Verdi's opera based on Shakespeare's character Falstaff who attempts to woo two wealthy married women in an attempt to avoid bankruptcy....
Tracklist: Disc 1: 1. Don Giovanni - Overture 2. Don Giovanni - Act I No.1 Notte E Giorno Faticar 3. Don Giovanni - No.2 M Qual Mai S'offre - Fuggi Crudele Fuggi! 4. Don Giovanni - No.3 Ah! Chi Mi Dice Mai? 5. Don Giovanni - No.4 Madamina! Il Catalogo Questo 6. Don Giovanni - No.5 Giovinette Che Fate All'amore 7. Don Giovanni - No.6 Ho Capito 8. Don Giovanni - No.7 L Ci Darem La Mano 9. Don Giovanni - No.8 Ah Fuggi Il Traditor! 10. Don Giovanni - No.9 Non Ti Fidar O Misera 11. Don Giovanni - No.10 Don Ottavio Son Morta! 12. Don Giovanni - No.10b Dalla Sua Pace 13. Don Giovanni - No.11 Finch' Han Dal Vino 14. Don Giovanni - No.12 Batti Batti O Bel Masetto 15. Don Giovanni - No.13 Finale. Presto Presto! Pria Ch'ei Vengo! 16. Don Giovanni - S Svegliatevi 17. Don Giovanni - Bisogna Aver Coraggio 18. Don Giovanni - Signor Guardate Un Poco 19. Don Giovanni - Protegga Il Giusto Cielo 20. Don Giovanni - Riposate Vezzose Ragazze! 21. Don Giovanni - Venite Pur Avanti 22. Don Giovanni - L'iniquo Da Se Stesso 23. Don Giovanni - Ecco Il Birbo Disc 2: 1. Don Giovanni - Act II. No.1 Eh Via Buffone 2. Don Giovanni - No.2 Ah Taci Ingiusto Core! 3. Don Giovanni - No.3 Deh Vieni Alla Finestra! 4. Don Giovanni - No.4 Met Di Voi Qua Vadano 5. Don Giovanni - No.5 Vedrai Carino 6. Don Giovanni - No.6 Sola Sola In Bujo Loco 7. Don Giovanni - No.7 Ah Piet Signori Miei! 8. Don Giovanni - No.8 Il Mio Tesoro Intanto 9. Don Giovanni - No.8c In Quali Ecessi O Numi! - Mi Trad Quall' Alma Intrata 10. Don Giovanni - Rez. Ah Ah Ah! Non Mi Dir Bell' Idol Mio 11. Don Giovanni - No.9 O Statua Gentilissima 12. Don Giovanni - No.10 Crudele! Non Mi Dir Bell' Idol Mio 13. Don Giovanni - No.11 Finale Gi La Mensa Preparata 14. Don Giovanni - L'ultima Prova 15. Don Giovanni - Don Giovanni! 16. Don Giovanni - Scena Ultima. Ah Dov' Il Perfido 17. Don Giovanni - Curtain Calls
Richard Wagner - Tristan Und Isolde.
Mozart's Clemenza di Tito ("The Clemency of Titus") makes for riveting viewing in this Glyndebourne performance directed by Nicholas Hytner and conducted by Andrew Davis staged in the composer's bicentenary in 1991. Mozart's last opera, Clemenza was for some time considered below par by his own exalted standards. He composed it in a rush, the recitatives are by a pupil and it had to be on an appropriate theme to please the new Hapsburg monarch, for whose enthronement it was designed. There's little character development and the musical style harks back to operatic conventions Mozart had done so much to overthrow. Watching this production one would scarcely credit that such reservations once held sway. Hytner and his team have put a contemporary angle on a story set in Rome AD 78 in which sets, props and the stage itself are constructed to different dimensions offering alternate perspectives on a static tale. A slanting pillar and a sloping corridor allude to the unhinged mind of the scheming Vitellia, the central character, who puts her confidant Sesto on an emotional roller coaster ride as she ensnares him to plot the downfall of Titus. The principals use their eyes to communicate to one another as well as the audience and in the imaginatively staged entrances and exits of the ensembles one senses Hytner's choreographic instincts coming to the fore. The superb cast sing magnificently and look stunning. Philip Langridge is an eloquent Titus, Diana Monatgue a sincere Sesto and Ashley Putnam brings a touch of Alexis Colby to her portrayal of Vitellia. The London Philharmonic are all fired up under conductor Andrew Davis' fervent direction. The performance (the "Overture" accompanied by a visual montage of artefacts of Ancient Rome) is played on modern instruments yet articulated and reproduced with the clarity and definition associated with period ones. On the DVD: La Clemenza di Tito has no special features save for the obligatory subtitles. The picture quality is outstanding with the imaginative and colourful production design caught, like the music, with exceptional fidelity. The high drama at the conclusion of Act 1 justifies running on without a break into Act 2. This is a must for all lovers of opera. --Adrian Edwards
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