by Sam Juliano
The writer Gustave Flaubert opined that “the three finest things in creation are the sea, Hamlet and Mozart’s Don Giovanni. The philosopher Kierkegaard wrote that Don Giovanni is a work without blemish, of uninterrupted perfection. Virgil Thomson was no less flattering: “Don Giovanni is one of the funniest shows in the world and one of the most terrifying. It is all about love, and it kids love to a fare-ye-well. It is the world’s greatest opera and the world’s greatest parody of opera. It is a moral entertainment so movingly human that morality gets lost before the play is scarcely started.” Beyond that Shaw, Goethe and Wagner considered it the greatest opera ever written. Today this 1787 canonical work of Western culture continues to hold the stage as one of the most-performed operas worldwide, and the one above all others that is seen as the purist expression of the intellectual and dramatic possibilities of the operatic form. At New York City’s Metropolitan Opera, Don Giovanni has been performed over 500 times in about sixty seasons between 1883 and the present. Surely no other opera has been as debated and analyzed, and no other, with the possible exception of Bizet’s Carmen has been held up as the model, the one work that in a number of ways can serve as a definition of the form.
Opera boasts no villain more unrepentent than the great and terrible Don Giovanni, who in the course of the magnificent work that bears his name, assaults every woman he encounters, kills one man, beats another half to death, and humiliates his serving man regularly – yet nowhere expresses any semblence of remorse, anxiety or sympathy for his victims. Even as he is dragged away to hell, Don Giovanni refuses to save himself, Don Giovanni refuses to save himself by renouncing his crimes. He refuses, even to be afraid. In his relentless consumption of women, his disregard for the dignity of others, and his steadfast inability to experience human emotion, the Don is a monster. But he’s a glorious monster, who remains heroic in his willingness to accept the consequences of his acts. While virtually every other character in the opera calls out for help at one point or another, Don Giovanni refuses, and neither expects or desires kindness, companionship or pity, even in his final extremity. His profound amorality would seem to place Don Giovanni in contemporary times, rather than the hero of an eighteenth-century opera composed by Wolfgang Amadeus Mozart.
And yet, by Mozart’s time, the legend of Don Juan was already antiquated, so much so that its origins are obscure. By 1787, when Mozart crafted his own interpretation, the tale had already appeared in numerous forms, including a play by Moliere, and more usefully for Mozart and Lorenzo da Ponte, his librettist, an opera by Giuseppe Gazzaniga. Nothwithstanding the Don’s pervasiveness, the story was dismissed as ridiculous and vulgar by nearly every critic and intellectual of the era. The only explanation for its frequent adaptation was seemingly its indisputable popularity with everyone else. This drawing power is probably what attracted Mozart to the tale, for he was composing the opera for Prague, then considered a provincial backwater where the audience was likely to prefer the spectacular to the elevated. Though it was apparently received with acclaim in that city, Don Giovanni was disdained in Mozart’s own Vienna. Emperor Joseph II declared that though the music of the opera was beautiful, it was meat too tough for the teeth of the Viennese. Mozart is said to have replied: “Give them time to chew on it.” And of course the composer was right, as a mere quarter of a century after its composition, reverent musicians and audiences were hailing Don Giovanni as the pinnacle of Mozart’s genius.
Joseph Losey saw Don Giovanni as the chance to bring a new sense of urgency to this masterpiece by taking it out of the opera house, utilizing authentic Venetian locations and signing on world class singers, by taking advantage of the visual and audio enhancements that the cinema can enable. In the late 70’s when the film was being shot, the dolby stereo surround process was just being perfected. The diverse director, whose distinguished catalogue includes highly-regarded works like The Criminal, The Servant, The Prowler and The Go-Between reportedly loved jazz far more than opera, but coveted the opportunity to helm a work that could well be seen as the definitive cinematic interpretation. Losey, who was born in Wisconsin, studied in Europe with Bertolt Brecht, and then to returned to direct several films that are now considered to be Hollywood classics. During the McCarthy witch hunts he was blacklisted and moved to the United Kingdom, where his association with Harold Pinter yielded three exceptional films, two aforementioned: The Servant, The Accident and The Go-Between. With some British backing he moved his crew to Italy for the Mozart masterpiece, and applied his personal stamp on the production, though at least a few vocal dissenters claim the film bears nothing of his style or presence. In truth this version of Don Giovanni bears both thematic and aesthetic simularities to earlier works, including a few of the Pinters. Elements of bisexuality, narcissism and sado-masichism present in Don Giovanni are found in The Servant with the servant and master relationship and in The Accident between master and pupil. In Losey’s Monsieur Klein and The Big Night there is a pervading ‘father’ theme that is of course a major concern of Don Giovanni, as well as a venue for personal crisis, where the character is learning the truth about himself. The use of mirrors runs through much of Losey’s work including Don Giovanni, where the elusiveness of truth is a major theme. And then there are the sets which in a Losey film invariably reflect ‘frame of mind.’ This is compellingly displayed in Mister Klein, The Servant and The Accident, but one can also see this in some of the earlier films and in The Go-Between. It is nowhere as apparent as in Don Giovanni, where the psychological underpinnings are the very essence of the story. Elements of fire and water are trademark allegorical devices, and again they inform in large measure the state of mind.
Much like his contemporary the prolific opera master Franco Zeffirelli, Losey favored traditional interpretations, which of course allowed for some arresting cinematography, costume and locations, which were superbly embellished by superlative lighting, (which harkens back to the director’s theatrical background.) Techically the film is often brilliant – the use of Palladio’s Villa Rotunda Venetian mansion provides a ravishing backdrop for the performances. This is a Don Giovanni of light and shadow, of rich tapestries and provocative close-ups, where arresting images and framing abound. Much of the credit must go to cinematographer Gerry Fischer and art director Alexandre Tauner, who have made the most of the choice settings. Losey excels with his direction of the female characters – whose roles are so vital to the dynamic of the piece. The scene where Donna Anna recognizes the murderer of her father is chilling – image, tone and performance coming together in perfect harmony. Her character is balanced with the resigned, but determined Donna Elvira, who believes despite all evidence that Don Giovanni’s salvation can still be somehow attained, and the flighty and independent Zerlina, who believes she can handle the cavalier (and her husband Musetto) on her own terms. The male characters of course persusively imbue the black humour, complicity and latent homosexuality that can be drawn from the relationship between Don Giovanni and his valet Leporello.
The transference from stage to screen is no hinderance for the splendid performers who carry home the day with beauty and power. Ruggero Raimondi is true to Mozart and Da Ponte’s characterization: he’s cold, sinister and shameless and he posesses a powerful voice. Kiri Te Kanawa as Donna Elvira has always been a vocal seductress with her smooth as silk voice, and she delivers one of her finest performances. Edda Moser as Donna Anna is emotionally expressive and Jose Van Dam is marvelously elegant as Leporello, Teresa Berganza is a sympathetic Zerlina, even if she’s admittedly too old for the part, John Macurdy as Il Commendatore leaves a haunting impression, and only Kenneth Riegel as Ottavio is unimpressive.
In any case, getting back to the work, it can be safely asserted that the death of the Commendatore and his revenge are the most essential parts of the opera. Gazzaniga’s opera, (the source for Da Ponte and Mozart) which was in turn based on other sources, was based on those essentials, but it was only one act. Da Ponte and Mozart had to fill out the time between the Commendatore’s death and his reappearance in the form of the avenging statue. Apart from a call to repentence and a supernatural warning, no events have any real bearing on the denouement, since the Don is not defeated by any human revenge or pursuit. The rest of the opera is therefore filled with the opera-buffa game of disguises. Historical accounts have revealed that Da Ponte later claimed that Mozart had wanted to write a serious opera and had to be persuaded to add the comedy. Mozart may never have even considered if he was writing about crime and punishment or divine vengeance, since most of his operas had concluded in the theatrical convention of divine or imperial clemency; this time the divine intervention was simply of the opposite sort. Still, this was the first opportunity since Idomeneo to write serious, heroic and tragic operatic music. Mozart can invariably be compared to Shakespeare, not least for the mingling of laughter and tears, but while Shakespeare used the powerful close juxtoposition of tragedy and comedy, he surely has no parallel to Don Giovanni’s last scene in which the great heroic duet with the Commendatore is not merely followed, as Duncan’s murder is, but actually accompanied by the patter of the buffoon.
The music of Don Giovanni contains some of Mozart’s most extraordinary and unforgettable compositions. In Act I, with “Madamina! il catalogo e questo” Leporello boasts of his master’s triumphs: “Here are valid statistics of his conquests from border to border. In Italy, six hundred and forty, and so forth.” This is followed by a tender duet between Don Giovanni and young Zerlina, inviting her to his castle (“La ci darem la mano”) which implores her to become his wife. Then a short, beautiful trio with the three maskers, Don Ottavio, Donna Anna and Donna Elvira, “Protegga il giusto cielo,” asking for heaven’s help. The mood of the music at the end of the ballroom scene quickly changes from farce to near-rape. Other memorable arias include “Deh, vieni alla finestra”, the Don’s soft serenade to Elvira’s maid; “Il mio tesoro,” Ottavio’s request to friends to stay with Anna while he persues Giovanni, and then Donna Alvira’s “Mi tradi” where she cries: “He betrayed my love and honor. Though I hate him for his shameful deeds, I still pity him. But my heart speaks of vengeance.” Another lovely aria is Donna Anna’s “Non mi dir” (“Say No More”), in which she says she can’t consider marriage while her thoughts are on her murdered father. Of course Mozart sounds a deeply tragical note at the outset of his overture. The introduction is an “Andante”, which he drew from the scene of the opera in which the ghostly statue of the murdered Commandant appears to Don Giovanni while he is enjoying the pleasures of the table. Two groups of solemn chords command attention and “establish at once the majestic and formidable authority of divine justice, the avenger of crime.” They are followed by a series of solemn progressions in stern, sinister, unyielding, merciless, implacable harmonies. They are made to sound like the colossal strides of approaching Fate, and this awfulness is twice raised to a higher power, first by the violins. Former director of the New York Philharmonic, Lorin Maazel, served as conductor of the L’Orchestre de l’Opera National de Paris, and his reading here for Losey’s film remains one of the finest on record.
In the ever tenuous world of the opera film, where disperate arts simultaneously converge and stand apart, Joseph Losey’s Don Giovanni is one of the most consummate achievements in validating film’s natural kinship to an ancient art form.
How Don Giovanni made the ‘Elite 70.”:
Pat Perry’s No. 15 choice
Sam Juliano’s No. 16 choice
Allan Fish’s No. 27 choice
Here is the trailer to the film:
A very good read, Sam.
I’ve seen bits and pieces of Don Giovanni in various filmed live performance forms.
I know little about it but I am always interested in the mutation of one form of art in the passage to another, giving it new life – I’m thinking of Parsifal by Syberberg (which I know you like) and Baz Luhrmann’s Romeo and Juliet. In other words not just filmed theatre.
I’d be curious to know if Losey’s Don Giovani was ever used in part in any film productions. Obviously it didn’t figure at all in Forman’s Amadeus.
Stephen—
I love what you say there about the ‘mutation of one form of art in the passage to another and the subsequent reference to Syberberg’s PARSIFAL. Yes filmed theatre is an altogether different kind of hybrid. Thanks for the very kind words!
Frank—
That is a fantastic question!
I dare say I do believe we saw the Losey DON GIOVANNI several times during Claude Chabrol’s LA CEREMONIE. I know if either Ed Howard or Peter Lenihan were to look on this thread by chance, they’d know for sure. Otherwise I’ll run that film at some point to be sure.
I agree, old boy, wholeheartedly, and Van Dam is my man of the match among the cast, a superb Leporello.
Allan–
Believe or not there a few critics that took down Van Dam. I completely agree with you.
I didn’t even need to see the name of the author on this one when I saw what film was being covered in this fine essay.
Had to be Sam. The emotional response to this film in his fine written words are almost like hearing him speak, as he often does, with passion on the subject of Opera.
I, myself, limited my ballot to only a few Opera films as there was, I believed, more films that needed inclusion than to have the list dominated by classical music. I went with MADAMA BUTTERFLY and Zefferelli’s LA TRAVIATA. However, this production of my FAVORITE Mozart Opera just missed inclusion.
I could go on for pages on what I think of this interpretation and cite many attributes (the production design, costuming, cast etc…), but why would I have to when Sam has so thoroughly and passionately said exactly what was on my mind?
I will say, and he and I have debated this one for a long time, that DON GIOVANNI is, in my opinion, not only the greatest Italian Opera of them all (and ironic that the greatest composer of Italian Opera was a German), but probably the greatest OPERA ever written. The emotional background of Mozarts life at the time of its writing came flooding out in the plot points and the brash thrusts of the music and the dramatics of the piece are the greatest in Mozartian Opera. Some would contend that THE MAGIC FLUTE is the one he was most connected to, but when you do the reading (Maynard Solomon’s biography is pretty detailed and one of the best) and the studying up on the genius composer you’ll find that this one was the closest to him. Leopold, Wolfgang’s father, had died just a few months earlier and the guilt that his son harbored for not being by his side during his final moments never subsuded for the rest of his life. As Peter Schaffer acurately portrays (it’s one of the few parts of his play not fictionalized) in AMADEUS, Wolfgang really believed that his fathers spirit and condemnation for his son was being translated through the music and lyrics of DON GIOVANNI. Salieri, Mozarts contemporary (and some say nemesis) was in awe and love with the Opera and sat through it faithfully for every one of the 4 royally decreed performances it originally had in the Emperor’s Opera house (there are rumors that Salieri blocked the Opera from being performed more than that in fear that the public and the aristocracy would favor the boy wonder over him).
For me, this is drama in Opera on an order that only Wagner has managed to match both in scope and dramatic tone. It is, at once, hauntingly beautiful, dramatically forceful and, at times (particularly in the moment the dead Commander comes to life to accuse and drag the protagonist to hell), utterly horrifying. It is, and it always will be, what Mozart dreamed of and called “perfect dramatic theatre”. He may have written many and some of the best symphonies, piano concertos, sonatas, masses, trios and religious music, but his love and passion was for Opera and he may just have given the world the best one of all.
I know it is for me…
It’s a given that I think that Sam has written a superlative review for this amazing film…
Dennis—
Your exhaustive comment here is one of your most accomplished, and therefore one of the best ever entered at this site. It doesn’t take a close friend to note this, just anyone with a pair of eyes. Your own considerable knowledge and appreciation of opera and classical music should not be obfusgated by any discussion of my own involvement with the form, and I can hereby confirm package deal season tickets you held for several seasons at the Metropolitan Opera house in the late 1990’s. Your apt comparison of the tone and thematic content of DON GIOVANNI and your biographical information on Mozart’s father are deeply appreciated and as always bring so much to the table. As far as DON GIOVANNI being the greatest Italian opera of them all, I’d say that”s definitely a smart choice (and what you say there about great Italian opera being written by a German is most telling) though as you know both Verdi and Puccini do have some serious contenders to the throne.
I do indeed know how much you adore DON GIOVANNI for a very long time, and I tip my cap to you.
Thanks again for this absolutely spectacular comment, a bar raiser.
Appreciated Sam.
No, I didn’t forget the others. Although, I do consider Puccini fluff when you compare his stuff to the weight of someone like Verdi.
In all seriousness though, I DO consider Mozart the top dog when it comes to Opera (and ONLY WAGNER comes close in matching his genius). He was an all around guy (writing brilliantly in every style and form) but whereas I think Beethoven is the all around greatest composer, Mozart bested them all in Opera and I think DON GIOVANNI is his crowning achievement.
Part of what Schaffer got write in AMADEUS (maening that it wasn’t fictionalized) was the sense that Mozart was in love with Opera as a form of “perfect” theatre and everything else (symphony, concerto, mass, sonata) was secondary in his importance. Mozart and Shikaneder were looking to form a kind of theatre for the “people” and Opera was the way to speak to the masses. DON GIOVANNI is his most telling and perfect opera, I feel, because its the kind of dramatic fantasy the two were looking for when they started their talks about community theatre AND because of what was going on, personally in MOzarts life at the time. DON GIOVANNI was as dramatic as it was because of the pain and drama that was taking place in his mind and soul at the time. This comes at beginning of the most tragic part of Mozarts life, as the downward spiral begins that will, ultimately lead to the composer premature and untimely death.
This period of his career vies with Beethovens loss of hearing as one of the greatest turn of events in the history of classical mnusic. Tragic, yes, but nonetheless fascinating when you think of the outpour of art they comitted in the midst of their suffering….
BUT…
Puccini, while ravishingly beautiful in aria and symphonic phrasing is more light-hearted in tone and the set up for his songs are leveled at the audience like a greatest hits album. Puccini is trying to get the most bang for his buck. While I adore Opera like MADAMA BUTTERFLY and LA BOHEME, I feel that his dramatic angle is far more fluffly than someone like Verdi.
For me, VERDI is the key Italian Opera composer. His subjects are insanely dramatic and Shakespearean and the fusing of the existential within the framework of the libretto and the threading of the music is breath-taking. Not that Verdi was all brains and no braun. I rmember, like it was yesterday, the big opening moments you and I thrilled to at the MET as General Othello ground his ship and enters the story at the beginning of his titanic OTELLO. It’s sweeping and hair-raising at the same time and all the time absolutely beautiful to hear. That we were fortunate enough to see it with Domingo in the lead was an added bonus.
I see the top Opera composers this way…
1. Mozart
2. Wagner
3. Verdi
4. Rossini
5. Puccini
But let us not forget Saint Saen’s tremendous SAMPSON AND DELILAH, Tchaikovki’s THE QUEEN OF SPADES or Mascagni’s CAVELLERIA RUSTICANA…
There’s just so much to love to contend to them all on a little thread like this…
Great comment Dennis, but it comes off as a bit too dismissive of Puccini, who has gained immensely in critical reputation since those early scribes offered the ‘fluff’ argument. Verdi’s stories are not more profound than Puccini’s though his orchestrations are a bit more complex. As far as Rossini rating ahead of Puccini, no way, not even by a longshot. In fact the best bel canto composer is probably Bellini.
Sam,
I’ve admitted before that Opera as Cinema is not up my alley. I prefer Opera in the theatre. But, your impressive and knowledgable essays on the subject continue to intrigue me. Congrats and a brilliant piece my friend. I’m sure the music is as good as you advertise.
Jon–
Thanks very much for the over-the-top praise. I do indeed remember you had felt that way, and I most assuredly fully understand. People seem to equally fall on both ends. I do know one thing however, and that is that this opera film and a few others will prove an exception to the rule. This Losey masterwork has been a trend setter for years.
Thanks again my friend!
I must agree with Dennis. This is an accomplishment in writing that boggles the mind. Sam’s been doing this effortlessly every time out of the gate. Sue and I saw a production of this opera several years ago at the New York State Opera at Lincoln Center. We were lucky enough to get free tickets, and we sat in 8th row orchestra.
I’m afraid to say it was a minimalist production that brought the story into contemporary times. Just about every opera production for cost-cutting reasons goes this way now. Shakespeare productions are the same in this regard. That’s why when we get something like “The Merchant of Venice” with Al Pacino, we can appreciate the lush period settings. The music in “Don Giovanni” is heavenly, and leaves one in awe. Great you mentioned the overture, which is one of the most famous ever written.
I loved your examination of common themes that run through Losey’s cinema. Brilliant.
Peter–
I have not forgotten your attendance at that City Opera production. I saw it on a different night and found it most intriguing, but nowhere in a league with the traditional work of the Metropolitan Opera right across the courtyard. It’s true that minimalist work is far less costly, and is presently the only way to go in many opera house worldwide. Interesting point about that Pacino MERCHANT OF VENICE. I applaud you for holding that overture in such high esteem.
Thanks as always for the exceedingly kind words my friend!
You always say I overpraise your work. Yet, it’s tough to resist when you post pieces like this. I was thinking that the one you wrote on Carousel may have been your best, but this may have matched it. I know opera can’t be the easiest subject to consider, but you approach it with years of exposure at live productions for important perspective. I am sure I know the identity of the opera that will place higher than this one, but my lips are sealed. You’ve covered everything about this opera: the titular character, the composer, the singers, and the director, and need only to talk about the decor in Emperor Leopold’s dining room.
It’s a visually intoxicating film that combined with this majestic score lives you to the rafters. I wonder if there is a blu-ray of this yet.
Frank—
This is one of your classic comments! Ha! I am not so sure I am quite prepared to discuss the decor in Leopold’s Dining Room, but I’ll have to do some research! I would have to think you probably do know the identity of the one single opera that will finish ahead of DON GIOVANNI on this countdown. Stay tuned to Friday.
I do believe a blu-ray may just have been released. IIf so I will get my own copy, even if the three disc Region 2 that I own is a treasure.
Thanks ten times over my friend!
ok, how about the type of masks worn by the protagonists?
Sam, you open so many fascinating issues with your marvellous piece.
Opera has never been a strong interest of mine, but your series is changing that!
Jim–
That’s the most gratifying comment I’ve ever seen on these threads, and coming from you I am deeply honored. I do know that some people give up on opera much too soon. Those that stay the course are in store for incomparable riches! Many thanks my friend for the very kind words!
Months later, Sam, I can finally say I caught up with Don Giovanni, in a preliminary way. Last night we watched the DVD of the 2006 Salzburg Festival production, and it was a real revelation to us! Your essay emphasized how modern the libretto by Da Ponte and the film production by Joseph Losey are.. I still haven’t caught up with that latter version; but Valerie, knowing it’s high on my to see list, picked up the abovementioned work, and I’m glad she did!
Being unable to compare casts and theatrical contexts, I watched it with a view to its modernity; and, to me, it delivered in a very compelling way. First of all, that’s quite a libretto for the eighteenth century. I have to dig into where Signore Da Ponte was coming from. Like a contemporary screenwriter, he’s latched onto a principal player not only massively but quite cogently at odds with mainstream life. I love how, after the murderous duel, the vigilantes are given so much rope to hang themselves in a miasma of apoplectic resentment, accentuating the disinterested wit of the loose cannon rogue.
The contemporary art direction–involving modern clothes and underclothes,
a spare revolving set and arresting play of light–enhances the thrust of the libretto toward massive disorientation and anxiety.
I was especially struck by how accomplished the acting was across the board, on behalf of that thematic vein.
I do still intend to see the Losey film. But, for now, I’m once again indebted to you for introducing that remarkable instance of musical drama.
The contemporary art direction–involving modern clothes
Jim—
It is thrilling to read this response on a return visit to this thread! You have pointed out a number of components that made your production such a resounding success. Yes, by all means see the Losey and compare and contrast, but the Saltzberg version is exceptional in its own right. I think I may even have a copy of it here. Your report here made my day so to speak! Happy that both you and Valerie were ravished!
Ho hum another superb essay by Sam for this countdown.
I’ve seen this film, and loved it, after I was sent a copy by none other then the author of this piece. The actor selections are great, the production values superb, and Losey’s organization of the movement is superb (I guess it would be considered ‘blocking’ but for something this size and scope it doesn’t seem apt).
I’ll watch this again thanks to this great essay. Nice job.
Jamie–
I do well remember your wonderful reaction to this film a few years back, and saw it as the catalyst for further operatic exposure and study. You frame it’s attributes superbly yourself here on each and every point. With your own vast knowledge and appreciation of literature and music, this was a sure bet with you. I can’t thank you enough for the special kind words there!
Needless to say, another impressive essay and wow, I just looked at the link and it does look impressive even to my non-operatic eyes. Makes me want to take a look at the entire film. Of course, Losey is an impressive filmmaker who I admirer. Your work is always a treat to read.
John–
Your great respect for Losey has been evident at TWENTY FOUR FRAMES for some time now. You’ve penned several fabulous reviews of his work. Even though opera has never been one of your favorite forms, I do believe this film would make a strong impression. Thanks as always for the over-the-top praise my very good friend!
Wow, Sam!
Each new post from you in this series surpasses the previous ones. This is an excellent history of DON GIOVANNI and a brilliant tribute to Losey’s film. I first saw this film as a college student who was just discovering the joys of opera ( and had recently seen it live on stage) – I was completely ‘blown away’ by the experience. Didn’t get a chance to see it again till I was preparing for my Musical Countdown vote, and it was every bit as wonderful and captivating as I had remembered. My only, teeny-tiny quibbles was (as you note) that Zerilina looked old enough to be Musetto’s mother, but that’s something you can get past quickly when the film is as ravishing and trasnporting as this one. Well done!
Pat—
You had this film a notch above where I placed it, on your own ballot. When I first saw that I knew you were a serious fan! You saw it then at a most impressionable age, and have followed up on it with some recent productions! I agree it holds up spectacularly. Yes, that’s quite true about the age of Zerlini, though of course Berganza is a wonderful singer. And you couldn’t have found two more appropriate words for this production than ‘ravishing’ and ‘transporting.’
Thanks again for the increbily kind words and boundless enthusiasm my friend!
Stupendous writing, and a surprising inclusion in the countdown that deserves applause. As I think you’ll remember I have been a big fan for many years. Some have criticized Raimondi I know, but his casting was inspired. Mozart surely must have been thinking of him when he wrote the opera. Musically speaking I’d say this is neck and neck with ‘Le Nozze di Figaro’ in Mozart country.
Fred—
I can see that for many this choice is surprising, but when the opera floodgates were opened (at least in the minds of some of the voters) this would be a premium representative from that category. I do well know there are a few dissenters on Raimondi, but most were enthralled with his work here. Good point about what Mozart envisioned. Great to hear you bring up LE NOZZE DI FIGARO, which is exceedingly beautiful and arguablt in a musical sense DON GIOVANNI’s equal.
Thanks for the exceedingly kind words my friend.
My knowledge of opera is very limited (aka pretty well non-existent), as you know, Sam, but I do aim to put that right and see some of the great opera films. This one will be high on my list after reading this wonderful piece, and I will definitely return once I’ve seen the film.:)
Judy–
I would say it’s way better than an even bet that you’d respond quite favorably to this opera and to several others (including the one that will be posting on Friday) Your deep love of classical music, theatre music and esdpecially Shakespeare steers me to that conclusion. As always many thanks to you for your generosity of spirit and invaluable support!
Awesome site and top notch review.
Don Giovanni is a benchmark of greatness, and Losey’s film can safely be referred to as “definitive. Raimondi and Te Kanawa were born to play these roles. Decades from now it will be what Losey is remembered most for.
Thanks very much for that Robert, and thanks for stopping by! That belief about Losey’s future reputation is one I don’t doubt at all. And Raimondi and Te Kanawa are indeed exceptional.
That was a mighty good read Sam, your passion and knowledge on this genre of film are quite remarkable. I remember your article on the topic of opera films and your listing from a while back. Any chance of putting up a link?
Bobby—
Great to hear from you–you have been most assuredly missed in these parts. Needless to say I very much appreciate that glowing assessment from you and would be most delighted to post that link:
https://wondersinthedark.wordpress.com/2009/08/05/the-25-greatest-opera-films-ever-made/
Thanks again my friend!
I’ve had this on my iPod for years, and listened to bits and pieces, but never the whole thing. And I knew nothing about the story, never even connected it to Don Juan. You’ve made me want to listen to it again, in full, and to see this stirring-sounding adaptation as well (in fact I just bumped it up on Netflix). Another gem from you, though that’s not surprising given the subject.
Joel—
Thanks again for this burst of enthusiasm, exceeding interest and appreciation! With the philosophical underpinnings I dare say this particular opera would be to your favor and interest and then some. Of course I do believe you also have much respect for Losey’s work, making this a winner in every sense!
I can’t thank you enough my friend!
No, I actually haven’t seen any Loseys. So I’ll kill two birds with one rental.