D'Arcangelo's full bass allows this Giovanni to register as a vocal heavyweight, a dominant male who's also an expert seducer...Nézet-Séguin supplies plenty of character, with effective tempos and dramatically conceived music-making...this is definitely one of the best accounts of the opera to appear in a while.

[Nézet-Séguin] combines the well-defined articulation of an historically informed approach with the full-bodied sound of a modern orchestra...The most exciting and consistently well-sung Don Giovanni to appear for several years, this set is strongly recommended.

Nézet-Séguin proves himself to be a superb Mozartian...his pacing can't be faulted...Erdmann confirms the promise of her recital disc...As for Joyce DiDonato, you would have to go a long way to hear such superb breath control in 'Mi tradi'...Villazon was not an obvious choice for Don Ottavio: full-on Latin passion rather than sculptured, north European elegance...Pisaroni really acts with his voice without sacrificing beauty of tone.

this Don Giovanni is more distinguished than the sum of its parts thanks to Nézet-Séguin's powerful and dynamic conducting of the Mahler Chamber Orchestra, which plays with terrific flair and élan...For fans of these particular singers, the set will be a must-buy, but even for the sceptical there is plenty to challenge and stimulate here, and the best of the soloists - Pisaroni, DiDonato, intermittently D'Arcangelo - are outstanding.

d’Arcangelo’s virile, attractively rough-round-the-edges bass-baritone sounds better than ever before on disc...The opera’s not short on terror even before the supernatural rears its head, this has to be one of the most frightening Giovannis I’ve ever heard...Both the ‘Donnas’ are thrillingly sung, full of nuance and vocal drama that leaps out of the speakers.

Nézet-Séguin makes a strong showing here, a dramatic conductor with a foot in both the big Romantic and the “historically aware” Mozartian camps...[Villazon] is in good voice, but his style is anachronistic and lachrymose. Ildebrando d’Arcangelo is a saturnine, bassy Don, but I wish he had swapped roles with Luca Pisaroni’s lithe, witty Leporello.

[D'Arcangelo] brings a devilish charm to the anti-hero's reckless libertinism...The climax of the First Act displays Nézet-Séguin's undoubted skill in balancing the multitude of elements...with a lightness of touch that doesn't betray the lowering clouds gathering about Don Giovanni's future.

There’s too much crooning and pitch-bending from d’Arcangelo, in particular. However, DiDonato’s Mi tradì is sublime and Mojca Erdmann’s gorgeously embellished Zerlina is delicious.