---
product_id: 5750603
title: "Mozart: Don Giovanni"
brand: "mozartkeenlysidezambello"
price: "R$656"
currency: BRL
in_stock: true
reviews_count: 7
url: https://www.desertcart.com.br/products/5750603-mozart-don-giovanni
store_origin: BR
region: Brazil
---

# Mozart: Don Giovanni

**Brand:** mozartkeenlysidezambello
**Price:** R$656
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- **What is this?** Mozart: Don Giovanni by mozartkeenlysidezambello
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## Description

Mozart: Don Giovanni

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## Customer Reviews

### ⭐⭐⭐ 







  
  
    Brutale
  

*by T***Y on Reviewed in the United States 🇺🇸 on December 4, 2011*

The director, Francesca Zambello, is not working in top form here. She brings to her Royal Opera House DON GIOVANNI more than the rudiments of an interesting visual style, and she certainly shoulders some responsibility for thought about character and theme. But she draws from Simon Keenlyside one of the nastiest, most reptilian and charm-free Dons in my experience, surely her choice more than his, and balances the scales with the platitudes and bromides of a contemporary feminist. Over and over, her blocking emphasizes an idealized sisterhood which crosses class lines, with the three women achieving unity in their victimization and perseverance. A Virgin Mary icon literally watches over this trio of beauties as they bond in struggling against a male-dominated world of abusive brutes (Masetto), unrepentant lechers (Giovanni), and paternalistic patronizers (Ottavio, Commendatore). All three women join hands to wield one weapon against the Don at the close of Act I; Elvira and Zerlina console Anna during "Il mio tesoro"; "Mi tradi" is in part an Elvira suicide attempt prevented by the other two. Elvira appears  radiantly happy in the final scene when announcing her plan to spend the rest of her days in the convent. Of  *course* the Elvira of such a production would be happy about that prospect, both for what she is leaving behind and what she is heading toward: spiritually enlightened sisterhood forever.None of this is necessarily invalid, and dumber things have been done with this opera, but it is heavy-handed and anachronistic, and not realized with the subtlety and grace that might have gotten it over. Zambello's interest in the women comes at the expense of the men: the Giovanni and Masetto are just unpleasant, while the more genial Ottavio and Leporello seem undercharacterized, stock. Throughout the opera, parts that tend to play awkwardly even in good productions (the Don's slo-mo flight from Anna near the beginning, with Leporello chuntering away in the corner) predictably do so here, but easy parts are also muffed (the Don/Commendatore duel; the Don's escape at the first act finale, here done with a rope in the manner of a rock climb; the first Don/Leporello confrontation with the statue, done without a statue). It is a half-baked, neither/nor GIOVANNI, showing the impulse of "It's been done so often one way, and I want to do something else" without that impulse carried through to a thorough, convincing "something else."There are some excellent vocal performances, but that can be said for most DON GIOVANNI DVDs. Most successful are the mezzo Donna Elvira of Joyce DiDonato (a sympathetic and beautifully calibrated acting performance, allied to tight runs and an absolutely seamless voice) and the Leporello of Kyle Ketelsen (vocally wholly agreeable, and well drilled in the standard comedic Leporelloisms to the point of expertise -- but whether his performance has much to do with the production around him, or whether the director's imagination was seized by this character enough to really incorporate him, I am less sure). Also impressive is the Zerlina of Miah Persson, who gets all she can out of Zambello's very sexually liberated and sophisticated take on the peasant girl. The Don Ottavio, Ramón Vargas, gives a characteristic performance: never an actor, but sincerely engaged and likable. He sings the part mellifluously, if not as well as he subsequently would in fall 2011 at the Met (another lackluster GIOVANNI, that one by Grandage). In New York, it seemed to me he had achieved the stature of mature artistry; in  London three years earlier, the long-breathed phrases in the middle of "Il mio tesoro" are a bit labored.If Vargas always seems to be Vargas rather than the character, his basic stage savvy is nevertheless put into sharp relief by the very green Masetto of Robert Gleadow. The latter has a nice voice, but his scenes are hampered by stiffness and diffidence, accompanied by furtive sidelong glances, surprising to encounter in a broadcast performance. No such concerns are raised by Marina Poplavskaya, who throws herself passionately into the production's very black-and-white, unambiguously virtuous and wronged Donna Anna (I did like the detail of the character's mourning veil). Poplavskaya's haunting timbre and compelling presence compensate for the shortish breath line and hit-or-miss fioritura. Zambello shrewdly has the Russian soprano let down her waist-length blond tresses as she prepares to navigate the rapids of the second half of "Non mi dir" -- the distraction is welcome. Eric Halfvarson is only a serviceable Commendatore. In the title role, Simon Keenlyside is in rough vocal estate, and portrays a facet of the character (brutality) with zeal and professionalism, while other possibilities are deliberately underexposed.I find the contribution of the conductor, the late Sir Charles Mackerras, a challenge to review. Speeds are on the fast side, attacks are aggressive, phrasing pushy; the period-style horns rasp away authentically, the timpanist clubs away with his hard sticks, and the overall sonority elicited is thin and watery. It is surely the performance Mackerras was trying to conjure up, it is academically defensible, and I am sure it is the way someone else likes music of this vintage to go. I found it a trial of the nerves, but my preference for the richer and sleeker sounds of, say, Riccardo Muti (especially on his second DVD, the one from Vienna), is a subjective one. What is more clearly problematic is the poor sound balance, every time to the detriment of the vocal soloists. I wondered how this came off in the house, and whether the octogenarian conductor was suffering a not-atypical decline in hearing acuity.Extra features are very good: a comprehensive behind-the-scenes video tour of the ROH hosted by Deborah Bull (not directly linked to this DON GIOVANNI; the Hytner DON CARLO was being prepared at the time), and five minutes each allotted for music director Antonio Pappano (whom I wish had conducted) to interrogate Mackerras and Zambello. Pappano's questions are better than the inane ones the Met's star singers typically pose to each other on Saturday afternoon movie broadcasts (e.g. "Is it difficult to go from tragedy to comedy?"), and Zambello is so thoughtful and poised that I wish I had enjoyed the product of her efforts more this time.

### ⭐⭐⭐⭐⭐ 







  
  
    it's not pretty . . .
  

*by S***E on Reviewed in the United States 🇺🇸 on February 8, 2014*

Simon Keenlyside is the most reptilian, repulsive, scuzzy Don Giovanni you are likely to meet, and he gives himself totally to Francesca Zambello's conception -- or, more accurately, to the conception that he and Zambello worked out together.  Keenlyside is a fine singer, but here it's impossible to separate the musical from the histrionic effectiveness of this very fine performance.  That sadism and ugliness is made manifest from the start, with the death of the Commendatore -- a good performance by Eric Halfvarson -- which is chillingly intimate, and in which the masked Don reveals himself to the dying man, just before Donna Anna returns to the scene with Don Ottavio.  It's a world of sadists and masochists, and it's interesting that Anna and Ottavio are the ones who resist that dualism.  Marina Poplavskaya's Anna is traumatized by her near, or perhaps actual, rape, but better than Donna Elvira -- well done by Joyce Di Donato -- she resists the siren song, even without the useless gun that Donna Elvira enters with.  She is not to be distracted or won over -- and an unusually virile Ottavio (Ramon Vargas, in good form) backs her to the hilt.  Ottavio and Anna can seem unattractive and life-denying, but not here -- it's the Don who is the Prince of Darkness and Elvira and Zerlina come perilously close to giving him a free ride.  Poplavskaya's singing can seem a little underpowered in places, but it's always musical and dramatically pointed.  Miah Persson is a very fine Zerlina, in this conception, and Robert Gleadow, a name I had never heard, is a strong-voiced, attractive Masetto.  And Kyle Ketelsen is a superb Leporello.There were some sticky moments in the production.  Like every other one I've seen, Don Giovanni's escape at the end of Act 1 seemed awkward.  Granted, it involved impressive athletic ability by Keenlyside -- luckily he didn't have to sing again until after the interval!  Also, the invitation to the statue seemed awkward -- on my TV screen, I wasn't quite sure what I was looking at.  In neither of these scenes were there any musical problems, though.  A very successful scene was Donna Elvira's "Mi tradi" scene -- very imaginatively conceived and executed, with Di Donato singing absolutely beautifully.  In fact, that scene highlighted an interesting feature of this production -- how the women joined forces and helped and supported each other throughout, and seemed by the end of the evening to LIKE one another.  Of these women, Donna Elvira was the most in need of help, but the women didn't judge one another, they just helped, no matter the differences of "class" or vulnerability.  It was touching and affecting to see them interact, and in particular this focus humanized Donna Anna and contributed to the sense that in this production she is on the side of life.My TV sound-system isn't the best, but it all came through pretty well.  Mackerras and the Covent Garden orchestra were forceful and spirited.  The direction of the action was detailed to a degree rarely seen in Mozart (and superior to the Met's 2011 version with the rather dainty Marius Kwiecien as the Don).  The sets were undistracting, but not particularly good to look at, but they were mobilized to keep the action moving.  Recitative was handled idiomatically and very effectively.  It all added up to a conception of the opera that made sense, whether or not you agreed with it.  One can imagine more dignified Dons -- but this was the world of sexual predators and women who run with the wolves.  Not a pretty sight, but compelling theater.

### ⭐⭐⭐⭐ 







  
  
    Three contrasting productions to consider chosen from three leading contenders
  

*by I***S on Reviewed in the United Kingdom 🇬🇧 on December 23, 2011*

There are now several choices available of this opera of which this review considers three contrasting productions. They are the 2008 Royal Opera/Mackerras, the 2001 Zurich Opera/Harnoncourt and the 2002 Aix-en Provence/Harding productions.The Royal Opera production under Mackerras listed here has received conflicting critical reviews resulting in both enthusiastic and damning comments to be found on Amazon. This also reflects the previous press reviews that accompanied the original performances. The DVD issue is generally more enthusiastically reviewed than the Blu-ray version but for no apparent reason to do with the different format.This Keenlyside Giovanni figure is portrayed as particularly driven and is the most controversial figure in this production. Importantly, there is no real sign that he actually likes women - surely an essential requirement of a seducer. He is also shown throughout in somewhat sleezy attire - again, seemingly a rather unlikely attraction for the women when initial appearance is likely to be an important key to his success. Don Giovanni's charm therefore seems to be an unimportant consideration of this production. Given these concepts, both the singing and the acting are well done. However, bearing in mind this characterisation, it becomes difficult to believe that either Elvira or Zerlina would fall for such a man although it is obvious why Anna would hate him.Elvira comes over as rather strident in this production and this particular portrayal of Ottavio as a character is unlikely to be a serious physical threat to Giovanni even though the part is sung well enough. Both Zerlina and Masetto are excellent with Masetto being a satisfyingly stronger character than usual. Both Leporello and the Commendatore parts are well done.The setting of the opera is loosely in period but there are inconsistencies in staging that have to be ignored if this is to be enjoyed. The final hell-fire is rather tame though and the nude Giovanni apparently happy in hell and holding a naked woman in his arms at the very end seems doubtful as it undermines any idea of retribution. This concluding image of this opera's production is consistent with the portrayal of Giovanni more as a rapist than as a seducer and the ending seems a rather gratuitous use of nudity for non-musical ends.The orchestral contribution under Mackerras is totally outstanding with every detail making its mark and with good pace throughout. The sound in Blu-ray DTS seems vocally recessed and the volume needs to be turned up several decibels in order to achieve the required bite - then it is OK. This issue gives dramatic and musical satisfaction within marked constraints therefore.The Zurich production under Harnoncourt also features lively orchestral contributions and a good forward pace. The setting is traditional and does not contain any obviously worrisome inconsistencies as at the Royal Opera above.Don Giovanni as portrayed by Gilfry has the necessary charm as well as enough youthful vigour. (He portrays the part of Danilo in the Merry Widow, also at Zurich, with much charm too). He is thus very believable as a seducer of women. This therefore adds credence to the roles of both Anna and Zerlina. Sacca as Don Ottavio is in better shape both physically and vocally than Vargas in the Royal Opera production but it still remains rather a weak role - however this is mostly to do with the character as written.Both Zerlina and Masetto are well performed and convincingly portrayed. Leporello acts and sings well throughout and is a good and strong foil for Giovanni. The concluding scene with a strongly portrayed Commendatore and a markedly more dissolute, long and greasy-haired Giovanni builds well to its fiery end with a clear sense of final terror, but not remorse, clearly communicated by Gilfry. Donna Elvira, as portrayed by Bartoli, is more a matter of personal taste. There are some who find her `over the top' in her acted and sung levels of outrage and stridency. However, taken on its own terms, this is still acceptable and musically spot-on.The recording is good visually and sonically with clear surround sound (Dolby 5.1) while not quite being up with the latest in high definition technology. Overall, this is preferable to the Royal Opera production simply by not portraying Giovanni in such a deviant manner.That leaves the production at Aix-en Provence conducted by Harding. This is staged in the most minimalist terms - wooden poles and benches which are moved around to take on different meanings and totally devoid of time or place - intentionally universal therefore but with the message of the essential character types being applied to modern times by means of current clothing. The crucial destruction of Giovanni at the end with such limited means is extraordinarily effective.The performance is clearly on an outdoor stage at night with dark backgrounds. The stormy weather adds to the drama with hair and clothing blowing in the wind and including real thunder!The singing and acting throughout is simply superlative by a young and highly skilled team. Peter Mattei as Giovanni exudes charm in abundance coupled with extraordinary physical vigour. Delunsch as Elvira manages to chase hard but avoids stridency - in fact the whole cast is inspired resulting in a truly memorable experience.The director defends his minimal staging on the grounds that it focusses everything on the drama of the interaction between the characters. It does - and it works. Harding, conducting the fine Mahler Chamber orchestra, keeps a cracking pace and sense of building electricity. The whole thing is well recorded both visually and sonically (Dolby 5.1). This is a terrific performance of considerable musical and dramatic electricity.I would suggest that the Aix-en-Provence production leads this particular group, followed by Harnoncourt at Zurich with the Royal Opera production being mainly considered here being in third place. This is, without doubt, the most extreme and therefore controversial interpretation of this opera and those aspects will need to be considered carefully if this version is to be considered the finest over the other two briefly considered above.

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