Don Giovanni

The first "Don Giovanni" I've ever seen, so maybe that's why I love it so much. It's almost perfect. Herbert von Karajan is great (how could it be otherwise!). Everyone of the cast is wonderful. Anna Tomowa-Sintow is tragic and passionate, Kathleen Battle sweet, merry and innocent, and Julia Varady best of them three. The way she sings her second act aria! No one ever did it better. Feruccio Furlanetto is the best Leporello I've ever heard and seen. But of course the most important is Don Giovanni. Samuel Ramey sings absolutely wonderful and acts even better. He is both charming and bold as Don Giovanni ought to be. Just hear it and watch it.

I love opera, I love Mozart and I love Don Giovanni. Then there is Herbert Von Karajan(one of my favourite conductors), Anna Tomowa-Sintow(who I was introduced to with 1984's Simon Boccanegra opposite Milnes and Plishka, what a treat that was), Kathaleen Battle(processor of a light, elegant voice), Samuel Ramey(a powerful singer and actor, and the best ever Attila to me) and Julia Varady(who I also like very much).

Seeing so much talent on board made all the ingredients for a successful production. And successful it was, in fact one of my favourite Don Giovanni's alongside the terrific 1979 Joseph Losey film. I love how characteristically dark it all is, the sets are dark and foreboding, yet the camera work is wonderful and skillful and the costumes are elegant. The production also does so well to stage such a complex opera, so many scenes are well done but the scene at the end with the Commendatore never fails to give me goosebumps.

What I have loved always about Don Giovanni is several things. There is a great story, that is dark and complex without being too convoluted. There are the memorable characters, not just Don Giovanni who is probably the most vivid title character in a Mozart opera due to what the role demands, but also Donna Anna, Elvira, Zerlina, Ottavio, Leporello, Massetto and the Commendatore(quite a small role in comparison but significant). And best of all, Mozart's sublime music, from the overture, Batti Batti, La Ci Darem La Mano, the famous Champagne aria and the final scene.

Karajan's conducting is truly remarkable, and the orchestra play with real style and finesse. The performances are exceptional. Anna Tomowa Sintow is probably the least effective of the cast, but she is still great with her beautiful limpid voice and her success in bringing out the tragedy and passion of Donna Anna. Kathaleen Battle stands out as an elegant and warm Zerlina and Julia Varady is a charming Elvira while showing some spite too. Gosta Winbergh's Ottavio is performed with effortless ease, almost as if Winbergh knows the role inside out, and Ferruccio Furlanetto is an effective Leporello. Best of all is Samuel Ramey's Don Giovanni who proves why he is considered such an outstanding singing-actor. As well as a rich noble voice and commanding presence, he makes Giovanni charming as well as devilish.

Overall, a brilliant Don Giovanni and one of the best I've seen. 10/10 Bethany Cox

This. Is. The best recording I've watched of Don Giovanni. Not only is it the first ever recording of Don Giovanni I've watched, it is also the first Mozart opera in my life. The direction: impeccable. Karajan: absolute legend. The singing, most importantly, is spectacular. Tomowa-Sintow's Donna Anna is tragic, with her voice being thick and dramatic which brings out her dedication in her character. Battle as Zerlina is innocent but with a mischievous and witty streak, which I see as the best interpretation of Zerlina in my opinion. Várády, the best of all, as Donna Elvira portrays her inner conflict between loving Don Giovanni and wanting to revenge him. The titular character being played by one of my favourite basses(Samuel Ramey) portrays Giovanni's magnetic charisma and charm while failing his conquests. Furlanetto is easily the best Leporello in the history of Don Giovanni recordings. His lenient manners towards his master while trying to be a voice of reason to Don Giovanni is portrayed well in this production, his nervousness contrasting with Giovanni's haughtiness. Winbergh as Don Ottavio differs from the typical sweet, submissive tenor in opera. His clear voice shows his character as righteous and his anger is not diminished, unlike other tenors in the role. I will highly recommend this production to opera newcomers and aficionados alike.