If you have read my blog in June 2010, you know my intense appreciation for Giulini's 1959 Don Giovanni. Wächter, Taddei, Sutherland, Schwarzkopf, Alva, Sciutti et al. I think that for all it's worth, Giulini's is the closest one can get to a perfect Don Giovanni. I still feel that way... BUT this set is a close second in many ways, and as far as period practice, it is nigh unto perfect. That is René Jacobs's intention. It seems odd to me that a recording that is based on historical fact and what we know to be Mozart's intentions could be considered new, innovative and groundbreaking... but somehow, all of Jacobs's Mozart recordings are.
But even with controversy (this recording, chalk full of appogiaturas, sudden tempo changes and occasional ornamentation), is among the greatest documentations of the work on disc.
The cast is as follows:
Don Giovanni - Johannes Weisser
Leporello - Lorenzo Ragazzo
Donna Anna - Olga Pasichnyk
Don Ottavio - Kenneth Tarver
Donna Elvira - Alexandrina Pendatchanska
Zerlina - Sunhae Im
Masetto - Nicolay Borchev
Commendatore - Alessandro Guernzoni
Just like his Nozze, Jacobs really emphasizes the drama on this disc above all else. One device that he tends to use for this drama is the use of sudden dramatic tempo changes. I am not entirely convinced on this. One of the brilliant things about Mozart (especially in his Da Ponte settings) is his use of basically one consistant tempo throughout the entire opera. But while his tempo shifts obliterate THAT aspect, they keep the listener entirely engaged in the drama. Like his other recordings, the continuo keeps the recitativo secco moving with a clear and distinct purpose and dramatic intention. Some may think that this kind of solo continuo commentary is great for the buffos like Nozze, but for the more serious plot lines, it is distracting. I can see that, however I find the pianoforte player to alter the manner in which he improvises perfectly for the darker ambience. With that said, in this Dramma giacoso Jacobs tends to on occasion focus a little too heavily on the "giacoso" part for my tastes. Although I admit, in current productions, it does have a tendency to over play the drama, making it too heavy. Jacobs was quoted calling it, "the least known of the Da Ponte operas, even though it's the most frequently performed" he goes on to say, "we much prefer the risk of displeasing the public to betraying the work." This is a sentiment I can get behind. I think the opera world needs more people who think like that.
In the accompanying booklet he discusses some of the decisions he made for those who question his judgement. In particular, his choice of doing the Vienna production of 1788. This differs from the usual pastiche one sees of the Vienna production combined with the Prague production for crowd- and singer-pleasability. He choses to be faithful to one version in its entirety. The only real noticeable differences are a chunk in the middle of act two completely rewritten and the exclusion of Don Ottavio's aria Il mio tesoro. The other decision the ignorant music world questions is his casting of Don Giovanni in Johannes Weisser.
This young Norwegian lyric baritone was 27 years old at the time of the recording. When one thinks of some of the most famous Don Giovannis over the last 100 years, they include Ezio Pinza, George London and Cesare Siepi... I much prefer the young, fresh Weisser to all of the above. If you would like a refresher on WHY, please refer back to my previous Don Giovanni blog here.
Weisser approaches this young, licentious nobleman from a very understated place. No grand gestures intended to symbolize all evil in the world or anything... just exactly what the character requires. A young, over privileged, guy with enough power and money to make Solomon blush, and nothing to do with it. His outlet has become chasing women. He is charming, good-looking, selfish and rich. We all know somebody like that. That is what Da Ponte's characters are all about. Not symbols and statements, just honest human characters. Weisser struts and dances through the score with his light, silvery baritone. He delivers a slower tempo, but high energy 'finch'han dal vino' before the act 1 finale, he floats through 'Deh vieni alla finestra' in act 2 with a finesse that could woo the coldest of spinster house maids, with ornamentation that is neither expected nor forced. His blood curdling scream at the end of the opera as he is drug down to Hell is perhaps the most convincing I have heard on record. His style of seduction is deferent from the way it is usually heard, and probably a much more effective strategy in all honesty. His approach is that of overtly sweet and gentle, which woos the ladies into a false sense of security that they realize only after he has already deserted them. One may prefer a bit more bravura and blatant arrogance in their Don Giovanni, but his is definitely fresh. He is young and has a long way to go still in his career. His voice will become better with age and his characterization of this great role will grow with time and experience, but his first documentation of the role here is of an incredibly respectable quality and uniqueness that should be applauded.
His partner in crime, for the most part against his will, is Leporello. Sung here by a friend of ours, Lorenzo Ragazzo, whom we heard as Figaro in Jacobs's Nozze recording. This role may be an even better fit than his wonderful rendition of Figaro. He retains all of the buffo aspects of his character being one of the most successfully comedic examples of the role I have heard on record. His almost flawless Leporello is filled with thousands of mercurial acting nuances that come through the voice as clearly as if we were watching him live.
Alexandrina Pendatchanska brings a truly Bulgarian flare to this hot-blooded lady. She really makes clear the indecision of the character as to whether she hates Giovanni with a passion or is still madly in love with him. She is obviously a favourite of Jacobs as she was previously heard as an excellent Vitellia on his La Clemenza di Tito recording. Even with her excellent portrayal, and characterization I feel as if she may be slightly miscast. Throughout the set one can hear her constant struggle as to whether to "let it out" or hold back in a more lyrical manner. It feels through much of the opera as if she is holding back beyond what is truly comfortable. Is it possible her voice is just too large for this Mozartean role???
The other soprano here with a slightly Slavic flare is the Ukrainian Olga Pasichnyk as Donna Anna. Some reviewers say she is a bit too much of a drama queen, some say she often hovers dangerously close to being flat and is reluctant to give the character any real dramatic dimension... in lieu of these contrary statements I will say that she sings the role with the drama of a young girl who doesn't understand these new feelings she is experiencing and she sometimes tends to project a very inward interpretation which could be explained by somebody who is uncomfortable with all these feelings that they do not truly understand. Her voice is clear and distinct with a nice intention behind every phrase. Pasichnyk's rendering of Donn'Anna's final aria, "Non mi dir, bell'idol mio" is quite possibly the most breathtakingly gorgeous version of the aria I have ever heard in my life. Making even Dame Joan Sutherland's pale in comparison. As a singer with a voice of notable size, she maintains throughout the aria a dynamic that begs the listener to stop what they're doing and listen that much closer. She glides through the long, soaring lines with a warm, but glistening tone and a liquid legato that if one allows, could bring tears to the eyes of even the most hardened among us. The way she sails through just about the longest phrase I have ever heard, from ch'io mora in measure 46 through a beautiful embellishment and on through the opening phrase of the next section, on one impeccable breath can truly stop the listeners breathing and slow the heart rate, as if they are suspended in a stratosphere of pure beauty for just that one moment… and isn't that what art is all about?
Sunhae Im brings a one of a kind sass to Zerlina that gives her a fresh new attitude problem that works wonders for the character. Don't you tire of the little innocent, naive, BORING way most people play that role? Her two arias, which we have all heard sung badly an uncountable number of times, have new life here with elegant phrasing, dramatic intention and unique ornamentation. Masetto is adequately buffo-ish and The Commendatory is stately enough, but obviously can't compare in vocal stature to Gottlob Frick, or even more so, Matti Talvela on Böhm's set.
Last but certainly not least is Kenneth Tarver as Don Ottavio. He sings with a light, lyric fortitude that fits the music vocally perfect. His diction is clear, his tone gorgeous and lean and his understanding of this young man's struggle over the course of the opera is rarely heard with such honesty in opera houses today. While I completely support Jacobs's choice to be faithful to the Viennese Version, I find it a great shame that we don't get to hear Tarver sing the wonderful "Il mio tesoro" as well. But if I have to choose one, "Dalla sua pace" satisfies entirely. And it may be worth losing "Il mio tesoro" to get Elvira's final aria, "Mi tradi"in the Vienna version.
Years ago Maria Callas criticized the habit of performers to sing and play Mozart as if they were on their "tip-toes." It doesn't take a musicologist to see that this is exactly what René Jacobs wanted to break down with these Mozart recordings. And with the exception perhaps of Alexandrina Pendatchanska's cautious approach to Donna Elvira's music, he has done this excellently. Not by rethinking the older customs, but by returning to what may have been the original intent.
One of the greatest Don Giovanni recordings available, it hasn't replaced my Giulini recording, but it has a very well earned spot on my shelf right next to it and the Gardiner set with Gilfry.
- Christopher Michael Kelley
(Next month: Così fan tutte by René Jacobs)
