Don Giovanni 7/Mar/1942 MetOpera (Pinza, Bampton, Kullman, Novotna, Kipnis, Sayão, Cordon - Walter)
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- Опубликовано: 15 окт 2024
- Don Giovanni - Mozart
Metropolitan Opera
Matinée Broadcast
7th March, 1942
Don Giovanni............Ezio Pinza
Donna Anna..............Rose Bampton
Don Ottavio..............Charles Kullman
Donna Elvira.............Jarmila Novotna
Leporello...................Alexander Kipnis
Zerlina.......................Bidú Sayão
Masetto....................Mack Harrell
Commendatore........Norman Cordon
Conductor.................Bruno Walter
Great conductor, great singers... what a joy!
This is the most overwhelming performance of the "opera of operas" ever. Ezio Pinza is the greatest Don Giovanni of all time, followed by Cesare Siepi.
I totally agree with you. I advised a fellow opera lover to check out this recording as he had told me Kurt Moll was his go to bass for the Comendatore part. I told him Norman Cordon was the best I ever heard in my opinion, and this is the only role I ever heard him sing. Unforgettable, just like Pinza of course (the greatest Don before Siepi as you rightly stated), Kipnis (arguably less so but his imitation of Pinza is a stroke of genius and mischief that has never been equalled as far as I know, Pinza never forgave him). The women are less memorable, but since there is the best conductor for this score imho, I agree with you that it is the best. The 1937 one is extraordinary too (too bad Baccaloni was out of form, but Schipa as Don Ottavio is the stuff of dreams isn't it?) I take both as the two pillars in terms of the best ever recordings of this masterpiece of masterpieces.
Cesare Siepi is awful
@@EmilyGloeggler7984 YOU are awful
Pizza is outstanding!
A recording coming to me overtime . A great technical achievment . I was not born yet in 1942 when Europe was in war . As I can read in comments there was war ar Met too among the artists . But this recording remains a very good memory .
Backstory for this performance: In August 1939 Walter's daughter Gretel was murdered by her husband Robert Happach, who then committed suicide. He was jealous of her growing relationship with Ezio Pinza. Walter blamed himself, as she would not have made Pinza's acquaintance if he had not been seeking him for the role of Don Giovanni.
What can be said ? Reality overwelms any scenary .
There’s a second backstory to this performance. Norman Cordon, who sings the Commendatore, was envious of Pinza’s household-name status and popularity, and he falsely denounced Pinza to the FBI for allegedly supporting Mussolini. Pinza was arrested and detained for several months, and not released until shortly before this performance.
It’s amazing that he didn’t actually kill Cordon during the sword fight.
The best Don Govanni ever Ezio Pinza
Review of Olin Downes in The New York Times:
"KIPNIS IN NEW ROLE IN 'DON GIOVANNI'
He appears as Leporello for the first Time in Mozart Opera Given at Metropolitan
The production of Mozart's "Don Giovanni" with Bruno Walter in the conductor's chair is now one of the brightest ornaments of the Metropolitan's repertory and the performance of yesterday afternoon when Alexander Kipnis made his first appearance in Leporello's role was if anything superior to previous ones under the same great leader.
Above all this performance had the swift pace and the racy quality which should inhere in the show with the descriptive adjective "Giocosa." It is a Shakespearean succession of scenes: the tragic end of Giovanni by no means indication of the nature of each of the episodes. For the legion runs on with every aspect of human nature finding play in it, and burlesque cheek by jowl with the figure of the disparing Donna Anna, and the balked and some times shrewish emoting of Donna Elvira, and the by-play of the unclean Leporello. The thing is to keep this motley in the full consciousness of the audience by means of dramatic characterization and Mozart's music.
Vocal Style Distinguished
It was a pleasure to perceive in Mr. Kipnis a singer who is an artist to his fingertips, who knows well the tradition of his role -- and who knows so well the difference between humor and farce. To say nothing of his voice and his distinguished vocal style. This was the outstanding new feature of the occasion.
The role of Masetto was taken for the first time on this stage by Mack Harrell and competently sung, but acted in that boyish Hansel-and-Gretel fashion in the first scene with Zerlina which is so completely wide of the mark and uncharacteristic of the frowsy, hard, suspicious peasant-who's a man for all that-of da Ponte's indication. And in the scene between the pair there was more of that superfluous and unadvisable detail which sometimes clutters Metropolitan dramatic presentation.
At the same time more important things are missed in the setup. One of these is the setting of the graveyard scene, which could be so macabre, which could and should reveal in an unearthly moonlight shining down on the statue, the most terrifying moment --the moment when the Commandant's statue nods its acceptance of the Don's invitation, that preluding to his doom.
Aria Greeted by Applause
But in the main an admirable performance, with Mr. Pinza in exceptional form. No wonder the applause crashed out after his champagne aria. But in scene after scene this role seems to have grown with him, grown in significance and versatility of dramatic effect. Supplementing the qualities of the superb voice. Then there was the truly passionate Donna Anna of Rose Bampton, sung with the most moving sincerity, and often despite the fact the fact that it often makes demands of dramatic expression in song more intense and more convincing than any other recent treatment of the part in this city.
Mmes. Novotna's Elvira has, if anything, excessive refinement, though it is beautifully done and the execution of the music met with a high intelligence and skill in resources. Miss Sayao's Zerlina has often been praised and justly.
Above all there was the conducting of Mr. Walter, the sensitive performance of the orchestra, the unity of the ensemble and of the whole interpretive scheme. Once more the indispensability of a great conductor for a great performance was demonstrated. The verdict of the audience was shown in the applause which followed and which often interrupted the performance."
thank you, very much
The commendatore scene is just unbelievable
I agree🐫🐫
Was it common then to have recitatives accompanied by piano? I’ve listen a lot of Verdi and Puccini recordings from this period but not so much Mozart. The singing is absolutely splendid though! I’m so glad to have this recording, as it has easily become my favorite recording of Don Giovanni.
Yes, and you hear it in the famous Glyndebourne Mozart opera recordings from the 1940's. Then harpsichord became de rigueur. In the last 10 years it has become fashionable to use fortepiano. I once asked a musicologist (who specialized in the issue of what instruments CPE Bach wrote his keyboard pieces for) what instrument Mozart recits were played on in the 18th century, and he answered "Whatever happened to be in the pit." I truly believe Mozart wouldn't have cared; the keyboard is only there to help keep the singers in tune.
Atto primo
6:25 Scena 1
11:12 Scena 2
11:37 Scena 3
19:30 Scena 4
20:48 Scena 5 / No. 3
26:36 ~~~ / No. 4
---- [Scena 6 manca]
34:04 Scena 7 / No. 5
35:30 Scena 8
37:16 ~~~ / No. 6
38:44 Scena 9
40:30 ~~~ / No. 7
43:12 Scena 10
43:59 ~~~ / No. 8
45:28 Scena 11
46:24 Scena 12
46:34 ~~~ / No. 9
51:03 Scena 13 / No. 10
57:19 Scena 14
57:58 ~~~ / No. 10a Dalla sua pace
1:02:27 Scena 15
1:03:47 ~~~ / No. 11
1:06:30 Scena 16
1:07:57 ~~~ / No. 12 Batti, batti
1:12:20 ~~~ / No. 13 Finale
1:13:18 Scena 17
1:14:03 Scena 18
1:16:14 Scena 19
1:22:04 Scena 20
Wow. Thank you. Great job!
2:35:47 My Fav Commendatore’s Scene
Laura Cross (see below) asked about wanting a recording of the 1943 FAUST. I have it from a Sirius broadcast and would be happy to send her a copy.
Would you please be able to link it here also?
Yes @@MrQwerty88
Pinza & Kipnis together should have been a winning combination but apparently the latter had somewhat of an off day (intonation & uncustomary rhythmic problems, the former which became eventually so serious, caused by a hearing condition, that within about 4 years precipitated his retirement from performing although he continued to have some success as a teacher). The rest of the cast had a better day & Novotna I always enjoyed. Added info reveals that the jealous bass singer who spread ugly rumors regarding Pinza‘s Involvement with fascist Italy was none other than Norman Cordon, apparently. Why this false accusation did not result in legal action is unforgivable, IMO, but such were the times. That both Pinza & Cordon (if the latter actually was responsible for these false accusations) could & would continue working in performances together is really hard to,understand. I am just learning about this now (2023) & maybe, if true, perhaps apologies were made but these unjust charges & who made them, affected Pinza emotionally & the stress involved might eventually have brought on the stroke & heart condition that caused his death a few days prior to his 65th birthday.
What about the story of Kipnis mocking Pinza's vibrato?
I love vocal imitation that Kipnis does of Pinza, reproducing his vibrato (caprino) at the top of the second act when Leporello is pretending to be Giovanni.
Pinza I read somewhere never forgave him that, he never spoke to Kipnis again after that. They were rivals, Pinza was cast in Boris Godunov instead of Kipnis so there was some rivalry involved. Listen to Pinza's Boris it is stupendous too.
Norman Cordon, the Commendatore, was also a rival of Pinza, but hated his guts because of the salary and status as the leading bass of the MET. Cordon was the man who falsely told the FBI that Pinza was a fascist and put him on Ellis Island for a short sentence. Pinza's later life following that experience turned into a tragic opera, which led to write a memoir and suffered a massive heart attack along with a stroke.
@@victorchristy1706
I'd like to read Pinza's memoir....jealousy makes people do horrid things. In Italian they say, " la gelosia è una brutta bestia".
Would it be possible for you to locate the January 30, 1943 broadcast of Faust (Beecham; Jobin, Albanese, Pinza, Thomas)?
I do not have it yet, but always looking for Metropolita Opera broadcasts
@@MrQwerty88 Good, because I read that there's a Walhall CD of it available on eBay.