Monumental - but where is the ease?

Unlike Otto Klemperer also very slow, in its rigor and depth of expression but still rousing recording of The Magic Flute is one of his recording of Don Giovanni in 1966 not to my favorites:

Secure - no one has the descent into hell of Don Giovanni huge, monumental conducted as Klemperer, the graveyard scene gloomy and the murder at the start of brutal. But the drama not limited to these three scenes. The special thing about the Don Giovanni is precisely the complexity. Mozart called it not in vain as "dramma giocoso," as "cheerful drama." An important Asspekt is the contrast between the courtly stiffness (and erotic inhibitions) of nobility and serenity popular (and playfulness) of farmers, limits that the Don Giovanni overcomes the only because he ignores them - Klemperer unfortunately. Generally lacking this recording speed, lightness, humor and above all irony - as opposed to a few years earlier-incurred Giulini recording that not only in this respect has the edge.

The singer can not fully convince me throughout:

On the positive side, however, is first with Walter Berry of m. E. best Leporello of the 20th century in his best recording of the role. Vocally and dramatically, he is second to none for me in his subtle wickedness. A very big trump is also the Donna Elvira of Christa Ludwig. A very hurt and vulnerable representation, a real antidote to Elisabeth Schwarzkopf's exaltation with Giulini.

Closely followed Mirella Frenis Zerlina - small difficulties with deep passages and the missing smile in his voice in the second aria prevent absolute peak power. Franz Crass sings the Commendatore beautifully - but for the stone guest, especially when compared to Ghiaurovs Don too human.

The couple Anna Ottavio makes only partially happy: Claire Watson recalls the timbre of the best Donna Anna 50s, Elisabeth Grümmer that the EMI had unfortunately been omitted in the Giulini recording. Perhaps Grümmer was the producer at the time with 54 years for the new recording too old. Unfortunately, Watson does not sound much younger, has some sharpening in height and slight intonation problems. A good, not outstanding Anna. Nicolai Gedda sings me too technical and not expressive enough - that he short of breath sounds in the first aria, may be due to Klemperer's extremely slow tempos or indisposition.

And Ghiaurov in the title role? A huge voice, metallic pithy timbre, height safely, powerfully, insofar ideal for the role. Unfortunately Ghiaurov is (perhaps because of the slow tempos?) Hardly erotic or playful at least in this shot. A rapist, not a seducer. Only in the romance "Deh Vieni alla Finestra" and - of course - in the duet "La ci darem la mano" to begrudge Ghiaurov something more tender tones. He could have been one of the great Don Giovanni of the century as Ezio Pinza and Cesare Siepi, had similar votes. He gives this possibility something. Especially in the final scene one wishes compared to the soft voice of Franz Crass that both had been occupied vice versa.

So overall good vocal performance in a non-coherent whole. Since the Giulini recording is superior as a whole, especially the singers are not bad there.

What is special about this edition is the fourth CD with sample recordings, but are only conditionally interesting - much is lost in general murmur.