Other Sellers on Amazon
+ £1.26 UK delivery
Mozart: Don Giovanni Box set
|Price:||£31.99 & FREE Delivery in the UK. Delivery Details|
|Listen Now with Amazon Music|
Mozart: Don Giovanni (3 CDs)
|Amazon Music Unlimited|
|New from||Used from|
AutoRip is available only for eligible CDs and vinyl sold by Amazon EU Sarl (but does not apply to gift orders or PrimeNow orders). See Terms and Conditions for full details, including costs which may apply for the MP3 version in case of order returns or cancellations.
- Choose from over 13,000 locations across the UK
- Prime members get unlimited deliveries at no additional cost
- Find your preferred location and add it to your address book
- Dispatch to this address when you check out
Frequently bought together
Customers who bought this item also bought
GILFRY / ORGONASOVA / GARDINER
The ever fastidious and scholarly John Eliot Gardiner leaves no stone unturned as his project to record all of the mature Mozart operas with his period instrument English Baroque Soloists arrives at the dramma giocoso that is Don Giovanni. Gardiner rightly opts for the so- called "Vienna" version, the last to have been performed during the composer's lifetime, whilst via an appendix he also offers two missing arias plus a variant account of the Don and Commendatore confrontation from the earlier Prague version. No less conclusive is Gardiner's hard-driven and gritty account of the whole, in which he elicits chiaroscuro shading and sonority from an ever-alert EBS. He is also well served by a crack cast. There's a big- voiced Donna Anna from Luba Orgonasova; a crisply enunciated Donna Elvira from Charlotte Margiono, and an athletic and attractive Zerlina from Eirian James. Christoph Prégardien's staunch Don Ottavio and Ildebrando D'Arcangelo's sparring Leporello keep up the good work, leaving the stage clear for the Don himself, sung by the American baritone Rodney Gilfry. Gilfry comes over as forthright and full bodied, with a pleasing but unbooming chest voice; also he interprets the role psychologically, making for an engaging all-round showing. In fact Gardiner's entire reading engages with its questing veracity and taut ensemble from singers and orchestra alike. Finely recorded, lavishly presented, there probably isn't a better period- instrument Giovanni in the catalogue. --Duncan Hadfield
Top customer reviews
The singers are without exception excellent. Maybe I could wish a bit more "power" from D'Arcangelo, but that's just a tiny detail.
But most of all - this recording is my favourite because of Gardiner. His way of vitalizing the music is wonderful. Maybe a bit fast sometimes, but always very interesting.
Just sad that the quality of sound is not the best - in some scenes the singers are too far fromm the microphones.
Considering the strength of the wider field and limitations herein, this was always going to be a fizzer. What are the constituents of the Perfect Puddle?
Eroticism is lacking per se. Listen to the close of "Ah, chi mi dice mai" where, accompanied by the squeaks of the English Baroque Soloists, Rodney Gilfry as the Don fails manifestly to rise to the occasion (perhaps he should borrow a certain Swedish-made implement from Austin Powers, the International Man of Mystery, to inflate his proposition). Some say that Leporello is a Don-in-training; if so, he should channel some of his master's allure in "Madamina, il catalogo è questo." It does not occur here: Ildebrando D'Arcangelo looks like Tarzan but sings like Jane the Librarian. The great test is "Là ci darem la mano"; amatory it ain't. Blame it all on Jeggy who reportedly wore long-johns on the night.
As per usual, it's the Festival of Brisk Efficiency. A lacquer of surface tension can only do so much to mask Jeggy's limitations as an interpreter and lack of things to say. Consider the Supper Scene: it's a minute plus faster than Leinsdorf who is no slouch - and terror is abjectly lacking. It might frighten a chihuahua and that's about it.
The scrawniness of the English Baroque Soloists never fails to leave one unsatisfied. Surely we have a right to demand more? Listen to their prosaic summary at the end of "Non mi dir" - not even sparrows could survive on such crumbs.
It's a thoroughly B-grade cast (in a semi-non-pejorative sense). Luba Orgonasova as Donna Anna is the most memorable and by a wide margin. Gilry is not a commanding presence - there's nothing about his portrayal that predicates the Supper Scene's deus ex machine; a comparison with Siepi or Gobbi is decidedly not to his advantage. With apologies to Christoph Prégardien (who wimps his way through Don Ottavio), the most ordinary voice on offer is that of Charlotte Margiono as Donna Elvira. Is there a more perfunctory "Ah! Fuggi il traditor" in existence? I doubt it. Much the same could be said of her limp contribution to "Non ti fidar, o misera!" The Zerlina, Masetto and Commendatore are serviceable, not special.
The live recording intermittently lacks presence. Consider "Già la mensa è preparata - L'ultima prova" and how recessed it is.
If a period-practice Don Giovanni is on the cards, I heartily recommend Ostman. It's a full-blooded and better sung affair. And leave "Pale Caesar" and his long-johns to fester away in the nothingness of good intentions and scholarly rectitude.
Would you like to see more reviews about this item?
What other items do customers buy after viewing this item?
Look for similar items by category