Rene Jacobs

[Harry]

So, there it is - the first review of Jacobs' recording of "Don Giovanni".





           ~ click picture for link ~

Q

I saw it in Klassieke Zaken a Dutch classical magazine for just 30,- euro's. Hmmmm after this review I might just buy it.
But what about the sopranos huh?

[Que]

Gramophone's editor's choice:

Jacob's period Don is among the liveliest and most enjoyable on offer

Don Giovanni, K527.
Olga Pasichnyk (sop) - Donna Anna; Sunhae Im (sop) - Zerlina; Alexandrina Pendatchanska (sop) - Donna Elvira; Kenneth Tarver (ten) - Don Ottavio; Johannes Weisser (bar) - Don Giovanni; Nikolay Borchev (bass) - Masetto; Lorenzo Regazzo (bass) Leporello; Alessandro Guerzoni (bass) - Commendatore.
Berlin RIAS Chamber Choir; Freiburg Baroque Orchestra/ René Jacobs
Harmonia Mundi New CD F 3 HMC901964/6 ( DDD)

Simon Keenlyside had been pencilled in for the title-role for this recording, with Johannes Weisser only playing it in the warm-up live performances. Apparently, however, conductor René Jacobs was so impressed with his young baritone that he got the gig, as they say. No Giovanni can fully encompass every aspect of this multi-faceted role but (and I know I am even more enthusiastic about him than our reviewer, Richard Wigmore) I feel that he has reinvented the role for our age. Weisser is young, only 26 when this was recorded, and sounds it. If his tone sounds a touch callow, that is actually an advantage for a Don who here is presented as utterly narcissistic, shallow in every respect except his deeply felt love for himself. He is not evil, just spoilt. Doubtless thanks to those live performances, the cast feel like a played-in ensemble and they create real drama and genuine comedy (graced by some of the most sparkling recitative accompaniments you will hear). Three cheers for someone having the sense to record Kenneth Tarver's graceful, agile Ottavio. And, despite the odd pipey moment from Pendatchanska's impassioned Elvira, there are no real weak links

Q

[Mozart]

Hi everyone its me MozartMobster. I've come back from the dead to warn everyone about this garbage, and yeah its garbage. The tempos are horrendous...and the singers ridiculous. They seem to add notes wherever they please. If you make it all the way to the end, you will get the most anticlimactic finish in the history of don giovanni. Its as annoying as a snooze alarm, waking you up after 2 and a half hours of boredom. Save your money, or buy Haitink's or Giulini's Don Giovanni. And ignore all the people who like it, its really awful.

MM (now HH)

[Que]

Hi everyone its me MozartMobster. I've come back from the dead to warn everyone about this garbage, and yeah its garbage. The tempos are horrendous...and the singers ridiculous. They seem to add notes wherever they please. If you make it all the way to the end, you will get the most anticlimactic finish in the history of don giovanni. Its as annoying as a snooze alarm, waking you up after 2 and a half hours of boredom. Save your money, or buy Haitink's or Giulini's Don Giovanni. And ignore all the people who like it, its really awful.

MM (now HH)

Welcome back! (from the dead... ).
And thanks for the refreshing comments - I'll definitely sample it thouroughly before deciding to buy.

Q

[The new erato]

And ignore all the people who like it, its really awful.

MM (now HH)

No it's not. It's vivid, natural and realistic.

[Mozart]

No it's not. It's vivid, natural and realistic.

Not that people can't have their own opinions, but goodness me it seems to have some sort of brainwashing ability that I alone am impervious too. You must have all used the shampoo that comes with the cd... I was soo looking forward to this cd because I have loved Jacobs other Mozart operas, but all the 'adjustments' he makes in this opera are so odd and take away from the experience of the opera. And whoever sings DG's role just plain sucks.  You can't be satisfied with the finale...the commander basically talks, and the threating sustained notes just don't exist. The best part starting when the commander sings "Altra cure più gravi di queste,
Altra brama quaggiù mi guidò!" is rushed...why? Leporello doesn't sound scared at all, and even though don giovanni says he isn't afraid I bet if you checked his underwear there would be a big brown spot. Why is it taken so lightly? After DG shakes his hand and says Ohimé!, I wouldn't be shocked if he said something like "this bubble has more flavor than any I've chewed, don't worry Mr. statue you'll be gone before this longer lasting strident runs out of flavor so I won't need to stick it on you"


Yes I really disliked it. What is shocking to me is everyone loves it. But it sucks. All the drama was taken out which just sucks.

-HH

[The new erato]

Not that people can't have their own opinions, but goodness me it seems to have some sort of brainwashing ability that I alone am impervious too. You must have all used the shampoo that comes with the cd... I was soo looking forward to this cd because I have loved Jacobs other Mozart operas, but all the 'adjustments' he makes in this opera are so odd and take away from the experience of the opera. And whoever sings DG's role just plain sucks.  You can't be satisfied with the finale...the commander basically talks, and the threating sustained notes just don't exist. The best part starting when the commander sings "Altra cure più gravi di queste,
Altra brama quaggiù mi guidò!" is rushed...why? Leporello doesn't sound scared at all, and even though don giovanni says he isn't afraid I bet if you checked his underwear there would be a big brown spot. Why is it taken so lightly? After DG shakes his hand and says Ohimé!, I wouldn't be shocked if he said something like "this bubble has more flavor than any I've chewed, don't worry Mr. statue you'll be gone before this longer lasting strident runs out of flavor so I won't need to stick it on you"


Yes I really disliked it. What is shocking to me is everyone loves it. But it sucks. All the drama was taken out which just sucks.

-HH

I can respect your opinion when you tell us why, like you just did. On my next listen I will keep your points in mind, and see. Thank you. What struck me on my one listen (to what is my favorite Mozart opera) was the vivid drama of the recording.

[Mozart]

I can respect your opinion when you tell us why, like you just did. On my next listen I will keep your points in mind, and see. Thank you. What struck me on my one listen (to what is my favorite Mozart opera) was the vivid drama of the recording.

Great, and when your done with the finale I'll be happy to note everything that is wrong with one of my favorite parts, the act 1 quartet through the aria or sai chi l'onore. It's just so wrong! I'll make a believer of you yet.

[DavidW]

Greetings Hooligan!

[Mozart]

Greetings Hooligan!

Greetings and salutations to you to D-Dub. I hope your finding Oklahoma pretty OK. 

[Que]

Hi everyone its me MozartMobster. I've come back from the dead to warn everyone about this garbage, and yeah its garbage. The tempos are horrendous...and the singers ridiculous. They seem to add notes wherever they please. If you make it all the way to the end, you will get the most anticlimactic finish in the history of don giovanni. Its as annoying as a snooze alarm, waking you up after 2 and a half hours of boredom. Save your money, or buy Haitink's or Giulini's Don Giovanni. And ignore all the people who like it, its really awful.

MM (now HH)

HH, I listened to your posted excerpt on youtube of the finale.
I actually liked it very much! But then I don't share your enthousiasm for either the Haitink or the Giulini - I'm more a Krips fan.

And you know what so interesting? Of all the Don Giovanni's I've heard, it reminds me most of Bruno Walter's live recording from 1942! (Naxos) What's so new about HIP? 

Q

[FideLeo]

What's so new about HIP? 

The use of period instruments and a lower pitch actually. 

[Que]

Another review, less enthusiastic, review by Christophe Huss on Classicstoday France

Translation by Babelfish below, which is/was hilarious, but did try to edit out some glaring mistakes (like "Gift" instead of "Don"! )



Side A. As in his preceding Mozart recordings Mozart, René Jacobs makes the music alive through dramatism of inventiveness without limits. His treatment of the recitatives, which has brought his Clemenza di Tito to triumph, is here again without common measurement with all that was done before and justifies the purchase of the box by all the admirers of Don Giovanni.

Side B. This recording gives the star to Elvira (Alexandrina Pendatchanska) which utters strange sounds, similar to a bugle connected on AC current and to a Zerlina whose singing has the silky tone of lemon juice.

What to make of it? One plays pile or face if one buys or not? I tried most simply to put of the carts on table. And from this short cut arises a very simple conclusion: it is impossible to claim that the Jacobs recording is "the grande modern version" or "the indisputable revelation which radically changes the discography". The first choice remains Giulini and, behind it, it is each time a sum of compromise. And to tell the truth, there is not here more compromise to be sought than with Gardiner for higher shivers: that takes simply a pair of ear plugs when Pendatchanska blares her hysterical Elvira and a pot of honey when Sunhae Im poses as a soubrette. One will add in appendix the portrayal of the Commander by Guerzoni. He has voice it needs, but it trembles so much which one has the impression that the tempos are exaggeratedly accelerated by Jacobs to mask its limits!

The reason that is worth to point out these two elements (and half) which kill off what would have been indeed "the" version of Don Giovanni, it is the remainder. All the remainder. I.e. a young Gift Giovanni and insolate which does what he wants with his voice, Leporello finally returned to its more serious tessiture, Ottavio perfect like seldom, one Donna Anna very touching (sumptuous semi Non to dir, bell' idol mio"), as well as excellent Mazetto.

It has been said before: with the stick Jacobs is fulgurating, astounding. I could never part from this recording, simply to listen to the universe (dramma giocoso, yes!) created by this "reinventer of music". In addition to the recitatives and number of sound effects (cf the percussion of in addition to-fall to dead from Don Giovanni), this bubbling activism touches the music on the same level as its recent disc of symphonies.

It's up to you, but if you have the means and that you have already Giulini, Mitropoulos and Furtwängler, the Don Giovanni de Jacobs (Vienna version with the elements of the Prague version in appendix) supplements the portrait with interpretative solutions.

-- Christophe Huss

[FideLeo]

According to Babelfish, Christophe Husse has written a strange piece of critique.   

So long as the Jacobs offers something fun and unique (the highlighted giocoso element, AC circuit noises, etc.) and maintains his usual level of musicianship throughout, what's to prevent Don Juan and Mozart fans from shelling out £25 (or less) to get themselves a copy?  The Giulini isn't perfect anyway - it has Sutherland and Schwarzkopf, no surround sound and no SACD release anytime soon.    I will enjoy the Gardiner until I feel that it's time to complete the Jacobs-Mozart-DaPonte trilogy on disc.

[Que]

According to Babelfish, Christophe Husse has written a strange piece of critique.   

So long as the Jacobs offers something fun and unique (the highlighted giocoso element, AC circuit noises, etc.) and maintains his usual level of musicianship throughout, what's to prevent Don Juan and Mozart fans from shelling out £25 (or less) to get themselves a copy?  The Giulini isn't perfect anyway - it has Sutherland and Schwarzkopf, no surround sound and no SACD release anytime soon.    I will enjoy the Gardiner until I feel that it's time to complete the Jacobs-Mozart-DaPonte trilogy on disc.

Maybe, after the near-perfect "Nozze" and "Cosi", which might very well go into history as "the" ultimate versions (if there is such a thing - especially in opera ) expectations were high. I'm not a Giulini fan either, so that makes any comment by Huss suspect anyway! (For non-HIP: Krips). I also have the Gardiner and I think that is quite good: the best of his Mozart operas in fact. Will certainly check out the Jacobs.

Q