Tito Gobbi, Irmgard Seefried, Elisabeth Schwarzkopf, & Ljuba Welitsch in Don Giovanni's Act 1 Finale
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- Опубликовано: 28 авг 2024
- Disclaimer - I own nothing
Don Giovanni - Tito Gobbi
Leporello - Erich Kunz
Donna Elvira - Elisabeth Schwarzkopf
Donna Anna - Ljuba Welitsch
Don Ottavio - Anton Dermota
Zerlina - Irmgard Seefried
Masetto - Alfred Poell
Mozart: Don Giovanni: Act 1: Finale, Dir. Wilhem Furtwangler, Salzburg, 1950
Gobbi was a treasure and chose his roles Berry wisely. E.S. was not one of my favorite pure lyric soprano like Cotrubas.. But our Maya did say that Motzart required big voices even for Donna Elvira. But wouldn't we simply die die without Mozart? Great post thank you my friend
Gobbi sounds absolutely great.He specialized in Mozart's operas during a time of his life, although his first marvellous actuation was in Bellini s La Sonnambula.
Brothey in law to Boris Cristoph they looked for the possibility of singing together whenever they could.
He was a scene director,made 25 films,you name it.
I don't know if you prefer Siepi,but this is one of those hateful questions,I know.
Here he sounds fantastic.They all do even being an old recording.Specially at the very colourful ending of this Don Giovanni's first act.Postures when many people sing are essential as you know and all the voices come out clearly and beautiful without any sound pollution.
Very nice Manoli and very good conservation of it all.I m not a great fan of German operas although Mozart I believe has a category of his own away from Wagnerism.
I prefer Siepi on the basis that Don Giovanni is a bass role, and he’s arguably the best exponent of it (Pinza is a worthy contender as well, and much later on, Ramey deserves mention). The argument that the tessitura is high and therefore, it is acceptable or even preferable to have a baritone in the role has never held much water for me. While the term baritone was not in use at Mozart’s time, he clearly was familiar with singers of this range. Count Almaviva, Papageno, and arguably Giuglielmo and Alfonso in Cosi fan Tutte are all examples of baritone roles written by Mozart. Don Giovanni, while high for a bass, never goes beyond E natural. For reference, Osmin has a few written F naturals. While I like some baritone Don Giovannis, Gobbi being the cream of the crop, I cannot completely separate the fact that it really isn’t the “right” voice for the role.
With that said, I can’t fault Gobbi, as baritone Giovannis are more common and his characterization is second to none and vocally he is flawless.
An issue with a baritone Don Giovanni is it can cause an effect where the Leporello has a richer sound than the title role, upsetting the balance of power. Some rectify that by casting a buffo singer as Leporello but it very clearly isn’t a buffo role. It’s highly implied that Leporello was either a former noble or raised alongside Giovanni (how is he able to read? How is he able to document every single one of Giovanni’s “conquests?”) and casting a buffo does a disservice to the multifaceted, and pseudo-Giovanni character Leporello is meant to represent.
In short, I think Siepi is probably the greatest Giovanni due to his suavity and ability to sing the higher tessitura without the slightest strain and in a rich basso sound. Gobbi’s Giovanni is more patently evil, but Siepi’s can easily trick you into falling for his charm, which is more consistent with the character. I love them both for different reasons and have enshrined them both on this channel as a result.
Of course, I am also biased, seeing as I, myself, am a bass.
Hi @manolis.799, my aunt, María Adriana Fraga Estévez, is impressed with the length and quality of your response. She is having a problem with her RUclips account at the moment, but she will reply to your comment as soon as she can. Thanks!
@@manolis.799 Dearest Manoli.First of all allow me to say thank you for what must have been one of your longest replies in your channel ever.
In a way I thought that the content would be this one.If you remember we had talked some time ago,about the possibility of you choosing an opera where you would sing.I told you specifically that you could choose to be a bass or maybe a rich dark voiced baritone,thus you have told me how much you loved Rigoletto.I thought at the moment that the idea tempted you.But, finally,you decided to leave it for another moment.
That only shows Manoli your dignity and well meaning.You could have broaden your choice immensely,but didn't do.
Not everyone is as respectful as you,I m afraid.In this case,being your voice not well defined in Mozart's time,people have taken advantage of it and have abused it.
And you're so kind that you even Wellcome it in the special case of Gobbi for you appreciate his bright
acting and devilish nature he ads to the Don s part.
Some of the people writing for you also like it deeply.But,of course,then comes the problem.It compromises the voice of the servant,to the point they have to search for a buffo.
I completely agree with you in the Siepi election or Ramey.And also think that through sweetness and subtleties you can reach the most devilish attitudes of all not only in opera but in Life in general.
Besides if baritones have inmense possibilities of choosing parts,why would they steal more ones to the basses.It s outrageous.
That's why leaving tessituras and E and F naturals apart,the correct thing would be two basses.A darker one for Don and a lighter for Leporello.
Given that I ve been blocked in YT for one day I ve been able to search what Leporellos have been congratulated lately.And what was my surprise when I found out that one of the greatest of all was SIEPI..
I was,of course horrified,after reading your article we could call it,with authentic passion.
I think that,once again , you've given us all a lesson of humbleness, respect and clear words,which are more necessary day by day.
And all that praising everyone s work and knowledge.
Manoli,I hope to see you one fine day at the MET,but above all let me recognise that you're a man of big values and excellent presenter of problems that many others would rather not touch.Congratulations.
An extract from perhaps the greatest performance of Don Giovanni that was given in the XXth century. Schwarzkopf's Elvira is more lyrical and less of a termagant than it later became, and she sings as beautifully as it was possible for her to do; an achievement also upheld by Erich Kunz, which this august gentleman did not always bother to do. My beloved Seefried sings like an angel here, and Dermota is not actively offensive. Welitsch achieves the near impossible by portraying Anna as a nervous young girl rather than a hectoring, superannuated hochdramatisch; but unfortunately, if a pig were to be granted the ability to sing, it would not sound dissimilar to Alfred Poell. Gobbi's Don is not only destined for the inferno, he seems to have come from there already, with his snarling and blatant contempt for the people surrounding him; the complete opposite of Siepi's dissembling suavity. If devils could sing, they would sound like Gobbi. Furtwängler leads all with a sure hand, and the Wiener Philharmoniker follow him with an inner glow and an outer fire that are fully worthy of this greatest of all operas. Thank you, Manoli!
Outstanding performance!
Thank you, dear friend.