Don Tom

There are over 40 video recordings of Don Giovanni in the catalogue, dating back to 1954, and Thomas Allen sings the title role in quite a few of them.  This one was recorded at La Scala in 1987 and features a very strong cast in a careful, traditional staging.  It’s also pretty decent technical quality for the era.  The director was Giorgio Strehler in a comparatively rare opera outing.  His sets and costumes are of some vague aristocratic past with liveried footmen, big hats and twirling capes.  It’s quite handsome but not in any way revelatory.  Nor is any aspect of the production really.  We are clearly in an aristocratic milieu.  Tom Allen’s Don Giovanni is arrogant and proud with plenty of swagger.  There’s no hint of ambiguity about  Edita Gruberova’s Donna Anna or Ann Murray’s Donna Elvira and Francisco Araiza is a properly dutiful chump of a Don Ottavio.  It’s all quite serious with comic relief only in the most obvious places.  Having said that, there are some very effective scenes; especially the ending which has a an interesting lighting plot and manages not to be anti-climactic.

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Very traditional Don Giovanni from the Metropolitan Opera

The 2000 Metropolitan Opera recording of Mozart’s Don Giovanni is based on Zeffirelli’s 1990 production somewhat modified by director Stephen Lawless.  It’s an entirely traditional “breeches and boobs” affair with baroque painted flats, tricorne hats etc.  Blocking is mostly very basic with a lot of “park and bark” just livened up with a bit of prop twiddling.  It works because it has a superb cast who sing and act (within the limits of the production) extremely well.

At the core is Bryn Terfel in the title role.  You get what you expect; a big voice that can be scaled back to quite beautiful, menace, physical presence and a touch of humour when required.  If you have seen his more recent Scarpia or Mephistopheles you know what to expect.  He’s backed up Ferruccio Furlanetto in a rather broadly comic take on Leporello which, though I find it unsubtle, isn’t inappropriate in this production.  The Terfel/Furlanetto relationship is very much master/servant.  No ambiguity about two sides of one character here! Continue reading