I loved this production. It was certainly Weird, but somehow fitting, and rather heartbreaking. Besides, I have seen dozens of traditional Don Gs which really have become a blur.
I think this is a perfect example of how a director can deviate from the stage directions and still remain loyal to the thematic material. I love this adaptation. Also, Erwin Schrott remains one of my favorite bass-baritones. His acting and singing are impeccable. Bravi tutti!
I'm not normally a fan of this type of Regietheater production, but this one has stayed in my memory. Watching a slowly dying, pain-racked Don Giovanni struggle to defy fate as his body fails him is a strangely compelling twist on the classic story. A key to its success is the surprisingly touching bond between the Don and Leporello that emerges as a result of the Don's condition. It's clear that despite the mistreatment he takes and the resentment he often feels, this Leporello really does love his master, who isn't entirely callous to him either. The moment when he begs "Dite di no! Dite di no!" and sobs into Giovanni's jacket, and Giovanni actually takes a moment to comfort him before pushing him away and confronting the Commendatore, sums it up perfectly.
I totally agree. Leporello is terrified to death but does not run away and stays until his mater dies. Their bond is so touching every time I watch this scene.
Strange ... but it captures something we know in our modern world quite well... a man of Don Giovanni's type might well catch something that would drive his medical bills up over his head financially AND have him quite ill, so that by the time he gets to "the last moment," we might marvel that he is still in denial of the fact. Leporello is that one devoted friend who will go to the bitter end ... Donna Elvira represents the better life Don Giovanni dropped out of, pursuing what destroys him ... The Commendatore is in a class by himself ... this version captures the urgency of a man who had to struggle back to do last mission of mercy... ... he died so hard that he in essence comes back a failing tenor having to sing a basso profundo role ... but he's the last mortal willing to be bothered to come out of eternity to try to save this man, and he represents the fact that sometimes, those who have barely escaped a terrible fate have the most urgency about their associates who they know are in mortal danger. As someone who does community work, I can say this particular drama plays out, again, again, and again ... go into the nearest city and look at what happens when people allow their addictions to lead them to the end of the road... look at who is trying to pull them back ... look at those who made it back, scarred, and try to reach out to those who were in the position they escaped ... it's not a pretty sight ... but the truth of it is HERE.
Excellent orchestra. Love the sound. Excellent performers, all four of them. I remember Erwin Shrott stating in another interview that even if you don't know the language, you can tell an emotion being expressed. Love the Commendatore puttering around in the background. Not certain I like the woodsy setting, but that said, I absolutely support contemporary, innovative stagings for every 10-20 performances. Well done. The orchestra and performers excel and surpass the monochromatic stage.
The first time I watched the full video on You Tube, I thought Whaaaat ? Set in a forest ?? Then I watched some tradional versions and then, some of those no scenery versions, but I found I kept comming back to this version. The acting and relationship between Giovanni and Leporello, makes absolute sense in this version and is lovely to watch, how in a strange way, they are drawn to and care for eachother. The only other version I watch now - alternately to this one - is the Karajan Samuel Ramey version, where I get my tradional version fix. I have tried all the dozens of others on You Tube, but turn them off, after a few minutes
I advise you to watch "Don Giovanni" by Furtwängler, with the participation of the amazing Siepi, Edelman, Grümmer, etc. Not only is the singing at its height, but the staging is excellent, as is the performance of the actors.
When Leporello put the BK crown on his head, I KNEW he was done for ... but seriously ... the madness of the man beyond repentance ... still playing at great man, dying every moment, his pride not allowing him to acknowledge his two last opportunities to escape a tragic end ...
That is a genius interpretation of Da Ponte's libretto. and as a signer, and having D.G. in my repertory, believe me, I know lot of trash is on the market. But this ain't one! Just the way they act is amazing, fitting the character like a glove. If art would stick to convention established back in dinosaurs era, constructive evolution couldn't happen and we would be stuck ever and ever with the same productions
You have to believe here that Don G and Leporello have already fallen into the abuss. No palazzo, no food, orchestra, or guests. For a better and traditional staging, check out the MET from 1978. James Morris and Gabriel Becquier head an amazing cast that pulls Richard Bonynge along just fine in the pit. And the drama is clearly laid out on the sets [and their changes]. That said, the orchestra and singers handle this quite brilliantly. Audio-only would be worth a purchase if there were a final scene.
This Commendor really really can't manage it. A bass without low notes is not a bass. That's a shame, because I love the staging and this homeless Don Giovanni.
I don't care if the Commendatore is a true bass or not. All he really needs in my opinion is stage presence. It's about time someone thought of DG and Leporello as frat boys!
No, he can't ... but perhaps that's the point. He died so hard and had to struggle back so hard through homelessness that he emerged a broken tenor stuck in a bass's job ... but, there is no one else to do the job ... so, one broken man reaches out to try to save another ... and, of course, both men fail. There is no way, given the splendor of the other voices, that this was an accident...
karlakor this is just my interpretation, but I think that the whole woodland setting symbolizes the labyrinth and the psychological collective unconscious.
He took out the finale for his "concept"?!?!?! I quote Chopin - "You will play it as it is written, or you will not play it at all". I'd better stop here or this comment will go on for pages . :-)
This is the Viennese version of don Giovanni. With the aria between Zerlina and Leporello and without the finale. So actually this might be closer to what Mozart wanted ;) He changed Giovanni after the premiere in Prague before showing it to the public in Vienna :)
Un Commendatore migliore non c'era?!? Orribile interpretazione. Bravissimo Schrott A better Commander was not there?!? Horrible interpretation. Bravissimo Schrott
I loved this production. It was certainly Weird, but somehow fitting, and rather heartbreaking. Besides, I have seen dozens of traditional Don Gs which really have become a blur.
I think this is a perfect example of how a director can deviate from the stage directions and still remain loyal to the thematic material. I love this adaptation. Also, Erwin Schrott remains one of my favorite bass-baritones. His acting and singing are impeccable. Bravi tutti!
I'm not normally a fan of this type of Regietheater production, but this one has stayed in my memory. Watching a slowly dying, pain-racked Don Giovanni struggle to defy fate as his body fails him is a strangely compelling twist on the classic story. A key to its success is the surprisingly touching bond between the Don and Leporello that emerges as a result of the Don's condition. It's clear that despite the mistreatment he takes and the resentment he often feels, this Leporello really does love his master, who isn't entirely callous to him either. The moment when he begs "Dite di no! Dite di no!" and sobs into Giovanni's jacket, and Giovanni actually takes a moment to comfort him before pushing him away and confronting the Commendatore, sums it up perfectly.
I totally agree. Leporello is terrified to death but does not run away and stays until his mater dies. Their bond is so touching every time I watch this scene.
Strange ... but it captures something we know in our modern world quite well... a man of Don Giovanni's type might well catch something that would drive his medical bills up over his head financially AND have him quite ill, so that by the time he gets to "the last moment," we might marvel that he is still in denial of the fact. Leporello is that one devoted friend who will go to the bitter end ... Donna Elvira represents the better life Don Giovanni dropped out of, pursuing what destroys him ...
The Commendatore is in a class by himself ... this version captures the urgency of a man who had to struggle back to do last mission of mercy... ... he died so hard that he in essence comes back a failing tenor having to sing a basso profundo role ... but he's the last mortal willing to be bothered to come out of eternity to try to save this man, and he represents the fact that sometimes, those who have barely escaped a terrible fate have the most urgency about their associates who they know are in mortal danger.
As someone who does community work, I can say this particular drama plays out, again, again, and again ... go into the nearest city and look at what happens when people allow their addictions to lead them to the end of the road... look at who is trying to pull them back ... look at those who made it back, scarred, and try to reach out to those who were in the position they escaped ... it's not a pretty sight ... but the truth of it is HERE.
Excellent orchestra. Love the sound. Excellent performers, all four of them. I remember Erwin Shrott stating in another interview that even if you don't know the language, you can tell an emotion being expressed. Love the Commendatore puttering around in the background. Not certain I like the woodsy setting, but that said, I absolutely support contemporary, innovative stagings for every 10-20 performances. Well done. The orchestra and performers excel and surpass the monochromatic stage.
Leporello is absolutely brilliant as an actor
Very very very good. WORKS! (the singing ...and production)
This Don Giovanni is excellent
Conmovedor.
The first time I watched the full video on You Tube, I thought Whaaaat ? Set in a forest ?? Then I watched some tradional versions and then, some of those no scenery versions, but I found I kept comming back to this version. The acting and relationship between Giovanni and Leporello, makes absolute sense in this version and is lovely to watch, how in a strange way, they are drawn to and care for eachother. The only other version I watch now - alternately to this one - is the Karajan Samuel Ramey version, where I get my tradional version fix. I have tried all the dozens of others on You Tube, but turn them off, after a few minutes
Absolutely agree! Karajan’s of 1987 is canonical for me. Where did you see the full video of this version? I couldn’t find.
I advise you to watch "Don Giovanni" by Furtwängler, with the participation of the amazing Siepi, Edelman, Grümmer, etc. Not only is the singing at its height, but the staging is excellent, as is the performance of the actors.
It's not Guth that cut out the final ensemble; Mozart himself did it for the Vienna premiere, on which this production is based.
finally someone who knows that!!!
Being Don Giovanni addict I loved this production immensely! Great singing, great acting! The whole idea is so convincing! Bravo!
Don Giovanni eats at Burger King?
When Leporello put the BK crown on his head, I KNEW he was done for ... but seriously ... the madness of the man beyond repentance ... still playing at great man, dying every moment, his pride not allowing him to acknowledge his two last opportunities to escape a tragic end ...
Like it very much. Is there a link to the whole production?
Here it is: th-cam.com/video/1NGelTjP8to/w-d-xo.htmlsi=L06LgB7H-CTOd4k0
MOZART - Don giovanni - Salzburger Festspiele - Finale with Erwin Schrott
Wunderschon..danke*))
Mennyi HUMOR a drámában! A mai lepusztult kapcsolatokra igaz Mozart műve! SZUPER! Élethű Leporello!
That is a genius interpretation of Da Ponte's libretto. and as a signer, and having D.G. in my repertory, believe me, I know lot of trash is on the market. But this ain't one! Just the way they act is amazing, fitting the character like a glove. If art would stick to convention established back in dinosaurs era, constructive evolution couldn't happen and we would be stuck ever and ever with the same productions
Thought Roschman's Elvira was the best as well! these days at any rate
You have to believe here that Don G and Leporello have already fallen into the abuss. No palazzo, no food, orchestra, or guests. For a better and traditional staging, check out the MET from 1978. James Morris and Gabriel Becquier head an amazing cast that pulls Richard Bonynge along just fine in the pit. And the drama is clearly laid out on the sets [and their changes].
That said, the orchestra and singers handle this quite brilliantly. Audio-only would be worth a purchase if there were a final scene.
Can I watch the full performance anywhere?
They have complete performances on You Tube. Its best to see it in person.
Beautiful voices but WTF is up with this staging
This Commendor really really can't manage it. A bass without low notes is not a bass. That's a shame, because I love the staging and this homeless Don Giovanni.
I don't care if the Commendatore is a true bass or not. All he really needs in my opinion is stage presence.
It's about time someone thought of DG and Leporello as frat boys!
No, he can't ... but perhaps that's the point. He died so hard and had to struggle back so hard through homelessness that he emerged a broken tenor stuck in a bass's job ... but, there is no one else to do the job ... so, one broken man reaches out to try to save another ... and, of course, both men fail. There is no way, given the splendor of the other voices, that this was an accident...
Final act though? It was still funny😂
When the BK crown came out ...too funny!
How did Mozart's finale, set in a banquet hall, end up in the woods? This is absurd.
karlakor this is just my interpretation, but I think that the whole woodland setting symbolizes the labyrinth and the psychological collective unconscious.
Burger King!
Yehhhhhhh huuuu
burg*er king..
How ridiculous ! Poor Da Ponte !
Scempio scenico, musicale e vocale. Povero Mozart, povero e Da Ponte!... E spettatori ingannati...
He took out the finale for his "concept"?!?!?! I quote Chopin - "You will play it as it is written, or you will not play it at all". I'd better stop here or this comment will go on for pages . :-)
This is the Viennese version of don Giovanni. With the aria between Zerlina and Leporello and without the finale.
So actually this might be closer to what Mozart wanted ;) He changed Giovanni after the premiere in Prague before showing it to the public in Vienna :)
Un Commendatore migliore non c'era?!? Orribile interpretazione. Bravissimo Schrott
A better Commander was not there?!? Horrible interpretation. Bravissimo Schrott
commandatore is awful