Wolfgang Amadeus Mozart (1756-1791) Don Giovanni by Wilhelm Furtwängler (1954), NEW MASTERING. Listen to our latest mastering update: bit.ly/3JSd99o 🎧 Qobuz bit.ly/3q8328T Tidal bit.ly/3GaoCPy 🎧 Spotify spoti.fi/3ta96zt CZcams Music bit.ly/3n78aYK 🎧 Apple Music apple.co/36XondG Amazon Music amzn.to/3q69AVi 🎧 Deezer bit.ly/3faJQAJ Amazon Store amzn.to/3zBYESC 🎧 Napster bit.ly/3ngJ3Ty Soundcloud - 🎧 LineMusic日本 bit.ly/3qTqaa0 Awa日本 mf.awa.fm/3ngq2jY Click to activate the English subtitles for the presentation (00:00-04:13) 00:00 Sinfonia ATTO PRIMO, Prima Scena 06:52 Notte e giorno faticar (Leporello (L)) 08:32 Non sperar, se non m'uccidi (Donna Anna (DA)/Don Giovanni (DG/L) 10:06 Lasciala, indegno ! (Commendatore (C)/DG/L) Leporello, ove sei ? (DG/L/DA) 13:17 Ma qual mai s’offre 16:28 Fuggi, crudele, fuggi! (DA/Don Ottavio (DO)) Seconda Scena 20:56 Orsù, spicciati presto (DG/L) 22:14 Ah, chi mi dice mai (Donna Elvira (DE)/DG/L) 25:56 Chi è là ? (DE/DG/L) 28:44 Madamina, il catalogo è questo (L) Terza Scena 34:52 Giovinette che fate all'amore (Zerlina (Z)/Coro (C)/Masetto (M)) 36:23 Manco male, è partita (DG/L/Z/M) 38:29 Ho capito, signor si (M) 40:11 Alfin siam liberati 41:56 Là ci darem la mano (DG/Z) 45:28 Fermati, scellerato ! (DE/Z/DG) Ah, fuggi il traditor ! (DE) 47:51 Mi par ch'oggi il demonio .. Non ti fidar, o misera (DG/DO/DA/DE) Povera sventurata ! (DG) 53:47 Don Ottavio, son morta ! 57:30 Or sai chi l'onore (DA/DO) 1:00:36 Come mai creder deggio .. Dalla sua pace (DO) 1:05:48 Lo deggio ad ogni patto (L/DG) 1:07:14 Finch'han dal vino (DG) Quarta Scena 1:09:00 Masetto, senti un po' (Z/M) 1:10:11 Batti, batti, o bel Masetto (Z) Guarda un po' (M/DG/Z) 1:15:03 Presto, presto, pria ch'ei venga (M/Z/DG/C) 1:17:09 Tra quest'arbori celata (Z/DG/M) 1:19:51 Bisogna aver coraggio (DE/DO/D/L/DG) 1:22:27 Protegga il giusto cielo (DA/DO/DE) Quinta Scena 1:25:22 Riposate, vezzose ragazze (DG/L/M/Z) 1:26:50 Venite pur avanti (L/DG/DA/DE/DO/M/Z) 1:31:35 Ecco il birbo che t’ha offesa ! (DG/L/DA/DE/DO) 1:33:08 Trema, trema, scellerato ! (DA/Z/DE/DO/M/DG/L) ATTO SECONDO, Prima Scena 1:35:51 Eh via, buffone, non mi seccar ! (DG/L) Leporello ! Signore ? 1:38:40 Ah taci, ingiusto core ! (DE/L/DG) 1:43:52 Amico, che ti par ? (DG/L/DE) 1:45:52 Deh vieni alla finestra (DG) V'è gente alla finestra (DG/M) 1:48:59 Metà di voi qua vadano (DG) 1:52:07 Zitto, lascia ch'io senta ! (DG/M/Z) 1:54:11 Vedrai, carino, se sei buonino (Z) Seconda Scena 1:58:19 Di molte faci il lume (L/DE) Sola, sola in buio loco 2:04:44 Mille torbidi pensieri (DE/L/DO/DA/Z/M) 2:07:18 Dunque quello sei tu(Z/DE/DO/M) Ah, pietà, signori miei ! (L) Ferma, perfido, ferma ! (DE/M/Z/DO) 2:10:20 Il mio tesoro intanto (DO) 2:14:54 In quali eccessi 2:17:15 Mi tradì quell’alma ingrata (DE) Terza Scena 2:21:24 Ah, ah, ah, questa è buona (DG/L/La Statua(S)) 2:25:28 O statua gentilissima (L/DG) Quarta Scena 2:29:02 Calmatevi, idol mio ! (DO/DA) 2:29:59 Crudele ? Ah no, mio bene 2:31:48 Non mi dir, bell'idol mio (DA) Quinta Scena 2:37:53 Già la mensa è preparata (DG/L) 2:43:05 L'ultima prova dell'amor mio (DE/DG/L) 2:45:45 Che grido è questo mai ? (DG/L) 2:47:10 Don Giovanni, a cenar teco (La Statua/DG/L) 2:54:09 Da qual tremore insolito (DG/Coro di Diavoli/L) 2:55:35 Ah, dov'è il perfido ? 2:57:21 Or che tutti, o mio tesoro 2:59:34 Questo è il fin (DE/Z/DO/M/DA/L) Don Giovanni (DG) : Cesare Siepi Donna Elvira (DE) : Elisabeth Schwarzkopf Don Ottavio (AD) : Anton Dermota Leporello (L) : Otto Edelmann Masetto (M) : Walter Berry Donna Anna (DA) : Elisabeth Grümmer Commendatore (C) : Deszö Ernster Zerlina (Z) : Erna Berger Chor der Wiener Staatsoper Wiener Philharmoniker Direction : Wilhelm FURTWÄNGLER Live recording in 1954 at the Salzburg Festival New mastering in 2020 by AB for CMRR 🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr 🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr This remarkable live recording restores the exceptional dimension that Furtwängler gave to "Don Giovanni", captured at the Salzburg Festival (1954), three months before his death. The deep breath that characterizes Furtwängler's conducting is inimitable. The scene of the Commendatore, the judgment of Don Giovanni, is the most terrifying of the repertoire (2:47:10). It is no longer a "drama giocoso" but a "drama metafisico". The Vienna Philharmonic is a Rolls-Royce. Cerare Siepi is one of the best Don Giovanni of his generation, Schwarzkopf is Elvira, Dermota is Ottavio, they are legendary performers... The remastering is excellent, good listening :) Wolfgang Amadeus Mozart PLAYLIST (reference recordings) : czcams.com/video/WUvop5RsCGg/video.html
What is the source of the "new mastering"? EMI remastered this in 1991 (not exactly "new"). Is this the edition released on King in Japan in Nov 2020? Thank you
My applause would never stop. What superb understanding of the nuances of the underlying text - I don’t think I have ever heard Don Giovanni with such attention to everything that was being said.
I know that many don't care who the singers are, but this is an OPERA!! I believe these to be the forces: Giovanni: Cesare Siepi. Commendatore: Deszö Ernster. Leporello: Otto Edelmann. Donna Anna: Elisabeth Grümmer. Don Ottavio: Anton Dermota. Donna Elvira: Elisabeth Schwarzkopf. Zerlina: Erna Berger. Mazetto: Walter Berry.
This remarkable live recording restores the exceptional dimension that Furtwängler gave to "Don Giovanni", captured at the Salzburg Festival (1954), three months before his death. The deep breath that characterizes Furtwängler's conducting is inimitable. The scene of the Commendatore, the judgment of Don Giovanni, is the most terrifying of the repertoire (2:47:10). It is no longer a "drama giocoso" but a "drama metafisico". The Vienna Philharmonic is a Rolls-Royce. Cerare Siepi is one of the best Don Giovanni of his generation, Schwarzkopf is Elvira, Dermota is Ottavio, they are legendary performers... The remastering is excellent, good listening :) 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
@@riccardopolignieri8125 No, della Casa did the film, which Schwarzkopf was supposed to do, but didn't for some reason. Listen carefully; it is unmistakably Schwarzkopf.
@@jasonhurd4379 lol, you're right! I posted the comment because I remembered Della Casa being in the cast, but then I started to listen, and... it doesn't sound like her! Eh eh, I haven't revisited this recording for a looong time... thanks Alex for releasing this one!
@@riccardopolignieri8125 Don Giovanni (DG) : Cesare Siepi Donna Elvira (DE) : Elisabeth Schwarzkopf Don Ottavio (AD) : Anton Dermota Leporello (L) : Otto Edelmann Masetto (M) : Walter Berry Donna Anna (DA) : Elisabeth Grümmer Commendatore (C) : Deszö Ernster Zerlina (Z) : Erna Berger
Ein Traum und das so kurz nach dem Total Zusammenbruch in Europa. Ist doch der Beweis, wie wichtig Kulturerlebnisse für uns sind. Habe es gestern zum Tagesbeginn schon einmal gehört und wurde von diesem Erlebnis durch den Tag getragen. Danke für's posten. Unwiderstehlich🌺🌺🌺🌺🌺
In keeping with the admirable series of often little known recordings that CMRR has remastered and brought to a wider audience comes this stellar recording, perhaps the finest Don Giovanni ever captured on tape. That it is live, makes the recording in 1954 and the remastering all the more remarkable for the resonant ambience achieved. Thank you for restoring this masterpiece to the repertoire.
...sem dúvida, dom Giovanni, " a ópera das óperas", cuja estréia, como se sabe, deu-se em praga, no ano de 1787, não me lembram entrementes dia e mês, a dois anos pois de rebentar , em Paris, a revolução, e aqui neste nosso Brasil, no constringir de angústias e miséria das gerais do último quartel do século 18, de ser ideada e pois sufocada a" inconfidência mineira " de Tiradentes ... dom Giovanni , " a ópera das óperas " , a par do "Tristão", de Wagner, e do" Otelo ", de Verdi, assim segundo ajuizar de todos os sábios e amantes da grande música, q as consideram como a tríade máxima e consumada de toda música lírica e dramática,
...certamente, parsifal e os mestres cantores , don carlo, lohengrin, norma, Carmen, Elektra, Salomé, palestrina, Monalisa, e o garatuja, do nosso grande Alberto Nepomuceno...a lista e rol é um nunca acabar, consoante ao gosto e estesia mais particulares do freguês, rs
Perdone: el mito ya existía desde Tirso de Molina, como existían Medea y otros. El único personaje elevado a la categoría de mito por la ópera ha sido CARMEN: cierto que ya existía en la literatura, pero sin la música no hubiera alcanzando su condición de arquetipo ni perdurado en el tiempo.
What a Don giovanni, what a great Baß Mr Siepi!!..Great Wiener of 50ies... And Furtwängler...This must be the greatest Don Giovanni ever recorded.. Who sings Zerlina? Elvira?
Cesare Siepi, just 9 years earlier, took up rifles as an anti-fascist partisan in the Italian Resistance...Furtwängler on the other hand...with a pro-Nazi heart and a career in the Third Reich. Only music could perform the miracle of art to redeem human misery and rubble.
As the child of German Jews who barely escaped the Holocaust, I must take issue with your labeling Furtwängler's heart pro-Nazi--and I'm not even a huge fan of his conducting in general. (This performance I enjoy very much.) F.'s relationship with the Nazis was complicated, and he was naive to think he could continue conducting in Germany without compromising himself, but he was never a Nazi. And I know about the swastika banners and handshake. At the risk of sounding arrogant, I'm asking people not to respond to this post. Thank you.
I enjoy these videos greatly but having the animated opening title overlap with the music is always an unwelcome distraction. If the music could be started just afterward it would be less obtrusive.
Siepi is one of the best Giovanni's of every period. Schwarzkopf is the diametric opposite; dramatic and follows every marking in the score, but the voice is never free.
But the characterization at 50 (fuggi il traditor). Who has ever found the dramatic characterization and exchange of emotions in performance that might represent this passion? I search, but I cannot find one.
You mean Schwarzkopf at 50? Or do you mean 50 minutes in? Ah yes, passion vs tone in opera.. The aria Ah Fuggi il traditor! is interestingly written piano all the way through..
@@BirdArvid I'm sorry. I wasn't clear. What I meant was that I am not sure how the extreme tension of score, delivery, and drama might be brought to its full potential. In other words, I've never seen it done right on the stage. Ponnelle may have understood it, but as far as one knows he did not record his production. There was a production at the Met a decade or more ago that took three days to get over--the effect was great, but brutalizing in its reinforcement of Order. Would like to spend time deepening one's understanding, but one has other projects . . . In this case, the production is being carried by the conductor and the amazing cast.
IMO this is Schwarzkopf's best performance in that role or maybe 2nd after 1953, same conductor, same place. Schwarzkopf was never more dramatic and reached a dimension of emotions I've hardly ever heard before or after by any singer who tried in that role! Simply outstanding!
C'est très beau, mais ce n'est pas le Mozart que je préfère. Je le trouve trop sombre, trop pessimiste. Don Juan(cet abominable libertin) pouvait se repentir, l'âge et la vieillesse aidant, et réorienter sa vie- si compromise soit-elle par la gravité de ses fautes- , dans un sens plus favorable. Son père , au ciel, l'aurait accueilli avec des larmes de joie. Mais là comment peut-il échapper au feu éternel ! N'empêche qu'en l'écoutant, je suis complètement sous le charme
un avis magnifiquement et subtilement argumenté :) le ciel ne reçoit-il pas ce libertin irrémédiable dans le thème de clôture, dans l'exposition de l'ouverture ? (j'ai enseigné l'histoire de la musique à columbia pendant un certain temps -- j'y était étudiante) dans un bâtiment où a été fondé le département d'italien -- par un certain lorenzo da ponte et la seule règle : on pouvait causer avec lui de tout sujet que mozart, dont le nom, mentionné, ferait fondre l'homme en larmes. j'ai découvert que je ne pouvais pas penser à cela pendant que j'étais là-bas sans fondre en larmes moi-meme. plus tard j'ai découvert que mon appart, sur leonard et church, était l'endroit où da ponte avait fondé le premier opéra de nyc (eventuellement il est devenu le met). et puis j'ai déménagé à la 11e rue et avenue a -- où da ponte a été enterré... c'est une serie de belles circonstances pour quelqu'un qui est d'accord avec flaubert : il y a trois créations parfaites dans le monde, la mer, hamlet, et celui-ci)
Le plus important dans u' opéra, c'est la musique; quand la musique est suprêmement, comme c'est le cas chez Mozart, Wagner, Richard Strauss, ou plus près de nous Pascal Dussapin, tout le reste passe. Quand à Dieu, il pardonne toutes nos fautes, même les plus graves et les plus volontaires, si seulement on en exprime le regret. Nous sommes tous des brebis égarées, sauf que certaines le sont plus que d'autres.
Wolfgang Amadeus Mozart (1756-1791) Don Giovanni by Wilhelm Furtwängler (1954), NEW MASTERING.
Listen to our latest mastering update: bit.ly/3JSd99o
🎧 Qobuz bit.ly/3q8328T Tidal bit.ly/3GaoCPy
🎧 Spotify spoti.fi/3ta96zt CZcams Music bit.ly/3n78aYK
🎧 Apple Music apple.co/36XondG Amazon Music amzn.to/3q69AVi
🎧 Deezer bit.ly/3faJQAJ Amazon Store amzn.to/3zBYESC
🎧 Napster bit.ly/3ngJ3Ty Soundcloud -
🎧 LineMusic日本 bit.ly/3qTqaa0 Awa日本 mf.awa.fm/3ngq2jY
Click to activate the English subtitles for the presentation (00:00-04:13)
00:00 Sinfonia
ATTO PRIMO, Prima Scena
06:52 Notte e giorno faticar (Leporello (L))
08:32 Non sperar, se non m'uccidi (Donna Anna (DA)/Don Giovanni (DG/L)
10:06 Lasciala, indegno ! (Commendatore (C)/DG/L) Leporello, ove sei ? (DG/L/DA)
13:17 Ma qual mai s’offre
16:28 Fuggi, crudele, fuggi! (DA/Don Ottavio (DO))
Seconda Scena
20:56 Orsù, spicciati presto (DG/L)
22:14 Ah, chi mi dice mai (Donna Elvira (DE)/DG/L)
25:56 Chi è là ? (DE/DG/L)
28:44 Madamina, il catalogo è questo (L)
Terza Scena
34:52 Giovinette che fate all'amore (Zerlina (Z)/Coro (C)/Masetto (M))
36:23 Manco male, è partita (DG/L/Z/M)
38:29 Ho capito, signor si (M)
40:11 Alfin siam liberati
41:56 Là ci darem la mano (DG/Z)
45:28 Fermati, scellerato ! (DE/Z/DG) Ah, fuggi il traditor ! (DE)
47:51 Mi par ch'oggi il demonio .. Non ti fidar, o misera (DG/DO/DA/DE)
Povera sventurata ! (DG)
53:47 Don Ottavio, son morta !
57:30 Or sai chi l'onore (DA/DO)
1:00:36 Come mai creder deggio .. Dalla sua pace (DO)
1:05:48 Lo deggio ad ogni patto (L/DG)
1:07:14 Finch'han dal vino (DG)
Quarta Scena
1:09:00 Masetto, senti un po' (Z/M)
1:10:11 Batti, batti, o bel Masetto (Z)
Guarda un po' (M/DG/Z)
1:15:03 Presto, presto, pria ch'ei venga (M/Z/DG/C)
1:17:09 Tra quest'arbori celata (Z/DG/M)
1:19:51 Bisogna aver coraggio (DE/DO/D/L/DG)
1:22:27 Protegga il giusto cielo (DA/DO/DE)
Quinta Scena
1:25:22 Riposate, vezzose ragazze (DG/L/M/Z)
1:26:50 Venite pur avanti (L/DG/DA/DE/DO/M/Z)
1:31:35 Ecco il birbo che t’ha offesa ! (DG/L/DA/DE/DO)
1:33:08 Trema, trema, scellerato ! (DA/Z/DE/DO/M/DG/L)
ATTO SECONDO, Prima Scena
1:35:51 Eh via, buffone, non mi seccar ! (DG/L) Leporello ! Signore ?
1:38:40 Ah taci, ingiusto core ! (DE/L/DG)
1:43:52 Amico, che ti par ? (DG/L/DE)
1:45:52 Deh vieni alla finestra (DG) V'è gente alla finestra (DG/M)
1:48:59 Metà di voi qua vadano (DG)
1:52:07 Zitto, lascia ch'io senta ! (DG/M/Z)
1:54:11 Vedrai, carino, se sei buonino (Z)
Seconda Scena
1:58:19 Di molte faci il lume (L/DE) Sola, sola in buio loco
2:04:44 Mille torbidi pensieri (DE/L/DO/DA/Z/M)
2:07:18 Dunque quello sei tu(Z/DE/DO/M) Ah, pietà, signori miei ! (L)
Ferma, perfido, ferma ! (DE/M/Z/DO)
2:10:20 Il mio tesoro intanto (DO)
2:14:54 In quali eccessi
2:17:15 Mi tradì quell’alma ingrata (DE)
Terza Scena
2:21:24 Ah, ah, ah, questa è buona (DG/L/La Statua(S))
2:25:28 O statua gentilissima (L/DG)
Quarta Scena
2:29:02 Calmatevi, idol mio ! (DO/DA)
2:29:59 Crudele ? Ah no, mio bene
2:31:48 Non mi dir, bell'idol mio (DA)
Quinta Scena
2:37:53 Già la mensa è preparata (DG/L)
2:43:05 L'ultima prova dell'amor mio (DE/DG/L)
2:45:45 Che grido è questo mai ? (DG/L)
2:47:10 Don Giovanni, a cenar teco (La Statua/DG/L)
2:54:09 Da qual tremore insolito (DG/Coro di Diavoli/L)
2:55:35 Ah, dov'è il perfido ?
2:57:21 Or che tutti, o mio tesoro
2:59:34 Questo è il fin (DE/Z/DO/M/DA/L)
Don Giovanni (DG) : Cesare Siepi
Donna Elvira (DE) : Elisabeth Schwarzkopf
Don Ottavio (AD) : Anton Dermota
Leporello (L) : Otto Edelmann
Masetto (M) : Walter Berry
Donna Anna (DA) : Elisabeth Grümmer
Commendatore (C) : Deszö Ernster
Zerlina (Z) : Erna Berger
Chor der Wiener Staatsoper
Wiener Philharmoniker
Direction : Wilhelm FURTWÄNGLER
Live recording in 1954 at the Salzburg Festival
New mastering in 2020 by AB for CMRR
🔊Find CMRR's recordings on Spotify : spoti.fi/3016eVr
🔊Download CMRR's recordings in High fidelity audio : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
This remarkable live recording restores the exceptional dimension that Furtwängler gave to "Don Giovanni", captured at the Salzburg Festival (1954), three months before his death. The deep breath that characterizes Furtwängler's conducting is inimitable. The scene of the Commendatore, the judgment of Don Giovanni, is the most terrifying of the repertoire (2:47:10).
It is no longer a "drama giocoso" but a "drama metafisico". The Vienna Philharmonic is a Rolls-Royce. Cerare Siepi is one of the best Don Giovanni of his generation, Schwarzkopf is Elvira, Dermota is Ottavio, they are legendary performers... The remastering is excellent, good listening :)
Wolfgang Amadeus Mozart PLAYLIST (reference recordings) : czcams.com/video/WUvop5RsCGg/video.html
What is the source of the "new mastering"? EMI remastered this in 1991 (not exactly "new"). Is this the edition released on King in Japan in Nov 2020? Thank you
"Cerare Siepi is one of the best Don Giovanni of his generation" - I dare say he is (one of) the best of any generation.
Mozart would agree with the somewhat slow tempo of Furtwängler. It is indeed the most historical accurate performance of D. Juan ever.
My applause would never stop. What superb understanding of the nuances of the underlying text - I don’t think I have ever heard Don Giovanni with such attention to everything that was being said.
I know that many don't care who the singers are, but this is an OPERA!! I believe these to be the forces: Giovanni: Cesare Siepi. Commendatore: Deszö Ernster. Leporello: Otto Edelmann. Donna Anna: Elisabeth Grümmer. Don Ottavio: Anton Dermota. Donna Elvira: Elisabeth Schwarzkopf. Zerlina: Erna Berger. Mazetto: Walter Berry.
Thanks, a fan here:just stumbled across this.......
Thanks
I CARE ! Thank you :) A young Walter Berry and one of the most wonderful tenor ever, Anton Dermota, among Siepi and Schwarzkopf !
Bravo!! Thank you😜
Ceasar Siepi was maybe the best "ever" Don Giovanni. The Man was a great Baß.
This remarkable live recording restores the exceptional dimension that Furtwängler gave to "Don Giovanni", captured at the Salzburg Festival (1954), three months before his death. The deep breath that characterizes Furtwängler's conducting is inimitable. The scene of the Commendatore, the judgment of Don Giovanni, is the most terrifying of the repertoire (2:47:10). It is no longer a "drama giocoso" but a "drama metafisico". The Vienna Philharmonic is a Rolls-Royce. Cerare Siepi is one of the best Don Giovanni of his generation, Schwarzkopf is Elvira, Dermota is Ottavio, they are legendary performers... The remastering is excellent, good listening :)
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
❤️ If you like CM//RR content, please consider membership at our Patreon page.
Thank you :) www.patreon.com/cmrr
"Deep breath" is a great image. And indexed! Thanks.
isn't that Lisa Della Casa as Elvira?
@@riccardopolignieri8125 No, della Casa did the film, which Schwarzkopf was supposed to do, but didn't for some reason. Listen carefully; it is unmistakably Schwarzkopf.
@@jasonhurd4379 lol, you're right! I posted the comment because I remembered Della Casa being in the cast, but then I started to listen, and... it doesn't sound like her! Eh eh, I haven't revisited this recording for a looong time... thanks Alex for releasing this one!
@@riccardopolignieri8125
Don Giovanni (DG) : Cesare Siepi
Donna Elvira (DE) : Elisabeth Schwarzkopf
Don Ottavio (AD) : Anton Dermota
Leporello (L) : Otto Edelmann
Masetto (M) : Walter Berry
Donna Anna (DA) : Elisabeth Grümmer
Commendatore (C) : Deszö Ernster
Zerlina (Z) : Erna Berger
Ein Traum und das so kurz nach dem Total Zusammenbruch in Europa. Ist doch der Beweis, wie wichtig Kulturerlebnisse für uns sind. Habe es gestern zum Tagesbeginn schon einmal gehört und wurde von diesem Erlebnis durch den Tag getragen. Danke für's posten. Unwiderstehlich🌺🌺🌺🌺🌺
Cesare Siepi is fantastic!
The most amazing opera
With "Tosca"
My favorite of the DaPonte and Mozart collaboration.
In keeping with the admirable series of often little known recordings that CMRR has remastered and brought to a wider audience comes this stellar recording, perhaps the finest Don Giovanni ever captured on tape. That it is live, makes the recording in 1954 and the remastering all the more remarkable for the resonant ambience achieved. Thank you for restoring this masterpiece to the repertoire.
What a masterful rendition.
It’s a shame that Furtwangler did’nt live for another ten or twenty years, what an interpreter!
John Eliot Gardiner's semi-scenic performance during the Holland Festival 1994 is my favorite of our times. You can find the vidéo here.
This mastering is a bit of a miracle, wow
Это нечто восхитительное! А какие вокалисты...🔥
excellent
Why was not the entire cast listed? It would have been informative for new opera listeners to know the greats that have come before. Magnificent.
it was
Extraordinarily beautiful performance which I had not come across until now. Thank you so much for uploading this gem!
Bravo!
Indépassable Furtwängler !
BRILLIANT..BRAVO!!!
Thank you so much for one of the most historical recordings of this opera!
Thanks for upload. Many many thanks.
C'est très beau!
Muchas Gracias por compartir esta obra maestra.
Simplemente : extraordinario.
Thank you very much! This is beautiful music
Indeed it is.
Thank you.
Thanks sweetheart good weekend 🌹🎶🎵🎼😇
Excellent
..." a ópera das óperas ", grazie, signore.
Certamente .. biscoito fino né .. rsrs
...sem dúvida, dom Giovanni, " a ópera das óperas", cuja estréia, como se sabe, deu-se em praga, no ano de 1787, não me lembram entrementes dia e mês, a dois anos pois de rebentar , em Paris, a revolução, e aqui neste nosso Brasil, no constringir de angústias e miséria das gerais do último quartel do século 18, de ser ideada e pois sufocada a" inconfidência mineira " de Tiradentes ... dom Giovanni , " a ópera das óperas " , a par do "Tristão", de Wagner, e do" Otelo ", de Verdi, assim segundo ajuizar de todos os sábios e amantes da grande música, q as consideram como a tríade máxima e consumada de toda música lírica e dramática,
Certamente .. além dessas óperas citadas dá p/ acrescentar sem medo de errar : A Flauta Mágica e Falstaff
...certamente, parsifal e os mestres cantores , don carlo, lohengrin, norma, Carmen, Elektra, Salomé, palestrina, Monalisa, e o garatuja, do nosso grande Alberto Nepomuceno...a lista e rol é um nunca acabar, consoante ao gosto e estesia mais particulares do freguês, rs
Mozart el músico de los músicos, Don Giovanni la ópera de las óperas, CMRR el canal de los canales de CZcams.
Kétségtelenül ez a század legjobb Don Giovannija. Kár, hogy a színpadi változatot nem láthatjuk.
Die Bühnenversion gibt's auf DVD,statt Schwarzkopf singt da Lisa Della Casa,mir persönlich gefällt sie besser als Schwarzkopf
I can listen this opera in 24 hours
This Compilation is awsome! We also love to share Classical Music on our channel
L'unica opera lirica che è diventata un mito
Perdone: el mito ya existía desde Tirso de Molina, como existían Medea y otros. El único personaje elevado a la categoría de mito por la ópera ha sido CARMEN: cierto que ya existía en la literatura, pero sin la música no hubiera alcanzando su condición de arquetipo ni perdurado en el tiempo.
@@juliogonzalezcampayo3201 Le iba a decir lo mismo 😆
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We are all hitting that catalogue section timestamp immediately, right people?
L'opéra des opéras
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What a Don giovanni, what a great Baß Mr Siepi!!..Great Wiener of 50ies...
And Furtwängler...This must be the greatest Don Giovanni ever recorded..
Who sings Zerlina? Elvira?
Hi CMRR, is there a chance that I can buy this recording and the Bohm Cosi Fan Tutte from you?
Thanks for your interest, we will keep you informed :)
@@classicalmusicreference Currently, I don't see it in the store link you posted but do let me know when it is.
@@Mrfracturedsoul Furt / Don Gio. : Qobuz bit.ly/3q8328T or Amazon Store amzn.to/3zBYESC
@@classicalmusicreference Thank you so so so much! Looking forward to hearing more of these beautiful remasterings
Father William identified with Don Giovanni. He NEVER played the final "I told you so"" by the chorus. :*) Poor Papa. Thank you, Dr. Google.
Cesare Siepi, just 9 years earlier, took up rifles as an anti-fascist partisan in the Italian Resistance...Furtwängler on the other hand...with a pro-Nazi heart and a career in the Third Reich. Only music could perform the miracle of art to redeem human misery and rubble.
As the child of German Jews who barely escaped the Holocaust, I must take issue with your labeling Furtwängler's heart pro-Nazi--and I'm not even a huge fan of his conducting in general. (This performance I enjoy very much.) F.'s relationship with the Nazis was complicated, and he was naive to think he could continue conducting in Germany without compromising himself, but he was never a Nazi. And I know about the swastika banners and handshake. At the risk of sounding arrogant, I'm asking people not to respond to this post. Thank you.
Is this available on cd?
I take it that this was a EMI recording?
No it was a live recording from Salzburg!
I enjoy these videos greatly but having the animated opening title overlap with the music is always an unwelcome distraction. If the music could be started just afterward it would be less obtrusive.
We also prefer darkscreen on our channel
Stop it! You're gonna make me cry!
Siepi is one of the best Giovanni's of every period. Schwarzkopf is the diametric opposite; dramatic and follows every marking in the score, but the voice is never free.
But the characterization at 50 (fuggi il traditor). Who has ever found the dramatic characterization and exchange of emotions in performance that might represent this passion? I search, but I cannot find one.
You mean Schwarzkopf at 50? Or do you mean 50 minutes in? Ah yes, passion vs tone in opera.. The aria Ah Fuggi il traditor! is interestingly written piano all the way through..
@@BirdArvid I'm sorry. I wasn't clear. What I meant was that I am not sure how the extreme tension of score, delivery, and drama might be brought to its full potential. In other words, I've never seen it done right on the stage. Ponnelle may have understood it, but as far as one knows he did not record his production. There was a production at the Met a decade or more ago that took three days to get over--the effect was great, but brutalizing in its reinforcement of Order. Would like to spend time deepening one's understanding, but one has other projects . . . In this case, the production is being carried by the conductor and the amazing cast.
IMO this is Schwarzkopf's best performance in that role or maybe 2nd after 1953, same conductor, same place. Schwarzkopf was never more dramatic and reached a dimension of emotions I've hardly ever heard before or after by any singer who tried in that role! Simply outstanding!
verrry slow "La ci darem la mano". I'm not sure if I like it...
C'est très beau, mais ce n'est pas le Mozart que je préfère. Je le trouve trop sombre, trop pessimiste. Don Juan(cet abominable libertin) pouvait se repentir, l'âge et la vieillesse aidant, et réorienter sa vie- si compromise soit-elle par la gravité de ses fautes- , dans un sens plus favorable. Son père , au ciel, l'aurait accueilli avec des larmes de joie. Mais là comment peut-il échapper au feu éternel ! N'empêche qu'en l'écoutant, je suis complètement sous le charme
un avis magnifiquement et subtilement argumenté :) le ciel ne reçoit-il pas ce libertin irrémédiable dans le thème de clôture, dans l'exposition de l'ouverture ?
(j'ai enseigné l'histoire de la musique à columbia pendant un certain temps -- j'y était étudiante) dans un bâtiment où a été fondé le département d'italien -- par un certain lorenzo da ponte et la seule règle : on pouvait causer avec lui de tout sujet que mozart, dont le nom, mentionné, ferait fondre l'homme en larmes. j'ai découvert que je ne pouvais pas penser à cela pendant que j'étais là-bas sans fondre en larmes moi-meme. plus tard j'ai découvert que mon appart, sur leonard et church, était l'endroit où da ponte avait fondé le premier opéra de nyc (eventuellement il est devenu le met). et puis j'ai déménagé à la 11e rue et avenue a -- où da ponte a été enterré... c'est une serie de belles circonstances pour quelqu'un qui est d'accord avec flaubert : il y a trois créations parfaites dans le monde, la mer, hamlet, et celui-ci)
Le plus important dans u' opéra, c'est la musique; quand la musique est suprêmement, comme c'est le cas chez Mozart, Wagner, Richard Strauss, ou plus près de nous Pascal Dussapin, tout le reste passe. Quand à Dieu, il pardonne toutes nos fautes, même les plus graves et les plus volontaires, si seulement on en exprime le regret. Nous sommes tous des brebis égarées, sauf que certaines le sont plus que d'autres.
Beethoven was black. the question was is Mozart black too?
@@bobbremner3395 Google it, Brenner..it's fact..don't worry with my man Obama in charge of the US, they'll be more changes you won't like
Mozart was seldom black, but if he was black, he was blacker than anyone...Think of C minor Mass, Piano Concertos 20, 24...And many others...
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