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Mozart: Don Giovanni Limited Edition, Original recording reissued, Box set


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Track Listings

Disc: 1

  1. Atto Primo: Ouverture - London Classical Players
  2. Atto Primo, N.1 Introduzione: Notte E Giorno Faticar - Andreas Schmidt
  3. Atto Primo, N.1 Introduzione: Recitativo, Leporello, Ove Sei? - Andreas Schmidt
  4. Atto Primo, N.1 Introduzione: Ah! Del Padre In Periglio - John Mark Ainsley
  5. Atto Primo, N.2 Recitativo Accompagnato E Duetto: Fuggi, Crudele, Fuggi! - John Mark Ainsley
  6. Atto Primo, N.2 Recitativo Accompagnato E Duetto: Recitativo, Orsu, Spicciati Presto - Andreas Schmidt
  7. Atto Primo, N.3 Aria: Ah, Chi Mi Dice Mai - Andreas Schmidt
  8. Atto Primo, N.3 Aria: Recitativo, Chi E La? - Andreas Schmidt
  9. Atto Primo, N.4 Aria: Madamina, Il Catalogo E Questo - Gregory Yurisich
  10. Atto Primo, N.4 Aria: Recitativo, In Questa Forma Dunque - Lynne Dawson
  11. Atto Primo, N.5 Coro: Giovinette, Che Fate All'amore - Gerald Finley
  12. Atto Primo, N.5 Coro: Recitativo, Manco Male E Partita - Gerald Finley
  13. Atto Primo, N.6 Aria: Ho Capito, Signor, Si! - Gerald Finley
  14. Atto Primo, N.6 Aria: Recitativo, Alfin Siam Liberati - Nancy Argenta
  15. Atto Primo, N.7 Duettino: La Ci Darem La Mano - Nancy Argenta
  16. Atto Primo, N.7 Duettino: Recitativo, Fermati, Scellerato! - Nancy Argenta
  17. Atto Primo, N.8 Aria: Ah! Fuggi Il Traditor! - Lynne Dawson
  18. Atto Primo, N.8 Aria: Recitativo, Mi Par Ch'oggi - Andreas Schmidt
  19. Atto Primo, N.9 Quartetto: Non Ti Fidar, O Misera - Andreas Schmidt
  20. Atto Primo, N.9 Quartetto: Recitativo, Povera Sventurata! - Andreas Schmidt
  21. Atto Primo, N.10 Recitativo Accompagnato Ed Aria: Don Ottavio, Son Morta! - John Mark Ainsley
  22. Atto Primo, N.10 Recitativo Accompagnato Ed Aria: Or Sai Chi L'onore - Amanda Halgrimson
  23. Atto Primo, N.10 Recitativo Accompagnato Ed Aria: Recitativo, Come Mai Creder Deggio - John Mark Ainsley
  24. Atto Primo, N.10 Recitativo Accompagnato Ed Aria: Recitativo, Io Deggio Ad Ogni Patto - Andreas Schmidt
  25. Atto Primo, N.11 Aria: Finch'han Dal Vino - Andreas Schmidt
  26. Atto Primo, N.11 Aria: Recitativo, Masetto, Senti Un Po'! - Gerald Finley
  27. Atto Primo, N.12 Aria: Batti, Batti, O Bel Masetto - Nancy Argenta
  28. Atto Primo, N.12 Aria: Recitativo, Guarda Un Po' - Gerald Finley
  29. Atto Primo, N.13 Finale: Presto, Presto, Pria Ch'ei Venga (Masetto, Zerlina, Don Giovanni, Coro) - Gerald Finley
  30. Atto Primo, N.13 Finale: Bisogna Aver Coraggio - Andreas Schmidt
  31. Atto Primo, N.13 Finale: Protegga Il Giusto Cielo - Lynne Dawson
  32. Atto Primo, N.13 Finale: Riposate, Vezzose Ragazze - Gerald Finley
  33. Atto Primo, N.13 Finale: Venite Pur Avanti - Andreas Schmidt
  34. Atto Primo, N.13 Finale: Ecco Il Birbo Che T'ha Offesa! - Gerald Finley

Disc: 2

  1. Atto Secondo, N.14 Duetto: Eh Via, Buffone - Andreas Schmidt
  2. Atto Secondo, N.14 Duetto: Recitativo, Leporello!... Signore? - Andreas Schmidt
  3. Atto Secondo, N.15 Terzetto: Ah Taci, Ingiusto Core! - Andreas Schmidt
  4. Atto Secondo, N.15 Terzetto: Recitativo, Amico, Che Ti Par? - Andreas Schmidt
  5. Atto Secondo, N. 16 Canzonetta: Deh Vieni Alla Finestra - Andreas Schmidt
  6. Atto Secondo, N. 16 Canzonetta: Recitativo, V'e Gente Alla Finestra! - Gerald Finley
  7. Atto Secondo, N.17 Aria: Meta Di Voi Qua Vadano - Andreas Schmidt
  8. Atto Secondo, N.17 Aria: Recitativo, Zitto! Lascia Ch'io Senta! - Gerald Finley
  9. Atto Secondo, N.18 Aria: Vedrai, Carino - Nancy Argenta
  10. Atto Secondo, N.18 Aria: Recitativo, Di Molte Faci Il Lume - Lynne Dawson
  11. Atto Secondo, N.19 Sestetto: Sola, Sola In Buio Loco - Gerald Finley
  12. Atto Secondo, N.19 Sestetto: Mille Torbidi Pensieri - Gregory Yurisich
  13. Atto Secondo, N.19 Sestetto: Recitativo, Dunqu Quello Sei Tu - Gerald Finley
  14. Atto Secondo, N.20 Aria: Ah, Pieta, Signori Miei! - Gregory Yurisich
  15. Atto Secondo, N.20 Aria: Recitativo, Ferma, Perfido, Ferma! - Gerald Finley
  16. Atto Secondo, N. 21 Aria: Il Mio Tesoro Intanto - John Mark Ainsley
  17. Atto Secondo, N.21 Aria: Recitativo, Ah! Questa E Buona! - Andreas Schmidt
  18. Atto Secondo, N.22 Duetto: O Statua Gentilissima - Andreas Schmidt
  19. Atto Secondo, N.22 Duetto: Recitativo, Calmatevi, Idol Mio! - John Mark Ainsley
  20. Atto Secondo, N.23 Recitativo Accompagnato E Rondo: Crudele? Ah No, Mio Bene! - Amanda Halgrimson
  21. Atto Secondo, N.23 Recitativo Accompagnato E Rondo: Non Mi Dir, Bell'idol Mio - Amanda Halgrimson
  22. Atto Secondo, N.23 Recitativo Accompagnato E Rondo: Recitativo, Ah, Si Segua Il Suo Passo - John Mark Ainsley
  23. Atto Secondo, N.24 Finale: Gia La Mensa E Preparata - Andreas Schmidt
  24. Atto Secondo, N.24 Finale: L'ultima Prova Dell'amor Mio - Andreas Schmidt
  25. Atto Secondo, N.24 Finale: Ah, Signor! Per Carita! - Andreas Schmidt
  26. Atto Secondo, N.24 Finale: Don Giovanni A Cenar Teco - Andreas Schmidt
  27. Atto Secondo, N.24 Finale: Ah, Dov'e Il Perfido? - Gerald Finley
  28. Atto Secondo, N.24 Finale: Or Che Tutti, O Mio Tesoro - Gerald Finley
  29. Atto Secondo, N.24 Finale: Questo E Il Fin Di Chi Fa Mal - Gerald Finley

Disc: 3

  1. Atto Primo, N.10 (Conclusion): Recitavo, Come Mai Creder Deggio - John Mark Ainsley
  2. Atto Primo, N.10a Aria: Dalla Sua Pace - John Mark Ainsley
  3. Atto Primo, N.10a Aria: Recitativo, Io Deggio Ad Ogni Patto - Gregory Yurisich
  4. Atto Primo, N. 11 Aria: Finch'han Dal Vino - Andreas Schmidt
  5. Atto Primo, N. 11 Aria: Recitavo, Masetto, Senti Un Po'! - Gerald Finley
  6. Atto Primo, N.12 (Beginning) Aria: Batti Batti, O Bel Masetto - Nancy Argenta
  7. Atto Secondo - N. 19 (Conclusion): Recitavo, Dunque Quello Sei Tu - Nancy Argenta
  8. Atto Secondo, N. 20a Recitavo: Ah Pieta... Compassion... Misericordia! - John Mark Ainsley
  9. Atto Secondo, N. 20a Recitavo: Ferma, Perfido, Ferma! - Gerald Finley
  10. Atto Secondo, N. 20a Recitavo: Restati Qua, Restati Qua! - Nancy Argenta
  11. Atto Secondo, N. 21a Duetto: Per Queste Tue Manine - Nancy Argenta
  12. Atto Secondo, N. 21a Duetto: Recitavo, Amico! Per Pieta - Gregory Yurisish
  13. Atto Secondo, N. 21a Duetto: Andiam, Andiam, Signora! - Gerald Finley
  14. Atto Secondo, N.21b Recitavo Accompagnato Ed Aria: In Quali Eccessi, O Numi - Lynne Dawson
  15. Atto Secondo, N.21b Recitavo Accompagnato Ed Aria: Mi Tradi, Quell'alma Ingrata - Lynne Dawson
  16. Atto Secondo, N.21b Recitavo Accompagnato Ed Aria: Ah! Questa E Bouna! - Andreas Schmidt
  17. Atto Secondo, N.22 (Beginning) Duetto: O Statua Gentilissima - Andreas Schmidt
  18. Atto Secondo, N.24 Finale: Gia La Mensa E Preparata - Andreas Schmidt
  19. Atto Secondo, N.24 Finale: L'ultimaProva Dell'amor Mio - Andreas Schmidt
  20. Atto Secondo, N.24 Finale: Ah! Signor! Per Carita - Andreas Schmidt
  21. Atto Secondo, N.24 Finale: Don Giovanni A Cenar Teco - Andreas Schmidt
  22. Atto Secondo, N.24 Finale: Ah, Dov'e Il Perfido - Nancy Argenta
  23. Atto Secondo, N.24 Finale: Questo E Il Fin Di Chi Fa Mal - Gerald Finley

Product Description

VIR 561601; VIRGIN - Italia; Classica Lirica

Customer Reviews

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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0x8b29dc90) out of 5 stars 6 reviews
12 of 12 people found the following review helpful
HASH(0x8b3f0f60) out of 5 stars Good first act, Amazing 2nd act 27 Sept. 2006
By B. Edwards - Published on Amazon.com
Format: Audio CD
I've owned alot of different Don Giovanni's over the years, but ultimately I come back to this one. The only one that replaced it for a few years was Gardiner's, which I still prefer in some ways and enjoy listening to, but in the end this performance, and its amazing 2nd act, brings the most wild joy.

Cast wise the stars are Finley's Masseto and Argenta's Zerlina, both of which I find to be my favorite on record. Finley's beautiful baritone and perfect acting match so well with Argenta's angelic (though light voiced) Zerlina. I wish Finley had played the Don! Don't get me wrong, Schmidt is in very good form here, brutally masculine and powerful, but I'd prefer Finley's more golden tone. Still, Schmidt is a good Don..la ci larem la mano is particularly beautiful. Yurisch's Leporello may turn off some with his odd voice, but it is perfectly characterized and very comic sounding. It also can be surprisingly beautiful which catches you off guard after you get used to his regular comic tone. A great performance that really grows on you.

I also love Lynne Dawson's Elvira. Her soaringly pure soprano, tinged with that dark bit of sorrow is just perfect for Elvira in my book. The way her sorrowful wail pierces the textures at the final rejection (before Don is dragged to hell) still sends chills up my spine every time I hear it.

Miles is a profound and stable commendatore.

Ainsley's Ottovio is pure toned and beautiful, a good performance though not ideal. Halgrimson's Anna is my least favorite of the bunch. While pleasant to listen to, she does not capture my heart the way the other singers do. Im not sure why.

One middling performance then, several good ones, and 3 outstanding ones puts this up with the best sung Giovanni's. (Only if you like lighter voices though: I don't care for Wagnerian Mozart)

The most special bit here is the conducting and orchestra though. Norrington can be odd. The staid champaigne aria loses much excitement, the overture sounds somewhat contrived, the fast mask aria doesn't go over very well. The brass and tympani can be heavy handed at times. But so much is gained!

Don's being dragged to hell has never been so awesomely terrifying before, though it may sound oddly fast to those used to more romantic tempos. The first piece of the Act2 Finale has such fire and vigour! You can feel the Don defying all with his whirlwind of energy and passion. The mini-finale of the Sestina in act 2 is a sung and played tour-de-force, the statue scene just bristles and hums with out of this world string playing. Elvira's Fuggi and the following Terzetto are horrifyingly eerie and enchantingly sung by all involved. Zerlina's 2nd aria to Masseto has a wonderful profundity thanks to stellar cello bass and horn playing. The first act finale has such power that you really feel how pathetic Don and Leporelloro are before the combined righteousness of the rest of the world. Last but not least, the finale after Don is dragged down, which sounds so feeble in most performances rings here with rip-roaring panache and nobility, like Don's out of control desires now infuse the rest of the cast with flaming passion, but one that is free and exultant, no longer selfish.

These above are some of the reasons I love this performance the best, even with its oddities and quirks. It gets closest to the heart of the opera, and the orchestra is as much a star as the singers. When I hear other performances in comparison they just are sleepwalking through so much of the score compared to this Don!

One final quirk is the separate prague and vienna versions, which means you will have to do some fiddling to get everything you want in.

But if you don't mind hearing Don Giovanni in a new way, where lots of parts you liked are given annoying twists, but so many new wonders are opened up you will soon forget the annoyance, try this one. Definately my favorite Norrington record.
10 of 10 people found the following review helpful
HASH(0x8b4bbbe8) out of 5 stars A Clear View of Mozart's Genius, But Not Through 19th Century Spectacles 27 Dec. 2007
By Leslie Richford - Published on Amazon.com
Format: Audio CD
Wolfgang Amadeus Mozart (1756 - 1791): Don Giovanni. Prague and Vienna versions. Performed by Andreas Schmidt (Don Giovanni), Gregory Yurisich (Leporello), Alastair Miles (Commendatore), Amanda Halgrimson (Donna Anna), John Mark Ainsley (Don Ottavio), Lynne Dawson (Donna Elvira), Nancy Argenta (Zerlina), Gerald Finley (Masetto), the Schütz Choir of London, the London Classical Players, dir. Roger Norrington. Recorded in August 1992 at No. 1 Studio, Abbey Road, London. Originally released in 1993 by EMI, since re-released by Virgin Classics. Total playing time: approx 3 hrs 16 mins.

Looking at some other reviews, I had the feeling that oranges were being compared to lemons. Roger Norrington's recording of "Don Giovanni" does not only use period instruments but is a fruit of "historically informed performance practice". This means that it is based on thorough research not only into the history and music of Mozart's opera but into the performance practice of the late 18th century. This alone would be enough to disqualify any comparison with romanticized versions from the general classical scene, but it also explains why the voices seem to some listeners to be too "light": In the 18th century, auditoriums were much smaller than those we associate with opera today and singers were not required to sing so loudly, nor did they use the vast amounts of vibrato often heard in more traditional performances. Roger Norrington's essay in the 284 page booklet (I have the original EMI edition) offers justifications for many of his choices and clear explanations of what he was doing (including diagrams and pictures of the seating/standing arrangements of the orchestra and singers), and I think anyone who comes to this with a background in "HIPP" (ancient music) will confirm that the acoustic results are superb, flattening any doubts about Norrington's skills as a conductor and musicologist. (The reviewer who accused him of producing many mediocre recordings must have been listening on a different planet to where I have been.) The orhestral accompaniment to the opera is taken beautifully, with so much clarity and detail that it would be impossible to list all the highlights; the result is that I was able to appreciate Mozart's genius without ever seeing him through 19th century spectacles. And Norrington's choice of singers I found to be excellent: I agree with all the positive comments of other reviewers, but would also like to come to the defence of Gregory Yurisich, who to my mind gives an outstanding Leporello. Yes, he fills the role with humour, but that is surely what Mozart intended: Leporello is a kind of Sancho Pansa to the Don's Quijote, a male figure of identification in a work where the title protagonist is, however much one may secretly admire him, one of the blackest of blackguards. In fact, I think the relationship between Don Giovanni and Leporello on this recording adequately reflects the paradoxical nature of Mozart's and Da Ponte's opera, a comic tragedy or a tragic comedy. I found the three female protagonists to be equally praiseworthy, with Amanda Halgrimson, whom I have never encountered before on record, greatly impressing me with her clear, stylish singing and her pure voice. Lynne Dawson has been a favourite of mine for many years (apart from her Handel recordings, which have drawn so much praise from the critics, I loved her performance in Mozart's "Abduction from the Seraglio" under Christopher Hogwood). And Nancy Argenta is on the same high level as John Mark Ainsley, whose Don Ottavio is anything but a wimp or a "metrosexual" - in fact, I found his lyrical tenor was giving the role a stature I had never envisioned up to now. Andreas Schmidt, Alastair Miles and Gerald Finley all fulfil everything I could ask of singers in a historically informed performance of 18th century music, making this a most enjoyable CD box. The fact that both versions of Don Giovanni are to be found here in full is an extra "bonbon". I have not heard the HIPP competition (Östman on Decca, Gardiner on DG Archiv), but from what critical reviews I have read it would seem that there is little to choose between them - they are all excellent.

Of course, those who prefer the more traditional sound may not be happy, but perhaps they should place the blame for this not on Norrington, who is merely attempting to bridge the gap between the 18th and the 20th/21st centuries, but on their own listening habits. Personally, I think I have stumbled on "the best of both worlds" because my only other recording of Don Giovanni is the live radio broadcast from the Metropolitan Opera New York made in 1942 under the direction of Bruno Walter (and now made available in Europe by Cantus Classics). A live production in the theatre is of course very different from a studio production, and Walter's performance (with Ezio Pinza, Alexander Kipnis, Rose Bampton and a host of other 30's stars) captures both the comical and the theatrical perhaps even better than Norrington's does, despite its being a slightly abridged mix of the Prague and Vienna versions. But where both performances (Walter and Norrington) meet is in their rapid tempi (following Mozart's instructions closely) and in their glorious "feel" for the "sitcom" aspects of this drama. I'm extremely grateful for both recordings.
10 of 10 people found the following review helpful
HASH(0x8c303ad4) out of 5 stars Excellent Mid-Priced Choice 26 Dec. 2000
By A Customer - Published on Amazon.com
Format: Audio CD
This is a highly underrated recording of Mozart's masterpiece, competitive with the best, especially at mid-price. Norrington made many mediocre recordings in the '80s and '90s, but his work here is a wonderful surprise: Dramatic, energetic, and with imaginative tempo and phrasing choices. As for the singers, once you accept the fact that they have light voices, they're all quite good. Lynne Dawson, one of the best singers of her generation, is especially touching as Elvira (the traditional "angry harpy" characterization is not for her). Amanda Halgrimson is probably the lightest-voiced Anna on record, but she's an intelligent singer who knows the part well, the basic quality of her voice is not unattractive, and she certainly has less trouble with the music than, say, Martina Arroyo for Colin Davis. The others range from good to very good, and they work together very well as a team, especially in the recitatives.
The classic studio recording of "Don Giovanni" is Giulini's on EMI (highlighted by the best Anna on records, Joan Sutherland). But if you want a version with more up-to-date sound, or a version that's fairly observant of the need for appogiaturas and ornamentation, or just an excellent all-around performance at mid-price, this is the one.
10 of 13 people found the following review helpful
HASH(0x8b310390) out of 5 stars a valuable educational tool 17 July 1999
By F. Behrens - Published on Amazon.com
Format: Audio CD
Although I agree with most of what reviewer Hogseth says on this site, I must in all fairness point out that the format of this recording makes it a valuable educational tool despite a not quite up to snuff performance. The first two CDs give us the original 1787 Prague version. the third gives us 23 numbers that were added to the next year's Vienna production or were changed from the earlier version. So we have the silly scene in which Zerlina has Leporello bound to a chair, another version of the drinking song, and so on. (This is a more sensible way of giving us the alternative sequences than that in the Telarc "Don Giovanni" that sends you playing with your programming buttons to hear one version or the other.)In short, here is a valuable resource to show students how even Mozart had to accommodate himself to the demands of his public and just as often of his cast. So while I will play this recording less frequently than my favorite one on Philips with Colin Davis on the podium, I will certainly use it in my seminars to show how opera is a living thing that responds to its enviroment.
2 of 2 people found the following review helpful
HASH(0x8b31045c) out of 5 stars Perfect, but not the best 20 Jun. 2002
By arturo - Published on Amazon.com
Format: Audio CD
When I first listened to Don Giovanni I had a very good surprise with all the drama and the meaning of Mozart's most well-known theatral vocal piece. I first bought Gardiner's version, then I found this jewel. The cast is wonderful. Ms Dawson's Donna Elvira is perfect (only reached by Dame Kiri Te Kanawa and Charlotte Magiono interpretations) very light but with a lot of drama, without being almost fake or exagerate concerning intepretation (like Ms Schwarzkopf, although Elizabeth is still a model for many Mozart opera singers). Don Ottavio (John Mark Ainsley) and Donna Anna (Amanda Halgrimson) are perfect (but they find good and strong rivals on Luba Orgonasova and Christoph Pregardien interpretations). What makes me bend in favour of Gardiner's recording is the title-role singer. I do not mean I didn't like mr Schmidt but Rodney Gilfry is the best Don Giovanni ever, and Ildebrando D'Arcangelo Leporello is superb and both interpretations are exquisite ... have a diferent taste. I recomend Norrington recording for those who prefer a lighter interpretation and Gardiner for those who really love the theatre (moreover it is a live version recorded here). I have both recording, though.
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