Approvo maxtanz , ma che dite gente volgare , orribile, ridicolo, ma dove vivete e cosa guardate e sentite ? Il cast dei cantanti è pregevole , l'allestimento finalmente fresco e suggestivo, moderno nel vero senso della parola. Qui in Italia ci sarebbero i giusti allestimenti , i grandi cantanti e tutto il meglio come dice più d'uno che conosco ? Un pò meno egocentrismo e più umiltà ...e gusto moderno nel senso migliore della parola...
@maxtanz l'opera è di Mozart, che è vissuto nel '700,epoca conosciuta per la sozzeria dei nobili,che usavano fare i bisogni sul posto: sotto le sottane, e nelle sedie dotate di un foro centrale e che si lavavano una volta al mese per il compleanno(coprendosi di profumo gli altri giorni).il don giovanni è un'opera che parla di un seduttore (volgare) di donne...là ci darem la mano, per esempio, la dice lunga...quindi una rilettura moderna di quest'opera è senz'altro un'ottima e simpatica idea.
Although I'm a little bit conservative, I don't think it's a bad idea to use a mix of modernized and historical costumes and/or stage, as long as they don't change the story. However, I think this version is dreadful. Yes, the singers, the conductor and the orchestra may be great, but I think this "revised" (or distorted?) version changes the greatest of Mozart's operas in crap. For example, why is DG singing "Notte e Giorno Fatticar" at the beginning?
@MaxwellsDemon9 ahah, yes, it would seem so. I think they just wanted to render it more interesting making don giovanni mock leporello, but I'm not really convinced it worked.
All I want for Christmas this year is a production of Don Giovanni where the director doesn't reveal his latent misogyny by making Donna Anna "want it".
@marcosdarby You have now justified a scene that shows a woman desiring a man who just tried to rape her, on the grounds that to not do so would be to deny that women have sexual desire.
@fontinau well, that´s really YOUR problem. It is clear von Kusejs interpretation that we are not talking about a rape. That´s just your own projection (hmmm.... Freud much???).
@marcosdarby (Part 1) To Kušej's modest credit, it's NOT entirely clear that we aren't talking about rape.
IF, however, we really aren't talking about rape, that makes Kušej (and you) even worse. Then Donna Anna becomes a woman falsely accusing a man of rape, with the implication that this a universal tendency. (Since the production - highly stylized, and not doing anything to give the characters a unique, personal, non-generalized psychology - makes her an archetype.)
@fontinau (1) Excuse me, I cannot see your point. Whether Anna 'wants it' or not, it is a point of debate. However, it does not seem to me that the director insists in suggesting that she does, except in the last embrace just before the father comes, where indeed she shows a bit of desire. Anyway, desire or not, it is a fact that she wants to keep him there. She says "Do not hope that I will ever let you escape, unless you kill me". He says: "Crazy woman, you will never find out who I am".
@fontinau (2) This makes me think more of a bad ended game like 'Eros and Psyche' than of a rape, but this is my opinion. Now I hope not to offend your feminism if I remark that the ATTEMPTED rape is only Anna's version in scene 13. And it is object of debate whether she tells the truth. Concerning the words, she lies at least in part.In fact she says "[the father] comes, wants to know who he is, and he kills him".Instead, the Commender has challenged Giovanni to duel,and at first he refused
@fontinau (3) The comments of yours which were most interesting to me, being no music expert, were removed, I don't know why. Concerning the attempted assault on Zerlina, I agree that Giovanni behaves very poorly in this occasion, failing in his seductive art and refusing to accept that he has failed, and so turning physical suasion if not to brute force. However, I don't want to insult my rationality and your sense of morality, or vice versa, by judging Giovanni from Zerlina's behaviour.
@fontinau (4) I must say that Zerlina is among my favourite characters,for her high erotical power and because she sings something I understand.However,I am no priest or fond of paternal authority,but her morality is dubious.One minute before she had sung to Masetto "peace,my life,we will live cheerfully together".. I'm not among those who think that such a woman deserves to be raped,but I do think that women sending alternating messages can't be given full credit,because their wish is unclear
@fontinau (5) The charme of Don Giovanni (although not for you) is that he is on the edge between what a common man dares to do and actual brutality. Let us face it, nature is cruel.Women draw men mad and break their hearts (to use an euphemism), men abuse women in many ways,and neglect them most of the time.G. is fascinating because he can win the struggle,winning women to himself in the very moment by giving them exactly what they want in that moment.And women despise shy trembling proposer
@leotrdo (2) What makes Giovanni special is his self-awareness.
As he watches the Commendatore die, he knows that one day that will be him. When he seduces Elvira for the second time, he admires his own powers, but without the slightest hint of bragging; it's as if he were admiring somebody else, and not himself. He knows that he can't take credit for his own talent; that he's a vessel. And when he accepts the statue's dinner invitation, he already knows he's doomed.
@leotrdo (4) As for the subject of brutality, Giovanni IS brutal. He uses his rank to intimidate people of lower rank, and he tries to physically force two women to have sex.
Some people, unfortunately, identify with Giovanni because through him they vicariously
A. Get revenge on women, whom they resent
B. Flout the moral restrictions that society places on their behavior, which they also resent
and
C. Get to be masculine men, which they fear they aren't in real life.
@leotrdo (5) Some of your comments, unfortunately, suggest that this applies to you.
("I'm not among those who think that such a woman deserves to be raped,but I do think that women sending alternating messages can't be given full credit..")
@leotrdo (2) Anna does not "lie in part." First, according to Da Ponte's directions, she's off stage by the time the Commendatore and Giovanni start talking. The most you can say is that she guesses about how exactly the fight unfolded without mentioning it's a guess.
Second, you can speculate about whether the Commendatore would have killed Giovanni anyway if he'd just surrendered, but he certainly wouldn't have let him go without revealing his name, which Giovanni wasn't going to.
@fontinau (1) Hi! Sorry, I'm late. "she guesses about how exactly the fight unfolded without mentioning it's a guess" which is what I call lying, in general and especially in this case, when the fact that Giovanni is a murderer should prove that he is also a rapist. The "poor old" Anna's father deliberately chose to fight Giovanni, and during a fight, and usually also after it, there is little chance for presentations. Not in an honorable condition for a gentleman. Giovanni had no choice.
@fontinau (2) So, the Commendtore's prior wish, to see who Giovanni is, is only in Anna's guess, as you said. Actually, he wanted to kill or at least to subdue him. By the way, this was exactly the right and the duty of a father finding a masked man with his daughter in Spain in the XVII century, to defend her honor and his. So, why guessing? This makes me find a part of bad faith in Anna, although of course it does not enable me to deduce that she wanted Giovanni
@fontinau (3) Concerning music, I am not expert at all, but just a week ago,the director Barembäum said that the tune Anna sings when telling the fact to her husband has a change of key which suggests she is misrepresenting the truth. I think both Mozart and Da Ponte wanted to leave us with the doubt.Personally,apart for the dubious particular circumstances, I can not think of don Giovanni as of a rapist.He likes to seduce women, and most of them like him to do so.Why should he use violence?
@leotrdo (3) There's nothing unusual about the sequence of key changes in "Or sai chi l’onore". So if that's actually what Barembäum said, he's hearing what he wants to hear.
There are a couple of mysterious moments in that scene, though. One is the surprise modulation during the recitative, when Ottavio sings "Ohimé, respiro!" The other is the way the orchestra wistfully trails off at the end of the aria.
@leotrdo (4) But if the modulation at "Ohimé, respiro!" were supposed to indicate that Anna is lying, it would be a rather crude device by Mozart's standards, and it would be the only time he used it. He had much subtler means of indicating a difference between what a character is saying and what she's thinking or feeling. (e.g. The way he sets "chieder pietà" in Despina's "In uomini" in Cosi fan Tutte.)
@leotrdo (5) Furthermore, "Ohimé, respiro!" is not the only or even the most striking example of a jarring modulation in Don Giovanni. There's Anna and Ottavio's entrance in "Sola sola in buio loco", and the Commendatore's "Si" in the graveyard scene.
As for the orchestra at the end of "Or sai chi l'onore", it could just as easily be expressing mourning for the Commendatore. (The death of the old order, and by extension the death of father figures, is a VERY important theme in Mozart.)
@leotrdo (6) Anyway, Giovanni is, at least, an attempted rapist.
He leads Zerlina out of the ballroom "quasi per forza", while she says "Oh Numi! son tradita!" Moments later she's screaming for help, and reenters running.
You might argue that Zerlina was faking (in which case you're now taking Giovanni's word over TWO women), or that she misinterpreted an extreme case of sexual harassment.
Maybe.
But the word Leporello uses for what Giovanni did to Anna is the unequivocal "sforzar".
@fontinau (4) More generally,if I can agree with the generally accepted idea that men are swines, let me assure you that the greatest majority of them can't even conceive the idea of sex together with that of violence, least of all don Giovanni.Saying that he is a violent,or even a chauvinist,is like saying that Cleopatra,or Mme de Pompadour, or whatever other woman who used her appeal to make dozens of men give up their power and dignity and do what she wants like perfect idiots, are whores.
@leotrdo (7) I am a man, and I absolutely reject the idea that men are "swines".
As for Giovanni, he has many admirable qualities, but besides attempting rape, he's a bully.
(Using his rank to threaten Masetto into leaving, so that he can be alone with Zerlina; ordering a terrified Leporello to invite the statue to dinner and threatening to kill him if he doesn't - maybe seriously, maybe not.)
@leotrdo (8) And Giovanni is inexcusably cruel to Elvira.
(Exploiting her love for him, giving her false hope, and humiliatingly making her think that Leporello is he - possibly resulting in her having sex with Leporello - in "Ah taci"; treating her with aloof gallantry when she begs him to save himself in "Già la mensa".)
Which is made even worse by the fact that he IS capable of affect.
@vadekmamlisimbo His reaction after he mortally wounds the Commendatore ("Ah! già cadde il sciagurato..."); his reaction when it becomes clear that Elvira is going to give in in "A taci" (not in Da Ponte's text, but in the way Mozart sets it) ("Spero che cada presto...").
@leotrdo (9) Incidentally, the way that some members of our elite today identify themselves with Giovanni - ignoring, or whitewashing, or explaining away his cruel qualities - is another example of the moral bankruptcy I was talking about earlier.
@marcosdarby (Part 2) Anyway, I said I wanted to see a production where the director doesn't do this, but actually, I take that back. Ultimately, the problem isn't the directors - they're just inadvertently exposing their own vileness. (Thinking they're attacking materialism in their portrayal of bourgeois women, when they're actually just attacking women in a way they'd never consciously dare to, incapable-of-adjusting-to-feminism megalomaniacs that they are.)
@marcosdarby (Part 3) The real problem is the utter moral rancidity of today's upper class culture, from which our opera directors come (or to which they've been assimilated).
And as such, these kinds of productions actually serve a good purpose; a permanent document of how rotten the people who produced them (and the people who admire them) really are.
terrible in terms of staging and production....and who thought they could improve on Mozart and rewite his music? do you really think you can improve on Mozart? what ego
Sadly, this production has nothing to do with Mozart's Don Giovanni. Actually, I think it's pretty disgusting, especially the Don's entrance when he zips up his pants. Mozart will prevail and his genius will far outlive this crap.
@Malo3447 Sorry Malo, Leporello is played by Thomas Hanson and, while keeping watch, he would have no reason to have to put his cock away. But even if you were right, this awful production has zero do do with Mozart.
@JWPhoto I'm very sorry JWPhoto but Leoporello is played and beautifully sung by Ildebrando d'Arcangelo and Don Giovanni is sung by Thomas Hampson.
About the production: How about just enjoying the beautiful music and great singing and not getting angry about a production we don't like? Just open up your minds. It's definitely not my favourite one but I've seen worse and for me, the music is still the most important thing. And no production can take me that.
It makes absolutely no sense for Don Giovanni to start that line. It's fine that a director wants to do something different, but there's a problem when characters do things with no reason or motivation. There is a matter of what words in language mean, and what the characters saying them are doing. The point of this despicable initial scene is that Leporello is the lookout while his master rapes a woman. If the director can't find meaning, then perhaps he/she shouldn't be working on this opera.
great voices! and i find it cool to sing opera wearing modern clothes! it just means opera is always in! anyway, the most important thing is the strength of the singers´ voices, isnt it?
ma che bojata !! don giovanni canta la parte di leporello !?!? che bojata assurda.. e poi leporello da dove cavolo viene tirandosi su i calzoni ... questa e' merda operatica post-moderna allo stato puro !!
Carino, però dopo l'omicidio del Commendatore non vedo nessun pentimento. Don Giovanni non è un assassino, è arrivato al duello solo perché spinto dal Commendatore. Non sono molto chiari...
ahahah...ma leporello si tira su la cerniera dei pantaloni perchè è andato in bagno o perchè l'ha violentata lui??..ah no forse don giovanni ci riesce nel tempo fisico di 59 secondi???
che fenomeno..ah no..è vero donn'anna racconterà a don ottavio "da lui mi sciolsi"..non è proprio successo niente,allora!!!!Però lei ci sta!..azz che zoccola!!..e lo minaccia pure,lo perseguita!!!........un ringraziamento per questa scena da parte di tutte le donne che hanno subito un abuso...mentale o fisico...(che mozart sa descrivere con verità ed eleganza) grazie per averla resa una scena da soap-opera!!
Without doubt Hampson is by far the most weakest Don Giovanni's I've ever heard.......him and the german Baritenor Dietrich Fischer-Dieskau......are both the Anti-tesis of Don Giovanni...their share equally lack of timbre and colore to fullfy the requirements of this magnificent role..... thanks god that mozart don't have to go tru this punishment.....I wonder who casting this production,..??
You obviously have not hear Hampsong sing the role back 10 years ago. he was one of the bet Giovannis of his generation. He was truly irresistible, not only because he vocalised it beautifully but also because he was suave, and gorgeous to look at.
If he at he's best didn't make it why bother.....10 years ago he sound more light and lyric than now.....I have nothing against him, but if you pay ATTENTION to what the COMPOSER itself ask for the interpretation of this role is very clear stated that for Don Giovanni's Mozart wants a Bass not a Baritone and Nevertheless a Lyric Baritone that sound like a tenor instead......listen all the greatest Don Giovanni's of all time then you will come to a better response.
Oh please. If you had paid attention yourself, you would know that Mozart wrote the role for Luiggi Bassi who was a high baritone known for singing the Count & Papageno. If Mozart wanted a bass for the title role, he would've given the role to a bass, yet he had a baritone in the premiere. Moreover, at 22 (the age bassi was when he premiered DG) NO baritone has a deep voice. Of course you would know that if you had googled before you responded with such nonsense.
My dear primadonna I don't have to google anything like you do..... I have my belive and thoughts who might be wrong or otherwise I'm a sung Don Giovanni I study Don Giovanni and you and yours lack of taste wont change my perseption, so Smettila di dire cazzate. cause I'm not obiously interested in continue this non sense... I already search on your favorite's what a disgrasceful taste for opera I think you most continue your career as a merengue's singer.
For someone who has "sung the role" and "Studied it" you certainly have very little knowledge of the opera and the background of its inception.
Lastly, you are welcomed to your opinions and your perceptions. Do not think for what moment that what is YOUR opinion can be passed for Mozart's. Fact is that Mozart had a different opinion for you. Fact is that you came here and tried to pass YOUR opinion for Mozart. Fact is that you were proven wrong and now you bow out.
Hey ...I don't want this become a battlefield wich I already forsee, so I respect yours differences and I hope you respect mine, let me just remark that Mr. Bassi lost his voice very earlier in his carreer trying to sing a Bass repertoir with a Baritone voice that was why Mozart consider the role more suitable for a Bass Tesitura (Fact) and as far you can go Best Don Giovanni's are all Basses(Fact): Siepi, Pinza, Ramey, Capecchi, Bruscantini, Corena, Furlanetto and so.
But I want offer you a very simple thing make a recording of you singing Don Giovanni and I will upload one of mine then let the public choose who have a better understanding of Mozart Masterpiece or Musicality in general here you find in a daily basis a bunch of critics who don't know the difference between a C# and Cnatural, hope you are not one of those....so as you said I will bow out.
This has nothing to do with our singing & everything to do with you wanting to pass your opinions as that of Mozart's.
I agree with you that some of the best Giovannis are basses, I never disputed that but your assertion that only a bass would do because that is what Mozart wanted, which after all is inaccurate. Also the role does not sit on a bass tessitura but more on a bass-baritone tessitura.
Lastly baritones like Milnes, Skovus, Hrovo and Thomas Allen proved that you do not have to be a bass to be a good Giovanni. They all sang the role with distinction and were rightfully celebrated for their interpretation. You and (or) I preferring a bass or a bass-baritone in the role has nothing to do with Mozart, his ideas or his intentions.
What?! Rearanging Mozart!!! No, No,No. No way. They should be ashamed of themselves!!! If this way was better Mozart would have written it this way. This doesn't even make sense!!!!! This is Disgraceful!!!
Ildebrando plus Jean-Pierre Ponnelle/ Giorgio Strehler/ Graham Vick/ Otto Schenk/ David McVicar/ Jonathan Miller/ Franco Zeffirelli /Götz Friedrich : could be really fantastic!
I could not agree more. Pretentious crap. Hurts the eyes. It does not flow. Illogical flow of action. Distractions going on all the f*cking time. Simply terrible. Love the singing tho. Better just keep your eyes closed.
Ma perché Don Giovanni canta "Notte e giorno"? Che idea del cavolo. Comunque Ildebrando è proprio figo con quel maglioncino! Il costumista non è altrettanto gentile con gli altri.
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Thomas Hampson as waek as always. A tenorish baritone that sounds more to me like a tenor with no high notes... terrible. The soprano sound like she could sing Zerlina instead of Donna Anna. The bass-baritone is actually the best here. But for God´s sake... couldn´t they do a little exercise if they had to show there upper bodies with those skinny ugly arms?. No wonder singers aren´t credible.
That tells very you can´t... especially when you sing musical. Mostly musical singers don´t have that much of a voice for opera. Anyway, you did disappoint me ... and badly.
No... and you again disppoint me to no point of return. No, No, No... most of them DON´T have voice for opera and NOT ALL opera singers can sing musical... and I´ve been in the business for more than 20 years.
bad opera singers aren´t profesionals... they hardly sing. And the one that have no damn experience is you. learn how to sing well and you won´t a need a musical... or keep doing that... obviously you´re one of those mediocre singers... lol!... and good night!
you´re so damn stupid. Do you think anybody would believe you choose now with only 7 years of career? what ver three pieces you did in those supposedly 7 years... maybe nothing... you get to choose... nothing!... todo lo que digas te lo regreso, estúpida loquita soñandora!
secondo a Lei, Ildebrando d` Arcangelo (leporello) non e` abbastanza professionale???? Questo punto di vista mette in dubbio la Sua propria competenza....))))
This comment has received too many negative votesshow
According to regieseurs "people" are "supousedly" tire of traditional productions (which isn´t true because I hear all the time how terrible this or that modern production was), but I prefer traditional than this nonsense crap. I don´t understand how they spend so much energy in "been creative" and come up with such shit.
That's kind of wierd having Giovanni start it. Also, the way he killed him was not exactly how I always thought it would be, but it's a good idea. I'm not sure if I really like Thomas Hampson - hs voice seems kind of weak and out of tune sometimes, though I guess he can act decently. D'Arcangelo is my favorite of these guys, though, definitely.
@joonscribble I just read recently in an interview that Hampson is tall; he's 6ft 4... And yes, though his singing may not be the best here i think his acting more than makes up for it. I agree with you though; this was definitely what got me to pay attention to D'arcangelo... :D Thanks for the upload. Love Schaefer too; that hair's really working for her.
Hah, I just bought this on DVD. Well worth it, what with all the lovely baritones and basses. It does feel a bit bloodless sometimes. But that beginning's great.
"Leporello, when will you learn to show up in time for the start of the opera so I don't have to sing your lines for you?" :-D
Actually, I'd say that it didn't sound all that great to have Hampson start it, but I think interpretation-wise they did it to be sort of humorous. It also set up D'Arcangelo's Leporello to be one of the most insolent servants I've ever seen.
I actually have the feeling that Leporello curted Donna Anna and they made a change in her bed, but the lady recognised it and did not like the idea at all.
Also DG's death suggests that they lived in a simbiosis and Leporello was the worse half.
How many Leporellos are there?
mslavicek 5 hours ago
What has just happen?!... there is so many things wrong here!
lallanzinho 2 weeks ago
bella questa versione
serpentedelsud 3 months ago
Approvo maxtanz , ma che dite gente volgare , orribile, ridicolo, ma dove vivete e cosa guardate e sentite ? Il cast dei cantanti è pregevole , l'allestimento finalmente fresco e suggestivo, moderno nel vero senso della parola. Qui in Italia ci sarebbero i giusti allestimenti , i grandi cantanti e tutto il meglio come dice più d'uno che conosco ? Un pò meno egocentrismo e più umiltà ...e gusto moderno nel senso migliore della parola...
MrMarcobussoletti 3 months ago in playlist DON GIOVANNI 2
volgarissimo.
maxtanz 5 months ago
@maxtanz l'opera è di Mozart, che è vissuto nel '700,epoca conosciuta per la sozzeria dei nobili,che usavano fare i bisogni sul posto: sotto le sottane, e nelle sedie dotate di un foro centrale e che si lavavano una volta al mese per il compleanno(coprendosi di profumo gli altri giorni).il don giovanni è un'opera che parla di un seduttore (volgare) di donne...là ci darem la mano, per esempio, la dice lunga...quindi una rilettura moderna di quest'opera è senz'altro un'ottima e simpatica idea.
reshyn 4 months ago
Although I'm a little bit conservative, I don't think it's a bad idea to use a mix of modernized and historical costumes and/or stage, as long as they don't change the story. However, I think this version is dreadful. Yes, the singers, the conductor and the orchestra may be great, but I think this "revised" (or distorted?) version changes the greatest of Mozart's operas in crap. For example, why is DG singing "Notte e Giorno Fatticar" at the beginning?
Bach1Beethoven 6 months ago
Stupid... Don Giovanni is not a murderer.
DieSonneSinkt 6 months ago
I think Ildebrando was late for his entrance, and that's why Hampson started the scene. Thoughts?
MaxwellsDemon9 8 months ago 5
@MaxwellsDemon9 ahah, yes, it would seem so. I think they just wanted to render it more interesting making don giovanni mock leporello, but I'm not really convinced it worked.
PeerGyntTheOnion 6 months ago
leporello sembra che vuole fare la cacca quando dice che non si vuol far sentir..
Nick9494 8 months ago
Very well sung ... but the scenic production !
clytemnestre1 8 months ago
Dear Santa Claus,
All I want for Christmas this year is a production of Don Giovanni where the director doesn't reveal his latent misogyny by making Donna Anna "want it".
fontinau 8 months ago 4
@fontinau why is the fact that a woman has sexual desire "misogyny"? I think you are misogynous one....
marcosdarby 3 months ago
@marcosdarby You have now justified a scene that shows a woman desiring a man who just tried to rape her, on the grounds that to not do so would be to deny that women have sexual desire.
Realize this; you are a horrible human being.
fontinau 3 months ago
@fontinau well, that´s really YOUR problem. It is clear von Kusejs interpretation that we are not talking about a rape. That´s just your own projection (hmmm.... Freud much???).
marcosdarby 3 months ago
@marcosdarby (Part 1) To Kušej's modest credit, it's NOT entirely clear that we aren't talking about rape.
IF, however, we really aren't talking about rape, that makes Kušej (and you) even worse. Then Donna Anna becomes a woman falsely accusing a man of rape, with the implication that this a universal tendency. (Since the production - highly stylized, and not doing anything to give the characters a unique, personal, non-generalized psychology - makes her an archetype.)
fontinau 3 months ago
@fontinau (1) Excuse me, I cannot see your point. Whether Anna 'wants it' or not, it is a point of debate. However, it does not seem to me that the director insists in suggesting that she does, except in the last embrace just before the father comes, where indeed she shows a bit of desire. Anyway, desire or not, it is a fact that she wants to keep him there. She says "Do not hope that I will ever let you escape, unless you kill me". He says: "Crazy woman, you will never find out who I am".
leotrdo 2 months ago
@leotrdo (1) "...except in the last embrace just before the father comes, where indeed she shows a bit of desire."
More than a bit, and it's not just this one production. So many productions have done it in the last few decades that it's become a goddamn cliché.
fontinau 2 months ago
@fontinau (2) This makes me think more of a bad ended game like 'Eros and Psyche' than of a rape, but this is my opinion. Now I hope not to offend your feminism if I remark that the ATTEMPTED rape is only Anna's version in scene 13. And it is object of debate whether she tells the truth. Concerning the words, she lies at least in part.In fact she says "[the father] comes, wants to know who he is, and he kills him".Instead, the Commender has challenged Giovanni to duel,and at first he refused
leotrdo 2 months ago
Comment removed
fontinau 2 months ago
@fontinau (3) The comments of yours which were most interesting to me, being no music expert, were removed, I don't know why. Concerning the attempted assault on Zerlina, I agree that Giovanni behaves very poorly in this occasion, failing in his seductive art and refusing to accept that he has failed, and so turning physical suasion if not to brute force. However, I don't want to insult my rationality and your sense of morality, or vice versa, by judging Giovanni from Zerlina's behaviour.
leotrdo 1 month ago
@fontinau (4) I must say that Zerlina is among my favourite characters,for her high erotical power and because she sings something I understand.However,I am no priest or fond of paternal authority,but her morality is dubious.One minute before she had sung to Masetto "peace,my life,we will live cheerfully together".. I'm not among those who think that such a woman deserves to be raped,but I do think that women sending alternating messages can't be given full credit,because their wish is unclear
leotrdo 1 month ago
@fontinau (5) The charme of Don Giovanni (although not for you) is that he is on the edge between what a common man dares to do and actual brutality. Let us face it, nature is cruel.Women draw men mad and break their hearts (to use an euphemism), men abuse women in many ways,and neglect them most of the time.G. is fascinating because he can win the struggle,winning women to himself in the very moment by giving them exactly what they want in that moment.And women despise shy trembling proposer
leotrdo 1 month ago
@leotrdo (1) Giovanni certainly has a unique charm, but if it were for the reasons you're giving, he'd be as banal as the Duke from Rigoletto.
fontinau 1 month ago
@leotrdo (2) What makes Giovanni special is his self-awareness.
As he watches the Commendatore die, he knows that one day that will be him. When he seduces Elvira for the second time, he admires his own powers, but without the slightest hint of bragging; it's as if he were admiring somebody else, and not himself. He knows that he can't take credit for his own talent; that he's a vessel. And when he accepts the statue's dinner invitation, he already knows he's doomed.
fontinau 1 month ago
@leotrdo (3) My comments on music are still here. Search this comments section for "modulation".
fontinau 1 month ago
@leotrdo (4) As for the subject of brutality, Giovanni IS brutal. He uses his rank to intimidate people of lower rank, and he tries to physically force two women to have sex.
Some people, unfortunately, identify with Giovanni because through him they vicariously
A. Get revenge on women, whom they resent
B. Flout the moral restrictions that society places on their behavior, which they also resent
and
C. Get to be masculine men, which they fear they aren't in real life.
fontinau 1 month ago
@leotrdo (5) Some of your comments, unfortunately, suggest that this applies to you.
("I'm not among those who think that such a woman deserves to be raped,but I do think that women sending alternating messages can't be given full credit..")
("women despise shy trembling proposer...")
fontinau 1 month ago
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@leotrdo (2) Anna does not "lie in part." First, according to Da Ponte's directions, she's off stage by the time the Commendatore and Giovanni start talking. The most you can say is that she guesses about how exactly the fight unfolded without mentioning it's a guess.
Second, you can speculate about whether the Commendatore would have killed Giovanni anyway if he'd just surrendered, but he certainly wouldn't have let him go without revealing his name, which Giovanni wasn't going to.
fontinau 2 months ago
@fontinau (1) Hi! Sorry, I'm late. "she guesses about how exactly the fight unfolded without mentioning it's a guess" which is what I call lying, in general and especially in this case, when the fact that Giovanni is a murderer should prove that he is also a rapist. The "poor old" Anna's father deliberately chose to fight Giovanni, and during a fight, and usually also after it, there is little chance for presentations. Not in an honorable condition for a gentleman. Giovanni had no choice.
leotrdo 1 month ago
@fontinau (2) So, the Commendtore's prior wish, to see who Giovanni is, is only in Anna's guess, as you said. Actually, he wanted to kill or at least to subdue him. By the way, this was exactly the right and the duty of a father finding a masked man with his daughter in Spain in the XVII century, to defend her honor and his. So, why guessing? This makes me find a part of bad faith in Anna, although of course it does not enable me to deduce that she wanted Giovanni
leotrdo 1 month ago
@fontinau (3) Concerning music, I am not expert at all, but just a week ago,the director Barembäum said that the tune Anna sings when telling the fact to her husband has a change of key which suggests she is misrepresenting the truth. I think both Mozart and Da Ponte wanted to leave us with the doubt.Personally,apart for the dubious particular circumstances, I can not think of don Giovanni as of a rapist.He likes to seduce women, and most of them like him to do so.Why should he use violence?
leotrdo 2 months ago
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fontinau 2 months ago
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fontinau 2 months ago
@leotrdo (3) There's nothing unusual about the sequence of key changes in "Or sai chi l’onore". So if that's actually what Barembäum said, he's hearing what he wants to hear.
There are a couple of mysterious moments in that scene, though. One is the surprise modulation during the recitative, when Ottavio sings "Ohimé, respiro!" The other is the way the orchestra wistfully trails off at the end of the aria.
fontinau 2 months ago
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@leotrdo (4) But if the modulation at "Ohimé, respiro!" were supposed to indicate that Anna is lying, it would be a rather crude device by Mozart's standards, and it would be the only time he used it. He had much subtler means of indicating a difference between what a character is saying and what she's thinking or feeling. (e.g. The way he sets "chieder pietà" in Despina's "In uomini" in Cosi fan Tutte.)
fontinau 2 months ago
@leotrdo (5) Furthermore, "Ohimé, respiro!" is not the only or even the most striking example of a jarring modulation in Don Giovanni. There's Anna and Ottavio's entrance in "Sola sola in buio loco", and the Commendatore's "Si" in the graveyard scene.
As for the orchestra at the end of "Or sai chi l'onore", it could just as easily be expressing mourning for the Commendatore. (The death of the old order, and by extension the death of father figures, is a VERY important theme in Mozart.)
fontinau 2 months ago
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fontinau 2 months ago
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@leotrdo (6) Anyway, Giovanni is, at least, an attempted rapist.
He leads Zerlina out of the ballroom "quasi per forza", while she says "Oh Numi! son tradita!" Moments later she's screaming for help, and reenters running.
You might argue that Zerlina was faking (in which case you're now taking Giovanni's word over TWO women), or that she misinterpreted an extreme case of sexual harassment.
Maybe.
But the word Leporello uses for what Giovanni did to Anna is the unequivocal "sforzar".
fontinau 2 months ago
@fontinau (4) More generally,if I can agree with the generally accepted idea that men are swines, let me assure you that the greatest majority of them can't even conceive the idea of sex together with that of violence, least of all don Giovanni.Saying that he is a violent,or even a chauvinist,is like saying that Cleopatra,or Mme de Pompadour, or whatever other woman who used her appeal to make dozens of men give up their power and dignity and do what she wants like perfect idiots, are whores.
leotrdo 2 months ago
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fontinau 2 months ago
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fontinau 2 months ago
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fontinau 2 months ago
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@leotrdo (7) I am a man, and I absolutely reject the idea that men are "swines".
As for Giovanni, he has many admirable qualities, but besides attempting rape, he's a bully.
(Using his rank to threaten Masetto into leaving, so that he can be alone with Zerlina; ordering a terrified Leporello to invite the statue to dinner and threatening to kill him if he doesn't - maybe seriously, maybe not.)
fontinau 2 months ago
@leotrdo (8) And Giovanni is inexcusably cruel to Elvira.
(Exploiting her love for him, giving her false hope, and humiliatingly making her think that Leporello is he - possibly resulting in her having sex with Leporello - in "Ah taci"; treating her with aloof gallantry when she begs him to save himself in "Già la mensa".)
Which is made even worse by the fact that he IS capable of affect.
fontinau 2 months ago
@fontinau is he capable of affect? i haven't seen anything like that! where have you seen it?
vadekmamlisimbo 1 month ago
@vadekmamlisimbo His reaction after he mortally wounds the Commendatore ("Ah! già cadde il sciagurato..."); his reaction when it becomes clear that Elvira is going to give in in "A taci" (not in Da Ponte's text, but in the way Mozart sets it) ("Spero che cada presto...").
fontinau 1 month ago
@fontinau I don't think it shows any kind of affect, but i may be wrong
vadekmamlisimbo 1 month ago
@leotrdo (9) Incidentally, the way that some members of our elite today identify themselves with Giovanni - ignoring, or whitewashing, or explaining away his cruel qualities - is another example of the moral bankruptcy I was talking about earlier.
fontinau 2 months ago
@marcosdarby (Part 2) Anyway, I said I wanted to see a production where the director doesn't do this, but actually, I take that back. Ultimately, the problem isn't the directors - they're just inadvertently exposing their own vileness. (Thinking they're attacking materialism in their portrayal of bourgeois women, when they're actually just attacking women in a way they'd never consciously dare to, incapable-of-adjusting-to-feminism megalomaniacs that they are.)
fontinau 3 months ago
@marcosdarby (Part 3) The real problem is the utter moral rancidity of today's upper class culture, from which our opera directors come (or to which they've been assimilated).
And as such, these kinds of productions actually serve a good purpose; a permanent document of how rotten the people who produced them (and the people who admire them) really are.
fontinau 3 months ago
terrible in terms of staging and production....and who thought they could improve on Mozart and rewite his music? do you really think you can improve on Mozart? what ego
vocetenor 9 months ago 3
is this video published? n which publisher? thanks for the answer.
such interesting version.
ryslpsw1 10 months ago
Sadly, this production has nothing to do with Mozart's Don Giovanni. Actually, I think it's pretty disgusting, especially the Don's entrance when he zips up his pants. Mozart will prevail and his genius will far outlive this crap.
JWPhoto 1 year ago 3
@JWPhoto that is Leporello who enters zipping up his pants not the don
Malo3447 11 months ago
@Malo3447 Sorry Malo, Leporello is played by Thomas Hanson and, while keeping watch, he would have no reason to have to put his cock away. But even if you were right, this awful production has zero do do with Mozart.
JWPhoto 11 months ago
@JWPhoto I'm very sorry JWPhoto but Leoporello is played and beautifully sung by Ildebrando d'Arcangelo and Don Giovanni is sung by Thomas Hampson.
About the production: How about just enjoying the beautiful music and great singing and not getting angry about a production we don't like? Just open up your minds. It's definitely not my favourite one but I've seen worse and for me, the music is still the most important thing. And no production can take me that.
nam2521 9 months ago
this is absolutely fantastic
polyesterwindow 1 year ago
the only part i like is when they are all standing parallel facing the audience singing the part at 2:35
thesir27 1 year ago
How is the Commendatore?
BaroneDiTrombonok 1 year ago
Me encanta su voz pero me gusta mas aun los gestos cuando canta xD aprieta la cara como un gatito xD pero es muy buen cantante :)
TheSandruskaa 1 year ago
why is it all modern then this guy has a sword?
stevendurr 1 year ago
3:50. What a horrible sound!
Domcountertenor 1 year ago
It makes absolutely no sense for Don Giovanni to start that line. It's fine that a director wants to do something different, but there's a problem when characters do things with no reason or motivation. There is a matter of what words in language mean, and what the characters saying them are doing. The point of this despicable initial scene is that Leporello is the lookout while his master rapes a woman. If the director can't find meaning, then perhaps he/she shouldn't be working on this opera.
Jaydoggy531 1 year ago 2
Ahahaha!!
Ammazza che serietà ragazzi...e' stata una bella trovata su!
JazzyGiord 1 year ago
great voices! and i find it cool to sing opera wearing modern clothes! it just means opera is always in! anyway, the most important thing is the strength of the singers´ voices, isnt it?
kurnikova84 1 year ago 3
what the heck is that staging ? and this costumes ? and this set ?
NoirOrchestre 1 year ago 9
ma che bojata !! don giovanni canta la parte di leporello !?!? che bojata assurda.. e poi leporello da dove cavolo viene tirandosi su i calzoni ... questa e' merda operatica post-moderna allo stato puro !!
derekNb02 1 year ago
Carino, però dopo l'omicidio del Commendatore non vedo nessun pentimento. Don Giovanni non è un assassino, è arrivato al duello solo perché spinto dal Commendatore. Non sono molto chiari...
agente00tette 2 years ago
They transformed it into a surreal movie, however, leaving
the brightness of the music behind... Ech, It wouldn't suffer if it was lighter, especially at the beginning and the middle... (: ?
glantz91 2 years ago 2
ahahah...ma leporello si tira su la cerniera dei pantaloni perchè è andato in bagno o perchè l'ha violentata lui??..ah no forse don giovanni ci riesce nel tempo fisico di 59 secondi???
sacer111 2 years ago 4
che fenomeno..ah no..è vero donn'anna racconterà a don ottavio "da lui mi sciolsi"..non è proprio successo niente,allora!!!!Però lei ci sta!..azz che zoccola!!..e lo minaccia pure,lo perseguita!!!........un ringraziamento per questa scena da parte di tutte le donne che hanno subito un abuso...mentale o fisico...(che mozart sa descrivere con verità ed eleganza) grazie per averla resa una scena da soap-opera!!
sacer111 2 years ago
Without doubt Hampson is by far the most weakest Don Giovanni's I've ever heard.......him and the german Baritenor Dietrich Fischer-Dieskau......are both the Anti-tesis of Don Giovanni...their share equally lack of timbre and colore to fullfy the requirements of this magnificent role..... thanks god that mozart don't have to go tru this punishment.....I wonder who casting this production,..??
casiraghi 2 years ago
You obviously have not hear Hampsong sing the role back 10 years ago. he was one of the bet Giovannis of his generation. He was truly irresistible, not only because he vocalised it beautifully but also because he was suave, and gorgeous to look at.
tenore23 2 years ago 3
If he at he's best didn't make it why bother.....10 years ago he sound more light and lyric than now.....I have nothing against him, but if you pay ATTENTION to what the COMPOSER itself ask for the interpretation of this role is very clear stated that for Don Giovanni's Mozart wants a Bass not a Baritone and Nevertheless a Lyric Baritone that sound like a tenor instead......listen all the greatest Don Giovanni's of all time then you will come to a better response.
casiraghi 2 years ago
Oh please. If you had paid attention yourself, you would know that Mozart wrote the role for Luiggi Bassi who was a high baritone known for singing the Count & Papageno. If Mozart wanted a bass for the title role, he would've given the role to a bass, yet he had a baritone in the premiere. Moreover, at 22 (the age bassi was when he premiered DG) NO baritone has a deep voice. Of course you would know that if you had googled before you responded with such nonsense.
tenore23 2 years ago
My dear primadonna I don't have to google anything like you do..... I have my belive and thoughts who might be wrong or otherwise I'm a sung Don Giovanni I study Don Giovanni and you and yours lack of taste wont change my perseption, so Smettila di dire cazzate. cause I'm not obiously interested in continue this non sense... I already search on your favorite's what a disgrasceful taste for opera I think you most continue your career as a merengue's singer.
casiraghi 2 years ago
For someone who has "sung the role" and "Studied it" you certainly have very little knowledge of the opera and the background of its inception.
Lastly, you are welcomed to your opinions and your perceptions. Do not think for what moment that what is YOUR opinion can be passed for Mozart's. Fact is that Mozart had a different opinion for you. Fact is that you came here and tried to pass YOUR opinion for Mozart. Fact is that you were proven wrong and now you bow out.
tenore23 2 years ago
Hey ...I don't want this become a battlefield wich I already forsee, so I respect yours differences and I hope you respect mine, let me just remark that Mr. Bassi lost his voice very earlier in his carreer trying to sing a Bass repertoir with a Baritone voice that was why Mozart consider the role more suitable for a Bass Tesitura (Fact) and as far you can go Best Don Giovanni's are all Basses(Fact): Siepi, Pinza, Ramey, Capecchi, Bruscantini, Corena, Furlanetto and so.
casiraghi 2 years ago
But I want offer you a very simple thing make a recording of you singing Don Giovanni and I will upload one of mine then let the public choose who have a better understanding of Mozart Masterpiece or Musicality in general here you find in a daily basis a bunch of critics who don't know the difference between a C# and Cnatural, hope you are not one of those....so as you said I will bow out.
casiraghi 2 years ago
This has nothing to do with our singing & everything to do with you wanting to pass your opinions as that of Mozart's.
I agree with you that some of the best Giovannis are basses, I never disputed that but your assertion that only a bass would do because that is what Mozart wanted, which after all is inaccurate. Also the role does not sit on a bass tessitura but more on a bass-baritone tessitura.
tenore23 2 years ago
Lastly baritones like Milnes, Skovus, Hrovo and Thomas Allen proved that you do not have to be a bass to be a good Giovanni. They all sang the role with distinction and were rightfully celebrated for their interpretation. You and (or) I preferring a bass or a bass-baritone in the role has nothing to do with Mozart, his ideas or his intentions.
tenore23 2 years ago
.......no.
OperaGirlK 2 years ago
DG & L Doppelgänger from the beginning. Interesting. L would like to be a master and he seems to have already taken DGs place in bed with Anna!
A not all that unwilling, apparently, taking time to put on her shoes when she should be traumetised!!
False protestations that lead to the death of her father.What an action-filled and dramaturgically rich 5 minutes!
The decor presents a very narrow space (corridor) in which the killing is even more concentrated than on a full stage.
1401JSC 2 years ago
It's like one of those old men fights you can find on youtube.
greenunseen 2 years ago
I think it's good that people try to do it in different ways.
rickelmonoggin 2 years ago 9
Mozart's music is so great that when the production stinks (such as this one) all you have to do is close your eyes and keep listening...
acrespomd 2 years ago
The production could stink
but i gotta say i like the baritones
Jaspervdk 2 years ago
I can't persuade my ears to like Hampson's Don Giovanni! He' sneaky, vile, evil... but no masculine at all!
le3melarance 2 years ago 3
What?! Rearanging Mozart!!! No, No,No. No way. They should be ashamed of themselves!!! If this way was better Mozart would have written it this way. This doesn't even make sense!!!!! This is Disgraceful!!!
leporello56 2 years ago 3
OK. Its funny but to anyone who isn't familiar with the opera it will probably make no sense
leporello56 2 years ago
Hm, I think they just wanted to make it different... not everybody has to like it, of course.
Wecfarien 2 years ago 2
just a joke... :-)
Wecfarien 2 years ago
Ildebrando plus '+%'+%'^%'+% : good
Ildebrando plus Jean-Pierre Ponnelle/ Giorgio Strehler/ Graham Vick/ Otto Schenk/ David McVicar/ Jonathan Miller/ Franco Zeffirelli /Götz Friedrich : could be really fantastic!
Bravo Ildebrando!
mertsungu 2 years ago
lol d'arcangelo arrive en retard et se fait engueuler par hampson
joselurhor 2 years ago 5
THE BEST !!!!!!!!!!!!!!!
AgopXX 2 years ago
D'Arcangelo doesn't deserve this!
blichilde 2 years ago 4
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joselurhor 2 years ago
ma di chi e' la regia?bof!!!
enniomostarda 2 years ago
Im sorry but this soprano is terrible.
ezayi 2 years ago
Don Giovanni is brilliant in this stage setting! I love this Don Giovanni! BRILLIANT VOICE! ♥
Violin1007 2 years ago
Poor staging, strange accents...
I´m not against MODERN montages, but this one is terrible!
Take a look in Peter Sellars´, with Herbert Perry and Eugene Perry (they´re twins).
ProfMaximo 3 years ago 2
I could not agree more. Pretentious crap. Hurts the eyes. It does not flow. Illogical flow of action. Distractions going on all the f*cking time. Simply terrible. Love the singing tho. Better just keep your eyes closed.
nispen 2 years ago 4
Pensavo che D'Arcangelo fosse più muscoloso, le braccia lasciano un po' a desiderare! :)))
liszt80 3 years ago 3
Ma mica deve fare sollevamento pesi sul palco!!!!
Deve solo cantare e la voce c'è tutta!!!!!!!!!
maggeo78 3 years ago 2
era un giudizio estetico sul fisico, lo so che la voce è eccellente!
liszt80 3 years ago
I like this production, it's different and interesting to wach. And not to mention that Ildebrando D'Arcangelo is so good looking, love him.
kessukesekene 3 years ago
OMG .... Mozart would not like this. IT screws the first section of the opera, the structure is destroyed.
SinginFool82 3 years ago 4
Ma perché Don Giovanni canta "Notte e giorno"? Che idea del cavolo. Comunque Ildebrando è proprio figo con quel maglioncino! Il costumista non è altrettanto gentile con gli altri.
NedRorem 3 years ago 2
D'arcangelo è sempre D'arcangelo
MandragoraDiabolica 3 years ago
I don't get it.. who is don giovanni out of them.. if the second guy then why is he singing this.. what is this?
lithiumsliver 3 years ago
The first word can be sang by the Don Giovani, all day and all night I work hard - it's a lirycal sarcasm
marlompl 3 years ago
Horrible and vulgar staging.What a pity for Ildebrando,the best of these singers.
blichilde 3 years ago 2
is that robert lloyd's il commendatore?
gretchenamspinnrade 3 years ago
wow i cant beleive i fell for this
aimraan 3 years ago
A me non pare che Leporello abbai! a me sembra molto bravo!
ArcanaMundi81 3 years ago
Ma è previsto nel rifacimento che Leporello invece che cantare abbaii?
Nedo298 3 years ago
What a poor performance of Hampson! He certainly should not sing with the wonderful Arcangelo, who can sing rings around him!
voce29 3 years ago
D'Arcangelo is brilliant - and he got a cute ass. Hampson sounds quite coughy here. It definitely is not his best performance.
Baccalaureus79 3 years ago 2
This comment has received too many negative votes show
Thomas Hampson as waek as always. A tenorish baritone that sounds more to me like a tenor with no high notes... terrible. The soprano sound like she could sing Zerlina instead of Donna Anna. The bass-baritone is actually the best here. But for God´s sake... couldn´t they do a little exercise if they had to show there upper bodies with those skinny ugly arms?. No wonder singers aren´t credible.
ezayi 3 years ago
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Jaspervdk 2 years ago
If you say so... then the answer is YES!
ezayi 2 years ago
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Jaspervdk 2 years ago
maybe you can´t... but I do.
ezayi 2 years ago
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Jaspervdk 2 years ago
That tells very you can´t... especially when you sing musical. Mostly musical singers don´t have that much of a voice for opera. Anyway, you did disappoint me ... and badly.
ezayi 2 years ago
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Jaspervdk 2 years ago
No... and you again disppoint me to no point of return. No, No, No... most of them DON´T have voice for opera and NOT ALL opera singers can sing musical... and I´ve been in the business for more than 20 years.
ezayi 2 years ago
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Jaspervdk 2 years ago
yeah... bad opera singers... and I´ll rest my case now.
ezayi 2 years ago
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Jaspervdk 2 years ago
bad opera singers aren´t profesionals... they hardly sing. And the one that have no damn experience is you. learn how to sing well and you won´t a need a musical... or keep doing that... obviously you´re one of those mediocre singers... lol!... and good night!
ezayi 2 years ago
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Jaspervdk 2 years ago
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ezayi 2 years ago
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Jaspervdk 2 years ago
you´re waiting for offers... I siggest you wait sitting... your ass on you couch.
Uhumm... you know... a lot!
ezayi 2 years ago
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Jaspervdk 2 years ago
you don´t get to choose... you wait ... that´s you´r position now.... that´s what you do now... you wait, you don´t choose...
cause you know so much, ha?... a real lot!
estúpida loca!
ezayi 2 years ago
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Jaspervdk 2 years ago
you´re so damn stupid. Do you think anybody would believe you choose now with only 7 years of career? what ver three pieces you did in those supposedly 7 years... maybe nothing... you get to choose... nothing!... todo lo que digas te lo regreso, estúpida loquita soñandora!
ezayi 2 years ago
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Jaspervdk 2 years ago
secondo a Lei, Ildebrando d` Arcangelo (leporello) non e` abbastanza professionale???? Questo punto di vista mette in dubbio la Sua propria competenza....))))
Julivasia 2 years ago
Non parlo di d´Arcangelo... parlo di Hampson. Allora, capici inglese?... mi pare di no.
ezayi 2 years ago
in questo caso ha ragione, Hampson e` terribile e soprano la stessa...))) (scusi, non ho letto comenti primi)
Julivasia 2 years ago
Let me rephrase it... not me... but many can do it MUCH BETTER!
ezayi 2 years ago
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Jaspervdk 2 years ago
This comment has received too many negative votes show
According to regieseurs "people" are "supousedly" tire of traditional productions (which isn´t true because I hear all the time how terrible this or that modern production was), but I prefer traditional than this nonsense crap. I don´t understand how they spend so much energy in "been creative" and come up with such shit.
ezayi 3 years ago
That's kind of wierd having Giovanni start it. Also, the way he killed him was not exactly how I always thought it would be, but it's a good idea. I'm not sure if I really like Thomas Hampson - hs voice seems kind of weak and out of tune sometimes, though I guess he can act decently. D'Arcangelo is my favorite of these guys, though, definitely.
mantiXcore 4 years ago
Yes, this was actually the production that got me on the D'Arcangelo bandwagon. I'm hoping to hear him sing this role live in NY next season.
joonscribble 4 years ago
Please go! He is simply amazing live.
KatherineXIX 3 years ago
haha that look hampson gives when leporello throws the coat at him is funny. and who knew he was so tall?
burtsbees2 4 years ago 4
Hampson's acting is gold in this opera. I can't tell if it's Hampson being tall or D'Arcangelo being short. Maybe both.
joonscribble 4 years ago
@joonscribble I just read recently in an interview that Hampson is tall; he's 6ft 4... And yes, though his singing may not be the best here i think his acting more than makes up for it. I agree with you though; this was definitely what got me to pay attention to D'arcangelo... :D Thanks for the upload. Love Schaefer too; that hair's really working for her.
phantomunmasked 1 year ago
Hah, I just bought this on DVD. Well worth it, what with all the lovely baritones and basses. It does feel a bit bloodless sometimes. But that beginning's great.
"Leporello, when will you learn to show up in time for the start of the opera so I don't have to sing your lines for you?" :-D
yappity 4 years ago
Has the Commendatore been using the toilet before dashing out?
nnmakowska 4 years ago
Don't know about the Commendatore, but it seems Leporello has.
joonscribble 4 years ago
Sure, it SOUNDED good to have Hampson start it, but why did they do that? Interpretation-wise, it makes no sense.
KatherineXIX 4 years ago
Actually, I'd say that it didn't sound all that great to have Hampson start it, but I think interpretation-wise they did it to be sort of humorous. It also set up D'Arcangelo's Leporello to be one of the most insolent servants I've ever seen.
joonscribble 4 years ago
Haha, so he's so stubborn that he won't even sing the first few lines of his own aria?
KatherineXIX 4 years ago
I actually have the feeling that Leporello curted Donna Anna and they made a change in her bed, but the lady recognised it and did not like the idea at all.
Also DG's death suggests that they lived in a simbiosis and Leporello was the worse half.
brunnhildeH 4 years ago
Clever of them to have Hampson start. That made me laugh. Love his guy-liner. :)
Do you have a clip of him singing 'Deh vieni alla finestra'?
elendiari22 4 years ago
Clever to have Hampson start it. That made me laugh.
elendiari22 4 years ago
I was a little surprised, but I thought it worked well. Loved all the interpretations and changes this production did.
joonscribble 4 years ago