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Mozart: Don Giovanni, K527

Rodney Gilfry (Don Giovanni), Luba Orgonasova (Anna), Charlotte Margiono (Elvira), Eirian James (Zerlina), Christoph Prégardien (Don Ottavio), Ildebrando d'Arcangelo (Leporello), Julian Clarkson (Masetto), Andrea Silvestrelli (Commendatore)

English Baroque Soloists, John Eliot Gardiner

Gardiner's set has a great deal to commend it.
The recitative is sung with exemplary care over pacing so that it sounds as it should, like heightened and vivid conversation, often to electrifying... — Gramophone Classical Music Guide, 2010 More…

Release Date: 16th Jun 1995
Catalogue No: 4458702
Label: DG Archiv
Length: 2 hours 57 minutes

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Mozart: Don Giovanni, K527

Work length2:57:14

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Charlotte Margiono (soprano), Eirian James (mezzo-soprano), Luba Orgonasova (soprano), Andrea Silvestrelli (bass), Christoph Prégardien (tenor), Julian Clarkson (bass), Rod Gilfry (baritone), Ildebrando D'Arcangelo (bass), Rod (Rodney) Gilfry (baritone)
English Baroque Soloists, Monteverdi Choir
Sir John Eliot Gardiner
Recorded: 1994-07-07
Recording Venue: Forum Am Schlosspark, Ludwigsburg

Overture

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"Notte e giorno faticar"

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"Leporello, ove sei?"

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"Ah! del padre in periglio" - "Ma qual mai s'offre, o Dei"

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"Fuggi, crudele, fuggi!"

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"Orsù, spicciati presto"

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"Ah! chi mi dice mai" - "Udisti? qualche bella"

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"Chi è là?"

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"Madamina, il catalogo è questo"

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"In questa forma dunque"

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"Giovinette, che fate all'amore"

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"Manco male, è partita"

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"Ho capito, signor sì!"

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"Alfin siam liberati"

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"Là ci darem la mano"

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"Fermati, scellerato!"

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"Ah, fuggi il traditor"

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"Mi par ch'oggi il demonio si diverta"

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"Non ti fidar, o misera"

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"Povera sventurata!"

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"Don Ottavio... son morta!"

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"Or sai chi l'onore"

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"Come mai creder deggio"

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Dalla sua pace (K.540a)

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"Io deggio ad ogni patto"

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"Fin ch'han dal vino"

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"Masetto... senti un po'..."

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"Batti, batti, o bel Masetto"

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"Guarda un po' come seppe questa strega"

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"Presto, presto... pria ch'ei venga"

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"Tra quest'arbori celata"

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"Bisogna aver corragio"

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"Riposate, vezzose ragazze"

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"Eh via, buffone, non mi seccar"

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"Leporello!"

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"Ah! taci, ingiusto core"

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"Amico, che ti par?"

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"Deh! vieni alla finestra"

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"V'è gente alla finestra"

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"Metà di voi qua vadano"

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"Zitto! lascia ch'io senta" / "Ahi! ahi! la testa mia!" (Don Giovanni, Masetto / Masetto, Zerlina)

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"Vedrai, carino"

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"Di molte faci il lume"

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"Sola, sola in buio loco"

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"Dunque quello sei tu" - "Ah pietà... compassion" - "Ferma, perfido, ferma" (Zerlina, Donna Elvira, Don Ottavio, Masetto, Leporello)

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Restati qua!

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Per queste tue manine (Leporello, Zerlina)

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"Amico, per pietà...Andiam, signora"

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In quali eccessi (K.540c, Recitative)

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Mi tradì quell'alma ingrata (K540c, Aria)

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"Ah! ah! ah! questa è buona!"

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"O statua gentilissima"

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"Calmatevi, idol mio"

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"Crudele? Ah no! mio bene!"

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"Non mi dir, bell'idol mio"

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"Ah, si segua il suo passo"

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"Già la mensa è preparata"

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"L'ultima prova"

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"Don Giovanni, a cenar teco m'invitasti"

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"Ah! dov'è il perfido?"

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Dunque quello sei tu (Zerlina, Donna Elvira, Don Ottavio, Masetto)

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Ah, pietà, signori miei (Leporello)

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Ferma, perfido, ferma (Donna Elvira, Masetto, Zerlina, Don Ottavio)

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Il mio tesoro intanto (Don Ottavio)

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"Ah, ah, ah, ah, questa è buona" - "O statua gentilissima" (Don Giovanni, Leporello, Il Commenda- tore / Leporello, Don Giovanni, Il Commendatore)

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Reviews
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Reviews

2010

Gardiner's set has a great deal to commend it.
The recitative is sung with exemplary care over pacing so that it sounds as it should, like heightened and vivid conversation, often to electrifying effect. Ensembles, the Act 1 quartet particularly, are also treated conversationally, as if one were overhearing four people giving their opinions on a situation in the street. The orchestra, perfectly balanced with the singers in a very immediate acoustic, supports them, as it were 'sings' with them. That contrasts with, and complements, Gardiner's expected ability to empathise with the demonic aspects of the score, as in Giovanni's drinking song and the final moments of Act 1, which fairly bristle with rhythmic energy without ever becoming rushed. The arrival of the statue at Giovanni's dinner-table is tremendous, the period trombones and timpani achieving an appropriately brusque, fearsome attack. Throughout this scene, Gardiner's penchant for sharp accents is wholly appropriate; elsewhere he's sometimes rather too insistent. As a whole, tempos not only seem right on their own account but also, all-importantly, carry conviction in relation to each other. Where so many conductors today are given to rushing 'Mi tradì', Gardiner prefers a more meditative approach, which allows his softgrained Elvira to make the most of the aria's expressive possibilities.
Rodney Gilfry's Giovanni is lithe, ebullient, keen to exert his sexual prowess; an obvious charmer, at times surprisingly tender yet with the iron will only just below the surface. Suave and appealing, delivered in a real baritone timbre, his Giovanni is as accomplished as any on disc. Ildebrando d'Arcangelo was the discovery of these performances: this young bass is a lively foil to his master and on his own a real showman, as 'Madamina' indicates, a number all the better for a brisk speed. Orgonasova once more reveals herself a paragon as regards steady tone and deft technique – there's no need here to slow down for the coloratura at the end of 'Non mi dir' – and she brings to her recounting of the attempted seduction a real feeling of immediacy. As Anna, Margiono sometimes sounds a shade stretched technically, but consoles us with the luminous, inward quality of her voice and her reading of the role, something innate that can't be learnt.
Nobody in their right senses is ever going to suggest that there's one, ideal version of DonGiovanni; the work has far too many facets for that, but for sheer theatrical élan complemented by the live recording, Gardiner is among the best, particularly given a recording that's wonderfully truthful and lifelike.

John Eliot Gardiner's set was recorded mainly live, and the result is vividly dramatic, beautifully paced and deeply expressive ... the performance culminates in one of the most thrilling accounts ever recorded of the final scene.

Mozart: Don Giovanni, K527

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