So far, a curse seemed to weigh on "Don Giovanni." The official discography of this masterpiece of Mozart is indeed frustrating as abundant as: any of the many available versions not being completely satisfactory. Unlike the "Noces" for which we have only the embarrassment of the choice of five or six versions bordering on perfection, "Don Giovanni" was much less luck with the disk. There certainly has the beautiful versions of Giulini (EMI 59) and Klemperer (EMI 66), but they suffer from flaws distribution (male in the first case, women in the second), troublesome enough to my eyes (or ears) to disqualify them as a "reference implementation" even if their listening is essential. We advise to the beginner lyricomane eager to deepen his knowledge of the work carefully to avoid the horrors signed Maazel (Sony 78) and Harnoncourt (Teldec 88), although Elvira Kiri Te Kanawa (in the first) and Anna Edita Gruberova (in the second) are worth visiting. More recently, Muti (EMI 90) and Abbado (DG 97) wanted to burn their reading of this opera, which is understandable, but they had to settle for once distributions for less heterogeneous. As for Karajan, it is to live versions (1960 and 1968 Salzburg, both sublime and lavishly distributed) he must turn his studio version (DG 85) is far too late and obliterated by a distribution of 50% calamitous . There are also home Fricsay (DG 56), Böhm (DG 67 and 78), Solti (Decca 78 and 96) and other beautiful things, both in terms of the direction of the distribution, but alas, as I said, no satisfactory version of 100%. So we were, for decades, condemned to dream of an ideal version would have combined the best elements of the existing versions. Personally (and subjectively), I would have borrowed from Klemperer release its direction and its protagonist (Ghiaurov), which I would have added Anna Sutherland's Elvira Te Kanawa, the Leporello Bacquier, Ottavio of the Simoneau, the Sciutti of Zerlina and Commander of Talvela ... I know that the thing would have been chronologically impossible, but we can always dream ... Then came the summer of 2012 and the publication by Deutsche Grammophon in this release that rings in my ears as a form of miracle. The success comes from the combination of a particularly inspired management, and distribution of course "young" but is probably the most homogeneous of all the discography. Yannick Nézet-Séguin is a rising star, a leader that is already known very talented, he proves here. My only reservation about opening a hair too nervous and rushed for my taste ... and in terms of the agreements accompanying the arrival of the commander, it is clear that Furtwängler was still something else .. . But what liveliness in that direction, what enthusiasm, what sensitivity to different climates which succeed! (Listen in this regard recitative accompaniment in the last air Elvira !!). A full reading of freshness, attentive to the singers, and what singers! In honor where honor, and the magnificent Don Giovanni d'Arcangelo Ildebrando dominates appropriately distribution. Sumptuous voice dough beautiful velvet timbre, authority of focus: everything is there. This rise easily in the "top five" of the best performers as the role has known, and clearly states as the best Italian bass for Siepi (... which is not difficult, given the mediocrity of those have succeeded in between). Anna Diana Damrau is very well sung and expressive, even if the sound is sometimes a tendency to harden in the tightest passages. The Leporello Luca Pisaroni is a breath of fresh air after so many grotesque and grimacing interpretations. There certainly in the discography, better Mojca Erdmann as Zerlina, which is listened without displeasure, however (it is the only - on - provided that I issue this tray). Finally there was the two beautiful surprises of the recording. We certainly knew that Joyce di Donato and Rolando Villazon are excellent singers, is not expected to staggering benefits provided they supply to us here, especially since they were quite unexpected in the roles of Elvira and Ottavio. The American diva sings Elvira full of fire, however the beautifully controlled singing, superb example of balance between drama and musical commitment scruple. His "Mi tradi" is probably the most intense ever heard, and I weigh my words. As for Rolando Villazon, which until now had not really shown as Mozartian tenor Ottavio's is just wonderful. In great shape and carried by a holding of breath and a sense of exemplary phrasing, he delivers an impeccable service from A to Z. His "Il mio tesoro" is a real firework of beautiful singing, which leaves the listener knee. In conclusion, an outstanding achievement, "Don Giovanni" celebration that provides listening pleasure absolutely incredible, and downright exhilarating.
