Although it has many great moments, this Don Giovanni, pieced together from a run of live performances in January and February 1997, struggles to find its stride. Abbado brings out orchestral textures and colors that other conductors often overlook, but his tempo choices frequently feel slow, sapping important moments of their energy. The opening scene, Donna Anna's arias, and the all-important second act finale all drag like a ball and chain. The result is a recording that has many drawbacks of a live recording -- the more ...
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Although it has many great moments, this Don Giovanni, pieced together from a run of live performances in January and February 1997, struggles to find its stride. Abbado brings out orchestral textures and colors that other conductors often overlook, but his tempo choices frequently feel slow, sapping important moments of their energy. The opening scene, Donna Anna's arias, and the all-important second act finale all drag like a ball and chain. The result is a recording that has many drawbacks of a live recording -- the more distant focus and occasional sloppiness -- but rarely the energy or cohesion. Simon Keenlyside is an excellent Giovanni; he has the ideal blend of vocal qualities for the job, and finds the sneer behind the lothario's winning smile. Bryn Terfel was born to play Leporello, singing the part with a gruff abandon and charm that few have ever matched; he goes over the top sometimes, but you'll forgive him for it. Of the rest of the cast, only Soile Isokoski and Ildebrando D'arcangelo...
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