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не Эдда Мозер, конечно

It's only me, or these harmonies were copied by The Verve in their hit song, named Bittersweet Simphony?

Bravo! from an 85 yr-old baritone. Best performance of this aria I have found on RUclips

Very good. Love this duet

Sublime

Corelli-bastianini especially bastianini.

Listen to Edda Moser for dramatic passion..

Donna Anna is not the music of someone who lied about being seduced! I hate this direction, but you cannot deny this is one of the best Anna's to ever life. She sings this aria at a tempo ive never heard, and the recit is on fire. I have never been one who minded Renee's "mannerisms" because they made her body of work uniquely hers and the voice was always just stunning. But man these early Mozart/Verdi/Strauss years were sublime. I heard a recording of the end of Jenufa from Dallas in the early 90's and it ripped my heart out. Renee fleming is a NATIONAL TREASURE, and an incredible representative of Arts in New York State: All of her degrees are from Schools in NY (SUNY Potsdam, Eastman and Juilliard)

Perfect

Love the aria but the recitative is all over the place ..

No

Lieben, Hassen, Hoffen, Zagen, Alle Lust und alle qual, Alles kann ein Herz ertrain Einmal um das andre Mal. Aber weder Lust noch Schmerzen, Abgestorben auch der Pein, Das ist tötlich deinem Herzen, Und so mußt du mir nicht sein! Mußt dich aus dem Dunkel heben Wär es auch um neue Qual! Leben mußt du, liebes Lebem Leben noch dies eine Mal.

Perfecta ejecución y una gran puesta a escena . Grandes Nucci y Giacomini...

Wonderful in every way. Giacomini is so moving in this role, very convincing and well sung.

Love Groves in this. Ottavio as a real man, not a fey rococo figurine. The character should be played (and sung) as a full-blooded explicit foil to the Don---a paragon of male virtue, everything a cad isn't. Also agree in detesting the modernist idea of Anna as a fraud who dallied w/ the Don. Anna and Ottavio are deadly serious, fully Romantic characters, and there's nothing ironic about them. That look on Anna's face as she exits---yuck. Leftists are never so thrilled as when pushing depravity and baseness.

Questo duetto è stato registrato da grandissimi interpreti, ma francamente qui Giacomini e Nucci sono inarrivabili, nel canto come nella recitazione. E inoltre si sente la bacchetta di un grande direttore come Levine, in un brano come questo che nel finale è difficilissimo da tenere a tempo. Registrazione #1.

Ma qua sono tutti inglesi?

I saw this production at the Met and there was no sense during the live performance that there was any "she wanted it" in the production. Fleming is superb here and certainly for the entire performance she remained a character harmed and yet strong enough to want revenge.

Tucker & Merrill

I love Renne. She is never afraid to bring her own interpretation. She brings it to life in a real, authentic, raw way. Her ability to express her inner most thoughts and feelings is outstanding. That is why I love her so much She is an artist all her own. Brava Renee and...thank you for being you!!! With all my ❤

Wonderful ! Here, Rene Flemming is in great form. Not only is the aria Or sai chi l'onore very difficult vocally, but the scene dramatically is even more difficult dramatically. She executes both marvelously well. Congratulations Rene!

Bravo, Stephen Dickson! At the Metropolitan Opera, 1988.

Poor Don Ottavio! Fleming's histrionics make his character even more insignificant.

Don't like at all.

I love DG and have seen it many times over the years, but never heard an Anna as secure as this. Listen to the thrust as she goes for those A’s over and over. I adore her.! Great singer , actress, teacher and so generous to students who come backstage when she sings . Many of my kids who were in the Tanglewood program for young singers would go back and she would actually spend time with them

6:59: High A

Well done. Very well done.

Versione definitiva... meglio di così è difficile pretendere da esseri umani. Quanto al fatto che "spingano" è chiaro che il carattere del brano lo permette, anzi lo richiede.

Who is the baritone? Lovely voice!!

Une belle voix !

Mushy diction, but beautifully emoted. Mannered,yet effective...and affected. And she is the best Donna A. in a while. Oh well.....

Es ist sehr schon!

Mi piace da morire!!! :-)

Superbly well sung of course - we all know that she is the greatest Donna Anna of the last few decades. But the quality of the acting is also so high - so much nuance, such control of gesture, and she lives the role in each moment as few others too. What is so brilliant is that she matches it with her singing - every vocal shift is accompanied by a physical shift - they are both expressions of the character as she tries to affect Don Ottavio into action. We even get the slight ambivalence and sense that she is performing to Don Ottavio coming through - those little glances like the one at the end where she pauses to see the effect she has had. True mastery - this is operatic performance of a rare order.

I love Fleming, and the ornaments she inserts were the norm in Mozart's time. The only thing I DETEST is this modern director idea that Anna had a romance with Giovanni. Or that she somehow 'wanted it' or couldn't resist. That's a really really misogynistic idea. She said no, he raped her, killed her father, she can't come to terms with it. And Anna's music is not the music of a liar.

God, she sings this like it's "O mio babbino caro." Where is the passion, the fire, the fury?

Vocally this OK - Fleming does not have the vocal heft for this aria. Dramatically - she is good.

She was so very involved. Quite amazing.

Perfect!

ive got a headache in only 5 minutes of listening

She sang the hell out of this didn't she. She wasn't messing around. Wow!!!

Fleming is the best

i think she is amazing in Mozart¨s roles. You as a singer has a lot to learn from her!!! Brava!!

"Don GIovanni" by Mozart. Renée Fleming is singing the role of Donna Anna.

Thank you :)

Why did that last look on her say "Kill his a**!" I love it.

Don Giovanni. You are welcome.

Can someone please tell me the official name of this opera? It would be much appreciated, Thank you :)

I disagree with you on Ottavio. He may be boring, but I think he genuinely cares for her and wants to make things right for her. He may just not be able to say the right thing. He tries to do what she says, he tries to comfort her, and I don't feel it's because he just wants in her bussle, but rather that he sees someone he cares for in pain but doesn't know how to console her. His frustration does mount, but he is a patient man for putting up with her!

She is black on the inside!