ORFEO International – Catalogue


C 846 153 D

Wolfgang Amadeus Mozart

Don Giovanni

Orfeo • 3 CD • 2h 40min

Order No.: C 846 153 D

Excepcional scherzo


W.A. Mozart: Don Giovanni K 527


Ruggero Raimondi (Don Giovanni - Bariton)
Kurt Moll (Il Commendatore - Baß)
Margaret Price (Donna Anna, Tochter des Komturs - Sopran)
Hermann Winkler (Don Ottavio, Donna Annas Verlobter - Tenor)
Júlia Várady (Donna Elvira, Don Giovannis verlassene Geliebte - Sopran)
Stafford Dean (Leporello, Don Giovannis Diener - Bariton)
Enrico Fissore (Masetto, ein Bauer - Bariton)
Lucia Popp (Zerlina, Masettos Braut - Sopran)
Chor der Bayerischen Staatsoper (Chor)
Bayerisches Staatsorchester (Orchester)
Wolfgang Sawallisch (Dirigent)

Mozart: Don Giovanni - Wolfgang Sawallisch

Even at the big opera houses it’s a real stroke of luck if a production of Mozart’s Don Giovanni doesn’t just have a charismatic Don, but a whole ensemble that’s able to exert its magnetism over the assembled audience (and who thus manage not to follow the Don’s example – after all, his attempts at conquest go awry throughout the opera, with only the memories of earlier conquests remaining). C 846 153 D
C 846 153 D
This rare constellation – having an engaging title hero whose gifts are matched by the objects of his passion – in fact came about in 1973 at the Munich Opera Festival. Ruggero Raimondi was in his early 30s at the time and his unmistakeable, agile, irresistible bass-baritone voice veritably conquered the Bavarian State Opera. In the process he established himself as the Don Giovanni of his generation. But while he was the centre of attention, he was by no means the only sensation of the production. With Margaret Price as Donna Anna, Julia Varady as Donna Elvira and Lucia Popp as Zerlina he was faced with a trio of sopranos who in their individual arias and in their numerous, tricky ensemble numbers turned the evening into a musical feast – as we can now hear in this live recording of the opening night. In the midst of these powerful, highly individual personalities, Hermann Winkler’s lyric dramatic tenor and Stafford Dean’s agile lyric buffo bass were well able to hold their ground as Don Ottavio and the servant Leporello respectively. Enrico Fissore offered a vigorous Masetto, while Giovanni’s final descent into hell – which leaves shivers down many a spine – was made doubly gripping by the dark bass of Kurt Moll’s Commendatore and by Wolfgang Sawallisch at the helm of the Bavarian State Orchestra. This was a Don Giovanni of fast-paced tempi, with a momentum brilliantly geared to the dramatic trajectory, carried by the lyrical qualities of its singers, and with a perfect sense of poise and exhilarating intimacy at just the right moments.

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