CHAN 3057 Book Cover.qxd 13/7/07 3:45 pm Page 1 CHANDOS O PERA IN ENGLISH David Parry CHAN 3057(3) CHAN 3057 BOOK.qxd 13/7/07 3:50 pm Page 2 Wolfgang Amadeus Mozart (1756–1791) Don Giovanni Opera buffa in two acts, K. 527 Original ‘Prague’ version Libretto by Lorenzo da Ponte, English translation by Amanda Holden The Royal College of Music The Royal Don Giovanni, a young nobleman ..............................................................Garry Magee baritone Commendatore..................................................................................................Clive Bayley bass Donna Anna, his daughter........................................................................Majella Cullagh soprano Don Ottavio, her betrothed................................................................................Barry Banks tenor Donna Elvira, a lady from Burgos ..............................................................Vivian Tierney soprano Leporello, Giovanni’s servant ............................................................................Andrew Shore bass Masetto, a peasant, betrothed to Zerlina ..................................................Dean Robinson baritone Zerlina, a peasant girl......................................................................................Mary Plazas soprano Geoffrey Mitchell Choir Geoffrey Mitchell chorus master Philharmonia Orchestra Wolfgang Amadeus Mozart Nicholas Kok assistant conductor David Parry 3 CHAN 3057 BOOK.qxd 13/7/07 3:50 pm Page 4 COMPACT DISC ONE Time Page Time Page 1 Overture 5:37 [p. 86] Scene 7 12 Duet and Chorus ‘All you women who dream of a lover’ 1:23 [p. 94] Act I Zerlina, Chorus, Masetto Scene 1 2 Introduction ‘Night and day I slave away’ 5:22 [p. 86] Scene 8 Leporello, Donna Anna, Don Giovanni, Commendatore 13 Recitative ‘Thank God we are rid of her’ 2:20 [p. 94] Scene 2 Don Giovanni, Leporello, Zerlina, Masetto 3 Recitative ‘Leporello, where are you?’ 0:33 [p. 87] 14 Aria ‘Now I get it, now I see!’ 1:35 [p. 96] Don Giovanni, Leporello Masetto Scene 3 Scene 9 4 ‘Ah! My father’s in danger’ 0:14 [p. 88] 15 Recitative ‘At last we are rid of him’ 2:07 [p. 96] 5 Recitative and Duet ‘Oh my God! What is that?’ 2:48 [p. 88] 16 Duet ‘There will my arms enfold you’ 3:12 [p. 97] 6 ‘Go! You are cruel and heartless’ 3:47 [p. 89] Don Giovanni, Zerlina Donna Anna, Don Ottavio Scene 10 Scene 4 17 Recitative ‘Leave her alone you monster’ 0:50 [p. 98] 7 Recitative ‘Come on, you’d better tell me’ 1:50 [p. 89] Donna Elvira, Zerlina, Don Giovanni Don Giovanni, Leporello 18 Aria ‘Escape the traitor’s arms’ 1:08 [p. 98] Scene 5 Donna Elvira 8 Aria ‘Where is that evil monster’ 3:28 [p. 91] 9 Recitative ‘Who’s there?’ 3:01 [p. 91] Scene 11 Donna Elvira, Don Giovanni, Leporello 19 Recitative ‘It seems today the devil’s making mischief’ 1:12 [p. 98] 10 Aria ‘Pretty lady, I have something to show you’ 5:31 [p. 93] Don Giovanni, Don Ottavio, Donna Anna Leporello Scene 12 Scene 6 20 Quartet ‘Don’t ever place your trust in him’ 3:53 [p. 99] 11 Recitative ‘So that’s the cruel monster who betrayed me’ 0:40 [p. 93] Donna Elvira, Donna Anna, Don Ottavio, Donna Elvira Don Giovanni 4 5 CHAN 3057 BOOK.qxd 13/7/07 3:50 pm Page 6 Time Page Time Page 21 Recitative ‘What an unhappy woman!’ 0:26 [p. 101] 4 First finale ‘So it happened, she betrayed me’ 0:57 [p. 105] Don Giovanni Masetto, Zerlina Scene 13 Scene 17 5 22 Recitative and Aria ‘Don Ottavio, I’m dying!’ 3:32 [p. 101] ‘Rouse yourselves, my friends, look lively!’ 0:48 [p. 106] Donna Anna, Don Ottavio Don Giovanni, Chorus 23 ‘He threatened my honour’ 2:52 [p. 102] Scene 18 Donna Anna 6 ‘I shall hide among these bushes’ 2:10 [p. 106] Zerlina, Don Giovanni, Masetto Scene 14 24 Recitative ‘Could I ever believe…’ 0:31 [p. 102] Scene 19 Don Ottavio 7 ‘We need to be courageous’ 4:12 [p. 107] Donna Elvira, Don Ottavio, Donna Anna, Scene 15 Leporello, Don Giovanni 25 Recitative ‘I’m at the end of my tether’ 2:02 [p. 102] Leporello, Don Giovanni Scene 20 8 26 Aria ‘Now that the wine…’ 1:29 [p. 103] ‘Rest my beauties, let me entertain you’ 1:16 [p. 108] Don Giovanni Don Giovanni, Leporello, Masetto, Zerlina TT 61:25 [p. 00] Scene 21 9 ‘Pray come this way’ 7:26 [p. 109] COMPACT DISC TWO Leporello, Don Giovanni, Donna Anna, Donna Elvira, Scene 16 Don Ottavio, Masetto, Zerlina 1 Recitative ‘Masetto, will you listen?’ 1:26 [p. 104] TT 22:39 [p. 00] Zerlina, Masetto 2 Aria ‘Beat me, beat me dear Masetto’ 3:40 [p. 105] Zerlina 3 Recitative ‘What a sweet little witch’ 0:41 [p. 105] Masetto, Don Giovanni, Zerlina 6 7 CHAN 3057 BOOK.qxd 13/7/07 3:50 pm Page 8 COMPACT DISC THREE Time Page Time Page Act II Scene 6 Scene 1 10 ‘Ahi! Ahi! My head, my head!’ 1:24 [p. 118] 1 Duet ‘Have you gone crazy’ 1:04 [p. 112] Masetto, Zerlina 2 Recitative ‘Leporello!’ 2:09 [p. 112] 11 Aria ‘Listen my darling’ 3:32 [p. 119] Don Giovanni, Leporello Zerlina Scene 2 Scene 7 3 Trio ‘My heart, you have no mercy!’ 5:00 [p. 113] 12 Recitative ‘I can see torches’ 0:34 [p. 119] Donna Elvira, Leporello, Don Giovanni Leporello, Donna Elvira 4 Recitative ‘So what d’you think of that?’ 0:29 [p. 114] 13 Sextet ‘All alone, alone in darkness’ 2:45 [p. 119] Don Giovanni, Leporello Donna Elvira, Leporello, Don Ottavio, Donna Anna Scene 3 Scene 8 5 Recitative ‘Look, here I am’ 1:39 [p. 115] 14 ‘Stop there, you villain’ 4:34 [p. 120] Donna Elvira, Don Giovanni, Leporello Zerlina, Masetto, Donna Anna, Don Ottavio, Donna Elvira 6 Canzonetta ‘What light from yonder window’ 2:07 [p. 116] Don Giovanni Scene 9 15 ‘So it was you’ 0:28 [p. 121] Scene 4 Zerlina, Donna Elvira, Don Ottavio, Masetto 7 Recitative ‘There’s someone at the window’ 1:12 [p. 116] 16 Aria ‘Ah, be merciful to me!’ 1:44 [p. 121] Don Giovanni, Masetto Leporello 8 Aria ‘Let half of you go over there’ 2:53 [p. 117] Don Giovanni Scene 10 17 ‘Stop him, somebody stop him’ 0:44 [p. 122] Scene 5 Donna Elvira, Masetto, Zerlina, Don Ottavio 9 Recitative ‘Sssh! Let me listen…’ 0:44 [p. 117] 18 Aria ‘Will you remain with my treasure’ 4:12 [p. 122] Don Giovanni, Masetto Don Ottavio 8 9 CHAN 3057 BOOK.qxd 13/7/07 3:50 pm Page 10 Time Page Time Page Scene 11 Scene 13 19 Recitative ‘Ah! Ah! This is perfect!’ 4:31 [p. 123] 25 Finale ‘Now the supper table’s ready’ 4:33 [p. 127] Don Giovanni, Leporello, Commendatore Don Giovanni, Leporello 20 Duet ‘Oh most respected monument’ 3:21 [p. 125] Scene 14 Leporello, Don Giovanni, Commendatore 26 ‘All I can offer, I lay before you’ 3:28 [p. 128] Donna Elvira, Don Giovanni, Leporello Scene 12 Scene 15 21 Recitative ‘Be comforted, my darling’ 0:50 [p. 126] 27 ‘Don Giovanni!’ 6:28 [p. 131] 22 Recitative and Aria ‘You are cruel!’ 1:48 [p. 127] Commendatore, Don Giovanni, Leporello Don Ottavio, Donna Anna 23 ‘Never say, my own beloved’ 5:04 [p. 127] Scene 16 Donna Anna 28 Sextet ‘Where is the infidel?’ 5:52 [p. 133] 24 Recitative ‘Ah! Where she goes I shall follow’ 0:24 [p. 127] Zerlina, Donna Elvira, Don Ottavio, Masetto, Don Ottavio Donna Anna, Leporello TT 73:37 [p. 00] 10 11 CHAN 3057 BOOK.qxd 13/7/07 3:50 pm Page 12 given today. Instead the audience is likely Mozart’s original version has three major Mozart’s Don Giovanni: Three Versions to be presented with a hybrid version advantages. Without the additional high-lying which Mozart never intended to be given. It aria, the rôle of Elvira can be correctly and The Original: pupil and mistress, Catarina Cavalieri, of consists of the Prague version complete, effectively cast with a dramatic rather than a whom Mozart had written to his father in including the final sextet, with the addition of lyric soprano. The version has exceptional In 1787, Mozart was commissioned to write 1781, during the composition of Die Ottavio’s aria (C) in Act I and Elvira’s structural integrity and musical cohesion, and an opera for Prague, and composed the music Entführung aus dem Serail, ‘I have sacrificed recitative and aria (A) in Act II. (The duet for a distinctive orchestral sound-world, all of recorded on these discs. The opera was first Constanze’s aria a little to the flexible throat of Zerlina and Leporello (B) is omitted.) One of which are compromised by the inclusion of presented at the National Theatre (now known Mme Cavalieri’. The vocal part is therefore the results of these arbitrary changes is to the additional arias. Above all, it is as the Tyl Theatre) on 29 October 1787, and both higher and more elaborate than Elvira’s produce in Act II a series of four arias dramatically concise and powerful to a greater met with great success. This is known as the previous music. (Leporello, Ottavio, Elvira, Anna), interrupted extent, perhaps, than any other of Mozart’s Prague Version. only by the Graveyard Scene, and therefore to operas. This last advantage is enhanced on our A new recitative and duet for Zerlina and disrupt the dramatic flow of the opera at a recording by performance in English. The Burgtheater in Vienna proposed to mount Leporello for Act II (B), in which Zerlina crucial point. David Parry the work on 7 May 1788 and Mozart made a catches Leporello and ties him up after his number of alterations.