Carlo Maria Giulini – Mozart Don Giovanni (3 CD)
BCZ/B
Mozart – Wächter • Sutherland • Alva • Frick • Schwarzkopf • Taddei • Cappuccilli • Sciutti, Philharmonia Orchestra & Chorus, Carlo Maria Giulini – Don Giovanni
Baritone Vocals [Leporello] – Giuseppe Taddei
Bass Vocals [Don Giovanni] – Eberhard Wächter
Bass Vocals [Le Commandeur] – Gottlob Frick
Bass Vocals [Masetto] – Piero Cappuccilli
Chorus Master – Roberto Benaglio
Clavichord – Heinrich Schmidt
Composed By – W.A. Mozart*
Conductor – Carlo Maria Giulini
Libretto By – Lorenzo Da Ponte
Orchestra, Choir – The Philharmonia Orchestra Et Choeurs*
Soprano Vocals [Donna Anna] – Joan Sutherland
Soprano Vocals [Donna Elvira] – Elisabeth Schwarzkopf
Soprano Vocals [Zerlina] – Graziella Sciutti
Tenor Vocals [Don Ottavio] – Luigi Alva
Overview
Mozart: Don Giovanni
Don Giovanni is unclassifiable. An unprecedented combination of comedy and seriousness, this “dramma giocoso” (serious comedy), as Mozart himself called it, is jam-packed with drama. There’s a murder, an attempted rape, a violent beating, and — this being the story of Don Juan — seduction. What’s miraculous is the way the opera sails so smoothly from boisterous slapstick to sorrow and back again, a feature particularly prominent in this classic recording because the characterizations are so strong. Eberhard Wächter’s gruff Don Giovanni is equal parts villain and seducer. Joan Sutherland makes Donna Anna’s purity as palpable as her passion to avenge her father’s murder. Giuseppe Taddei is the Don’s manservant Leporello, an obsequious guy with a serious self-esteem problem who alternately admires and is disgusted by his master. Best of all, perhaps, is Elisabeth Schwarzkopf’s Donna Elvira, whose love for the libidinous Don is rendered with tremendous and touching dignity. The Philharmonia Orchestra plays with effervescent elegance for Carlo Maria Giulini.
1-1 Act I (beginning)
2-1 Act I (conclusion)
2-2 Act II (beginning)
3 Act II (conclusion)
Introduction, Notte E Giorno Faticar
Scene Et Trio, Non Sperar, Se Non M’uccidi
Récititaif
Récititaif
Récititaif Et Duo, Ma Qual Mai S’offre, Oh Dei
RÉCitatif, Orsù, Spicciati Presto
Trio, Ah! Chi Mi Dice Mai
Récitatif
Air, Madamina
Récitatif
Air, Duo Et Choer, Giovinette, Che Fate All’ Amore
Récitatif
Air, Ho Capito, Signor, Si
Récitatif
Duo, La Ci Darem la Mano
Récitatif, Fermati, Scellerato
Air, Ah, Fuggi, Il Traditor
Récitatif
Quatuor, Non Ti Fidar, O Misera
Récitatif
Récitatif, Don Ottavio, Son Morta
Air, Or Sai Chi, L’Onore
Récitatif
Air, Dalla Sua Pace
Récitatif
Air, Finch `Han Dal Vino
Récitatif, Masetto, Senti Uin Pó
Air, Batti, Batti, O Bel Masetto
Récitatif
Finale. Presto, presto
Finale (suite)
Trio, Protegga Il Giusto Ciclo
Finale (suite) Riposata, Vezzose Ragazze
Duo, Eh Via, Buffone
Récitatif
Trio
Récitatif
Sérénade, Deh, Vieni Alla Finestra
Récitatif
Air, Metà di Voi Quà Vadano
Récitatif
Récitatif
Air, Vedrai, Carino, Se Sei Buonino
Récitatif, Di Molte Faci Il Lume
Sextuor, Sola In Buio Loco
Récitatif
Air, Ah, Pietà, Signori, Mici
Récitatif
Air, Il Mio Tesoro Intando
Récitatif Avec Orchestre Et Air, In Quali Eccesi
Récitatif
Duo, Oh Statua Gentilissima
Récitatif
Récitatif Avec Orchestre Et Air, Crudele? Ah, No. Mio Bene
Récitatif
Finale, Gia la Mensa è Preperata
Dernière Scène, Ah, Dov’è Il Perfido
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