Condition: 100% brand new with Deluxe packing
Audio Tracks Dolby Digital
Dialogue: Classical Italian
Subtitles: English, Chinese, French, Italian, German ( Removable)
Aspect Ratio: 4: 3
Region Code: All Code : US/UK/Asia/Europe
Starring (Main Casts):Otto Edelmann, Elisabeth Grummer, Cesare Siepi, Dezso Ernster, Anton Dermota, Lisa Della Casa
Furtwangler and the Weiner Phil. are really just astounding here. From the opening bars of the overture to the final bars of the Banquet scene, they take Mozart's masterpiece and take it to a new level. The production by Paul Czinner is great, especally in the final scene, where Clemens Holzmeister's rather piquese set walls are suddenly transformed into the very gates off hell, with red flames and devilish shadows playing off the walls.
The cast is uniformaly excellent. it is Ceasere Siepi was THE don of his day. Here you can see why. His Don is astounding, an demon in a nobleman's clothing. So seductive with Zerlina, so violent and cruel with his manservent, and in the final moment of retrobution, his acting is excellent, the best I've seen yet, and his scream of terror as he is dragged off to hell by shrouded demons, is not one to be forgotten. Plus he sings like a dream, his bass voice outdoing any Competertors.
His supporting cast is uniformaly excellent, Otto Edelmann is an excellent foil to Siepi, with a strong voice and impecable comic timing. Elisabeth Grummer's Anna is simply awe-inspiring, tossing off her arias with not only vocal perfectgion but excellent acting. Lisa Della Casa is perhaps not the best Donna Elvira of the era (That would be Schwarzkopf, who she was a last minute replacement for) but her acting is superb, and she stands out amoung a great cast as truely excellent. Anton Dermota's sweet Ottovio loses his act one aria (a comon stage cut of the day) but makes up for the missed opertunity elsewhere, showing Ottovio's great noblilty, rather than just a henpecked, rather stupid wimp, as some portray him. Erna Berger is a little thin-voiced for Zerlina, but she is capable enough to pull off a good coquettish portral. Denzo Ernster's Commendatore is rather stiff in the confrontation at the end (but then again, he IS a statue) but he cuts an impressive figure, both vocaly and physiclly. We even have a Young Walter Berry, some years away from perfecting Papagano and Don Alfonso for Kempler and Bohm respectivly as a really great masetto.
DON GIOVANNI is a hard opera to perform, and likewise to make a DVD of, and I have yet to see a production I felt was "Right" in every way. but this one comes close. Really, really close. Infact, it's at an almost minescule distance away from profection, prohibated only by the cuts to the score. But still, what a performance!