Don Giovanni should have been transferred to Blu-ray instead of this rubbish (Now there is a production of Don Giovanni that will never be equaled). Wonderful performances from an excellent cast and stunning cinematography. The latest release DELUX EDITION (£6 less than the price of this Blu-ray) is a newly restored version with DTS 5.1 audio mix. If you are looking for a Don Giovanni to treasure then that's the one to buy.

I own a truly woderful version of Don Giovanni with Samuel Ramey as a disturbing lead with a cast of truly great singers Gosta Winburg being one of them buy it when it comes back in printKarahan conducts.
This version doesnt make sense Keenlyside as Don Giovanni is not threatening at all nor imposing,the best singer Joyce DiDonato is in no way a Donna Elvira,no man could take advantage of this lady or convey an unconditional forgiving love for Don Giovanni,the part of Dona Anna is sung by Marina Poplavskaya whose pitch and intonation is poor.
The whole cast apart from DiDonato is not dramatic enough,nor is the conducting.
The bottom line is this version does not work.
Jason Escott