I have long since
lost count on the number of Don Giovannis on record;
there must be close to forty, DVDs not included. This scholarly
and well-sung version must be counted among the top contenders.
A highlights disc
doesn’t of course show the real merits or demerits of the
complete recording, where sometimes the whole can be greater
than the sum of its parts. In this case the parts are good
enough and anyone wanting most of the plums need look no further.
A thumbnail review could have ended here but I am going to
be a little more specific.
With very generous
playing-time it has been possible to squeeze in almost all
the arias and also some of the ensembles. The recording is
spacey without being over-resonant. The balance between voices
and orchestra is ideal, which is only to be expected from
Telarc.
The Scottish Chamber
Orchestra is one of the best ensembles in the world and having
had a longstanding relationship with Sir Charles the result
is glorious. He has an unerring feeling for what is the right
tempo in each instance. He knows when to hold back and when
to press forward. In his interesting notes on the music, Sir
Charles ponders at some length upon the question of ornamentation
and his decision to be quite restrictive: “appoggiaturas are
used throughout by all singers, but ornamentation is simple
and mainly restricted to the arias of Donna Anna and Don Ottavio.”
The overture is
lively but with enough weight to stress the darker threads
foreshadowing the downfall of the libertine. An interesting
feature is that the roles of Masetto and Il Commendatore are
doubled by the same singer, which also was the case in Mozart’s
time. Fortepiano and cello are employed for the recitatives
but in these highlights they are omitted. There are however
some sound effects to emphasize the feeling of theatre: the
duel between Il Commendatore and Don Giovanni in the first
scene is almost over-realistic with swords crossing and a
roar from Il Commendatore that sends shivers down one’s spine.
The singing is
on an exalted level. Bo Skovhus has long been associated with
Don Giovanni and is almost ideal. His voice has both a seductive
mellifluousness and dramatic bite. The champagne aria is spirited,
the serenade honeyed and he is formidable in the finale. His
valet Leporello is well but a little anonymously sung by Alessandro
Corbelli. It is good to hear a native Italian speaker in this
role. His catalogue aria is elegant with fine nuances and
none of the clowning that can be tiring on repeated hearing.
Umberto Chiummo is a large-voiced Commendatore. As the normally
bloodless Don Ottavio we hear Jerry Hadley, a singer I have
always admired. He manages to give some backbone to this character
thanks to his Italian glow and both arias are highlights among
these highlights, even the fairly dull Dalla sua pace.
Among the ladies
Felicity Lott is a very good Donna Elvira, catching the poor
woman’s despair with a slight flutter in her voice. Nuccia
Focile is a lovely bright-toned Zerlina, maybe a little faceless,
but the two arias are very well sung. The reading to trump
the rest is Christine Brewer’s Donna Anna. With her large
and beautiful dramatic soprano she delivers a glorious Or
sai chi l’onore. There is more than a dash of steel in
her tone but also more than a pinch of warmth. I can’t recall
this aria better sung. The big recitative and rondo near the
end of the opera Crudele! … Non mi dir is even more
impressive with the intricate coloratura elegantly negotiated.
The only weakness is that it leaves you wanting the
complete recording.
Retailing at mid-price
this disc has excellent production values. No texts and translations
are given but there is a detailed track-listing related to
the numbers in the score. You will also find quite extensive
historical notes by H.C. Robbins Landon, a detailed synopsis
and the aforementioned thoughts by Sir Charles Mackerras.
Exemplary.
Göran Forsling
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Bo
Skovhus (baritone) – Don Giovanni; Alessandro Corbelli (baritone) – Leporello;
Christine Brewer (soprano) – Donna Anna; Jerry Hadley (tenor) – Don Ottavio;
Felicity Lott (soprano) – Donna Elvira; Nuccia Focile (soprano) – Zerlina;
Umberto Chiummo (bass) – Il Commendatore/Masetto
