Mozart: Don Giovanni, K527 on CD, DVD, Blu-ray & download (MP3 & FLAC)

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Mozart: Don Giovanni, K527 Dimitris Tiliakos (Don Giovanni), Vito Priante (Leporello), Myrtò Papatanasiu (Donna Anna), Kenneth Tarver (Don Ottavio), Karina Gauvin (Donna Elvira), Guido Loconsolo (Masetto), Christina Gansch (Zerlina), Mika Kares (Il Commendatore) MusicAeterna & MusicAeterna Choir, Teodor Currentzis Read Presto's complete review of this disc here The release of Don Giovanni will complete the exceptional 4-year Mozart project Sony Classical has undertaken to studio-record the 3 Da Ponte Operas with Teodor Currentzis and his orchestra and choir MusicAeterna ("The next revolutionary sensation of classical music" - The Independent). Now finally comes Currentzis’ take on the cornerstone of the Da Ponte trilogy – which everybody has been waiting for. Mozart’s mighty and dark magnum opus – Don Giovanni. It promises to follow in the same vein as the previous two outstandingly received recordings Figaro and Così. “This is the last — and best — of Currentzis’s controversially explosive trio of recordings of the great Mozart-Da Ponte comedies...the singers here are new, including two exemplary Italians, Vito Priante and Guido Loconsolo, who make as much of the fast-moving recitatives as they do of the arias...Tiliakos is an outstanding Don, bassy in timbre and relishing his rolled Rs as much as the Italians.” Sunday Times, 16th October 2016 “his MusicAeterna orchestra is on scorching form...it’s not just the virtuosity that compels admiration but the stylistic subtleties too...As for the singing, that continues to be shaped by Currentzis’s belief that Mozart’s performers would have had very different voices — less “operatic”, more naturalistic or even folky — to those customarily singing Mozart today.” The Times, 28th October 2016 **** “[Currentzis is] sceptical, questioning, reinventing with bright lights and vividly colourful insights. Currentzis’s Russian orchestra steals the show with its incisive approach (but sack the clever-clever fortepianist). The ensemble is superbly tight.” The Guardian, 6th November 2016 **** “[this Don Giovanni] strips away many of our distorting performance habits, and the result is refreshing, revelatory and unsettling…Tiliakos is a dramatic Don…Loconsolo is vocally nimble and petulant as required…Gauvin has [Elvira] fully under control and her roulades in the quartet are ravishing. Do not expect a familiar ‘warm bath’ experience here; it offers an invigorating shower of fresh new insights” BBC Music Magazine, Christmas 2016 ***** “an idiosyncratic, sometimes startling, always riveting listening experience.” New York Times, 24th November 2016 “we have a very pleasantly sung Don Giovanni from the Greek baritone Dimitris Tiliakos…Vito Priante’s Leporello is in many ways excellent…Kenneth Tarver sings pleasingly as a lyrical Don Ottavio…Christina Gansch is a very respectable Zerlina” Gramophone Magazine, November 2016 “What makes this a recording to conjure with, for me, is the way Currentzis harnesses the score’s manic energy and nails the crucial balance between absolute technical precision and a sense of underlying recklessness that could upset the apple-cart at any moment: rather like Giovanni himself, he seems to be constantly pushing the boundaries of what’s physically possible.” Katherine Cooper, Presto Classical, 8th December 2016 Presto Disc of the Week 8th December 2016 BBC Music Magazine Opera Choice (Sorry, download not available in your country) In stock - usually despatched within 1 working day.

Mozart: Don Giovanni, K527 1959 Recording 3 CD Hardback, cloth-bound book + dust jacket Don Giovanni’s special amalgam of dark drama and sparkling comedy is captured with startling immediacy by Carlo Maria Giulini. The Viennese baritone Eberhard Wächter faces a particularly formidable pair of noble ladies: Donna Anna in the form of Joan Sutherland (in one of her rare recordings for a label other than Decca) and the Donna Elvira of Elisabeth Schwarzkopf. Newly remastered from the original tapes Full libretto: IT with translations in EN DE FR In stock - usually despatched within 1 working day.

Mozart: Don Giovanni, K527 Mozart’s magnificent dramma giocoso is an opera of extremes and ambiguities, and Nikolaus Harnoncourt – always intrepid and imaginative – explores them to thrilling effect. Seductive, but dangerous as Don Giovanni, Thomas Hampson – abetted by the sonorous Leporello of László Polgár – preys on the Zerlina of Barbara Bonney as he seeks to escape the vengeance of Donna Anna, sung by Edita Gruberová, and the obsession of Roberta Alexander’s Donna Elvira. In stock - usually despatched within 1 working day.

Mozart: Don Giovanni, K527 The Vienna State Opera resumed its performing schedule very soon after the end of the fighting over the Austrian capital in 1945. As the ‘House on the Ring’ had been destroyed by direct hits the company had to move to the Theater an der Wien, though it had been closed since 1938 and was therefore dilapidated. This house, with its wealth of tradition, nevertheless proved to be an ideal setting for performances by the State Opera once it reopened on 6 October 1945. It took only a few years to return to an international standard of opera performance; indeed, music lovers and opera buffs believed that some of its productions even went beyond that level. A decade or so later, studio recordings commenced in earnest. When the Opera House on Vienna’s Ringstraβe opened after rebuilding in May 1955, it boasted an ensemble of supreme vocal artists. The incomparable George London, who for some years had been cast as an ideal Don Giovanni, was now joined by a Don Ottavio sung by the Canadian Léopold Simoneau, who was then celebrated as a Mozart singer, particularly in Paris and at the festivals in Glyndebourne and Aix-en-Provence. The attractive Italian singer Graziella Sciutti, from Turin, was an appropriate choice for the role of Zerlina. After some years in exile in Israel, Hilde Zadek made her début at the State Opera in 1947 and was a distinguished performer of numerous prima donna roles. Her well thought-out interpretation of Donna Anna was a yardstick for generations of singers to come. Ludwig Weber had joined the State Opera in 1945, becoming one of the company’s finest singers; he is heard here in the role of the Commendatore. The already stellar cast was joined by the Viennese Croatian soprano Sena Jurinac in the role of Donna Elvira and by the young singers Walter Berry as the Don’s long-suffering manservant Leporello and Eberhard Waechter as Masetto. All through these years Rudolf Moralt, with his ideal knowledge of the repertoire, was present as the staff conductor; he ensured faultlessly secure musical direction of performances, both at the Theater an der Wien and – until his untimely death in 1958 – at the House on the Ring. Moralt held the reins as securely in Mozart as he did in Hans Pfitzner, Richard Strauss and even Johann Strauss, whose works he performed with verve and gusto with the Vienna Symphony Orchestra. “The reading is sensitive, musicianly and, on the whole, wonderfully precise […] Sena Jurina’s Donna Elvira is … first rate all through. […] Zadek has the voice fo Donna Anna […] The bloom, the darker tragic shade is there […] Simoneau’s Don Ottavio seems to me one of the set’s greatest assets: virile yet elegant and stylish singing […] [London’s performance is] strong and intelligent […] I call this the best Don Giovanni yet” Gramophone Magazine, September 1955 (also available to download from $12.25) In stock - usually despatched within 1 working day.

Mozart: Don Giovanni, K527 Recorded live in 1956 (Sorry, download not available in your country) In stock - usually despatched within 1 working day.

Mozart: Don Giovanni, K527 The brand new series celebrates EMI - The Home of Opera with Giulini's legendary recording of Don Giovanni with Joan Sutherland and Elisabeth Schwarzkopf. Includes complete libretto and synopsis on a bonus CD ROM. “On CD the classic Giulini EMI set, lovingly remastered, sets the standard by which all other recordings have come to be judged. Elisabeth Schwarzkopf, as Elvira, emerges as a dominant figure to give a distinctive but totally apt slant to this endlessly invigorating drama....each member of the cast...combines fine singing with keen dramatic sense.” Penguin Guide, 2010 edition **** “Giulini's Giovanni was the first complete Mozart opera recording I ever heard, and will always have a special place in my heart: revisiting it recently, I was terrified anew by the first shuddering chords of the overture, and marvelled again at Elisabeth Schwarzkopf's patrician Elvira, Joan Sutherland's crystalline Anna and Gottlob Frick's stentorian Commendatore.” Katherine Cooper, Presto Classical, December 2014 (also available to download from $6.50) In stock - usually despatched within 1 working day.

Mozart: Don Giovanni, K527 Release includes a booklet with a three language synopsis [English / French / German], full cast list and detailed track list. Recorded 1978 In stock - usually despatched within 1 working day.

Mozart: Don Giovanni, K527 This set contains the arias of both versions created by Mozart (Prague 1787, Vienna 1788) If there is one thing that marks out René Jacobs’s approach to Mozart, it is the way he constantly asks himself questions – and the specifically musical brilliance of the answers he comes up with. The success of his recent version of La clemenza di Tito is proof of that! After Così fan tutte and Le nozze di Figaro, his recording of this centrepiece of the Mozart/Da Ponte trilogy offers us the latest fruits of his reflections on Classical opera. Premiered at the 2006 Innsbruck Festival and recorded shortly afterwards, this production is nourished by his thoughts on Don Giovanni as taboo-breaker and on a ‘physiology of roles’ that respects Mozart’s intentions as nearly as possible. “If Jacobs is hardly the first modern conductor to present the opera in its 'original colours', his Don Giovanni is among the liveliest and most enjoyable on offer. It is certainly one of the most brilliantly played. The Freiburg band, forwardly balanced, are eager, involved participants in the drama. Mozart's wonderful woodwind commentaries are as pungent as you will hear, while rasping, minatory valveless brass and gunfire period timpani create a properly terrifying frisson in the Commendatore's retribution scene. Jacobs being Jacobs, there are controversial things here. Tempi can suddenly spurt forward or slow down, usually – as in the opening scene – with dramatically exciting results. Both finales hurtle forward with thrilling impetus. Elsewhere speeds can sound a shade frenetic: in the Act 1 Quartet, for instance, or in Zerlina's two arias. As in Jacobs's Figaro, the recitatives are done in a natural, conversational style, with fortepiano and cello adding their creative 'commentaries', like the instruments in the arias. For Jacobs, Donna Elvira is the opera's central female character. Accordingly, he casts Anna with the relatively light-toned Olga Pasichnyk, who sings 'Non mi dir' tenderly and gracefully, and sounds more sorrowful than vengeful in 'Or sai chi l'onore' – a more vulnerable and more likeable figure than usual. Conversely, Alexandrina Pendatchanska's Elvira is as hysterically obsessive as any on disc, with a mingled desperation and tragic grandeur in her big Act 2 recitative: it's an exciting performance, certainly, though her phrasing can be disconcertingly gusty. Smooth legato is hardly a priority for Johannes Weisser either. His Giovanni is less the sinister, demonic anti-hero, more an over-sexed, heedless young bounder with a taste for danger and a penchant for cruelty. He is casually seductive with Sunhae Im's coquettish, sweet-toned Zerlina, rapier-sharp in his exchanges with Leporello, where his youthful, tenorish timbre contrasts strongly with Lorenzo Regazzo's bass-baritone. Regazzo's is a charismatic performance, never descending to caricature; his lubricious relish in the Catalogue aria does not preclude a hint of elegance. The mellifluous-toned Kenneth Tarver makes a sympathetic, concerned Ottavio, the Masetto is aptly sullen, the Commendatore amply imposing. But few could deny the zest, sweep and sheer theatrical charge of this recording.” Gramophone Classical Music Guide, 2010 “Regazzo's brilliant diction and timing put him in the first rank…Pendatchanska's Elvira seemed in each of her appearances like a Fury descending not only on Giovanni, but on all the other characters too.” Opera, September 2006 “René Jacobs conducts a bitingly sharp account of Don Giovanni...the cast list does not sound distinguished, yet they make a superb team with no weak link, and Jacobs's speeds are sensible rather than exaggerated. The soloists all have fresh, clear, firm voices” Penguin Guide, 2010 *** “There is much to admire...especially from the playing of the Freiburg Baroque Orchestra as primed by Jacobs's tensely dramatic phrasing and pacing…” The Guardian, 28th September 2007 *** “Jacobs's recording of the 1788 Vienna version (with the discarded Prague numbers included in an appendix) is always exhilarating...I found its zest and mercurial spirit refreshing, often compelling.” The Telegraph, 20th October 2007 Presto Disc of the Week 1st October 2007 (also available to download from $16.00) In stock - usually despatched within 1 working day.