He offers Giovanni one last chance to repent for his multitudinious improprieties. Don Giovanni, the infamous womanizer, makes one conquest after another until the ghost of Donna Annas father, the Commendatore, (whom Giovanni killed) makes his appearance. The sound is so good, the set might have been recorded yesterday. Screen adapatation of Mozarts greatest opera.
Sciutti's charming Zerlina, Cappuccilli's strong and Italianate Masetto and Frick's granite Commendatore are all very much in the picture. Sutherland's Anna isn't quite so full of character but is magnificently sung. Elvira was always one of Schwarzkopf's most successful roles: here she delivers the role with tremendous intensity. Waechter's Giovanni combines the demonic with the seductive in just the right proportions, Taddei is a high-profile Leporello, who relishes the text and sings with lots of 'face'. Then he had one of the most apt casts ever assembled for the piece. At this stage of Giulini's career, he was a direct, lithe conductor, alert to every turn in the story and he projects the nervous tension of the piece ideally while never forcing the pace, as can so easily happen. It has always been most recommendable and Giulini captures all the work's most dramatic characteristics, faithfully supported by the superb Philharmonia forces of that time. Don Giovanni : Wolfgang Amadeus Mozart : Free Download, Borrow, and Streaming : Internet Archive Webamp Volume 90 1 Don Giovanni: Overture 32:13 2 Don Giovanni: Act 1, Scene 3 (Part 1) 28:14 3 Don Giovanni: Act 1, Scene 3 (Concl. $ Īlthough this set is over 40 years old, none of its successors is as skilled in capturing the piece's drama so unerringly.
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