In 1786, having settled in Vienna, Mozart commenced collaboration with the
poet Da Ponte. This was to realise the immensely popular
Le Nozze de
Figaro with its taut plot and integrated music. The work was
immediately widely acclaimed and was then produced in Prague with
unprecedented success. On the back of this success the manager of the Prague
Opera commissioned a new opera for production the following autumn. Mozart
returned to Vienna and again sought the cooperation of Da Ponte who agreed
to set the verses of
Don Giovanni.
Don Giovanni was well received in Prague. However, for a
production in Vienna the following year there were problems. The tenor
couldn't sing the Act 2 aria
Il Mio Tesoro (CH.55) and Mozart
substituted
Dalla sua pace, better suited to his abilities, in Act
1 (CH.26). The role of Elvira was to be sung in Vienna by a protigie of
Salieri; she demanded a scena for herself and Mozart added the accompanied
recitative
In quali eccessi and aria
Mi Tradi in act 2
(CHs.56 and 57). Common performance and recorded custom, followed here, is
to incorporate the later Vienna additions into the Prague original albeit
often at different points in the story.
Without swift movement between the scenes a performance of
Don
Giovanni can sometimes seem a hotch-potch. I remember Peter Hall's
Glyndebourne production in the 1970s achieved this with flexible rotating
sets that could swiftly become a balcony or a staircase. Certainly, dramatic
cohesion is lost without swift scene-changes. This present DVD seems more of
a film of a production rather than a live recording, although applause is
evident at the end. I suspect it may have been derived from a series of
performances with a little photographic editorial magic so the various
scenes merge, one into the next, with minimal intervening break.
This performance has been around on video since 2000 when it was described
as 'aspect 4:3'. It is denoted here as '6:9 aspect'. It is certainly full
screen without any need for change in aspect ratio on my TV, or obvious
distortion of the view or of the singers or sets.
This Michael Hampe production is a traditional staging, the costumes
likewise, although Don Giovanni's wigs are somewhat strange. I first saw
Thomas Allen in this role in the early 1970s. For me, at that time, and
since, he was the ultimate demonic rake, sadistic and cruel in his treatment
of women. He was the dominant true baritone Giovanni throughout that and the
following decade, as the role increasingly became a favourite of
bass-baritones. Vocally he is not as good here as on the La Scala recording
made four years earlier and conducted by Muti, (Opus Arte in 4:3 aspect),
but his acting, sneer and snarl as well as the physical violence he
threatens and practises, are as convincing as ever. As Leporello, his
servant, Ferruccio Furlanetto is outstanding in vocal and acted
characterization with consummate beauty of tone in his native language. A
few years later he was to become the outstanding basso cantante as Verdi's
Philip and Fiesco. His catalogue aria is to relish (CH.11). Reinhard Dorn,
rather large of physique, sings adequately and acts well as Masetto. As
Donna Anna's suitor Don Ottavio, Kjell Magnus Sandve is not ideal. Whilst
avoiding looking and acting like the ultimate wimp, his tone is edgy and
lacks the ideal vocal mellifluousness in his two arias (CHs.26 and 57).
Mathias Hvlle is a convincing Commendatore in both the opening scene, the
graveyard and as he comes to accept Don Giovanni's invitation to supper. The
statue's appearance at Giovanni's supper, then taking his hand, before
despatching him to hell, are feeble as staging; I have never seen this
dramatic scene so weakly realised, live or recorded.
As to the female singers, so vital in this opera, Hungarian soprano Andrea
Rost is a fuller-toned Despina than many, and no worse for that. She is
suitably pert of figure and demeanour. This recording was made as she was
being seen at the best addresses in the light lyric and coloratura soprano
roles. However, the best female singing comes from Carolyn James and Carol
Vaness as Anna and Elvira respectively. I was impressed by James's vocal
tone, legato and expression (CHs.7 and 62) but I could not remember hearing
her previously. Looking back, to search her pedigree, I was reminded that
she was a winner of the Met competition in 1988, along with two other female
singers by the names of Renie Fleming and Susan Graham. I do not think there
has been a year like that since. She is somewhat limited in her visual
impact in the role by her size. Whether that accounted for her decline in
appearances at the Met I do not know, but all I could find of her later in
the1990s was as a mezzo in a second rate cast of
Il Trovatore. As
Donna Elvira, Giovanni's cruel cast-off, Carol Vaness is very good indeed in
both her acting and singing. In
Mi tradi and the preceding
recitative (CHs.56-57), her range of expression and characterisation is as
good as it gets.
Musically the performance is undistinguished under James Conlon. The film
definition is nowhere near up to today's HD standard. Colour definition is
vague and the focus woolly at times. The sound is shown as Stereo DD 2.0.
There is nothing spectacular or much presence about it; double mono might be
a better description. The English subtitles are a mess, giving only half the
story for those who are new to the opera.
Robert J Farr
