| Don Giovanni | |
|---|---|
| Directed by | Joseph Losey |
| Produced by | Robert Nador Michel Seydoux |
| Screenplay by | Rolf Liebermann Joseph Losey Patricia Losey Renzo Rossellini Frantz Salieri |
| Based on | Don Giovanni by Wolfgang Amadeus Mozart (music) and Lorenzo Da Ponte (libretto) |
| Starring | Ruggero Raimondi John Macurdy Edda Moser Kiri Te Kanawa Kenneth Riegel José van Dam Teresa Berganza Malcolm King Eric Adjani |
| Music by | Wolfgang Amadeus Mozart |
| Cinematography | Angelo Filippini Gerry Fisher |
| Edited by | Reginald Beck Emma Menenti |
| Distributed by | Artificial Eye (United Kingdom) New Yorker Films (United States) Gaumont (France) |
Release date | |
Running time | 185 min. (France) |
| Countries | France Italy United Kingdom Germany |
| Language | Italian |
| Budget | $7,000,000 US dollars |
Don Giovanni is a 1979 French-Italian film directed by Joseph Losey. It is an adaptation of Mozart's classic 1787 opera Don Giovanni, based on the Don Juan legend of a seducer, destroyed by his excesses. The opera itself has been called one of Mozart's 'trio of masterpieces'. The film stars Ruggero Raimondi in the title role, and the conductor is Lorin Maazel. Nearly three decades after the film's release, Nicholas Wapshott called it a 'near perfect amalgamation of opera and the screen'.[1][2]
This Don Giovanni is extraordinary, unmissable, and unsurpassed as a film production of any opera. It is, quite simply, beautiful - stunningly filmed, magnificently sung, and visually sublime. The Don is silkily amoral, Donna Elvira spikes his nefarious schemes with anguished persistance, Leporello, in great voice, is both exasperated and terrified by his master, and Donna Anna and the rustics are excellent. Don Giovanni 1979 Scottish Opera Read more about the opera Don Giovanni. Peter Ebert's 1964 production was despatched to honourable retirement after fifteen years, and the company's Director of Productions, David Pountney, mounted this new staging.
Plot[edit]
After an unsuccessful attempt to seduce Donna Anna (sopranoEdda Moser), Don Giovanni (baritoneRuggero Raimondi) kills her father Il Commendatore (bass John Macurdy). The next morning, Giovanni meets Donna Elvira (soprano Kiri Te Kanawa), a woman he previously seduced and abandoned. Later, Giovanni happens upon the preparations for a peasant wedding and tries to seduce the bride-to-be Zerlina (mezzo-sopranoTeresa Berganza), but his ambition is frustrated by Donna Elvira.
Donna Anna soon realizes that Giovanni killed her father, and she pursues the seducer along with her fiance Don Ottavio (tenorKenneth Riegel). Ever ready to attempt a seduction, Giovanni woos Elvira's maid. As part of his plans, he switches clothes with his servant Leporello (bass-baritoneJosé van Dam), who rapidly finds himself in trouble with people who mistake him for his master. Leporello flees and eventually meets Giovanni at the cemetery where Il Commendatore is buried. They jokingly invite the statue at his grave to dinner. While they are dining, the supernaturally animated statue arrives, and the horrified Giovanni is drawn into an open-pit fire.
Production[edit]
In the opera, the action supposedly takes place in Spain, but Mozart's librettist Lorenzo Da Ponte wrote in Italian, and this film uses locations in Venice and Murano. In particular, the film features buildings by Palladio in and around the city of Vicenza (Basilica Palladiana, Villa Rotonda and Teatro Olimpico). The singers recorded their performances separately, and lip-synched in their film performances. As Noel Megahey notes, 'dragging the orchestra of the Opéra de Paris around the locations for the length of the production for a live recording is completely unfeasible'.[3]
The total budget for the film was about $7,000,000.[4]
Donna Anna soon realizes that Giovanni killed her father, and she pursues the seducer along with her fiance Don Ottavio (tenorKenneth Riegel). Ever ready to attempt a seduction, Giovanni woos Elvira's maid. As part of his plans, he switches clothes with his servant Leporello (bass-baritoneJosé van Dam), who rapidly finds himself in trouble with people who mistake him for his master. Leporello flees and eventually meets Giovanni at the cemetery where Il Commendatore is buried. They jokingly invite the statue at his grave to dinner. While they are dining, the supernaturally animated statue arrives, and the horrified Giovanni is drawn into an open-pit fire.
Production[edit]
In the opera, the action supposedly takes place in Spain, but Mozart's librettist Lorenzo Da Ponte wrote in Italian, and this film uses locations in Venice and Murano. In particular, the film features buildings by Palladio in and around the city of Vicenza (Basilica Palladiana, Villa Rotonda and Teatro Olimpico). The singers recorded their performances separately, and lip-synched in their film performances. As Noel Megahey notes, 'dragging the orchestra of the Opéra de Paris around the locations for the length of the production for a live recording is completely unfeasible'.[3]
The total budget for the film was about $7,000,000.[4]
Reception[edit]
The film is not a recording of a stage performance but 'an original interpretation of the opera on film'.[2] Using the original libretto and music, it was directed as a musical film with a series of scenes, each using multiple cameras and takes. Four years earlier, Losey had directed a film version of Bertolt Brecht's play Galileo using a similar approach; Reginald Beck had also edited the earlier film, along with many others directed by Losey. The cinematography is lush with many scenes set in visually appealing locations, such as the Villa Rotonda or gondolas gliding through the canals of Venice.
Following the 1979 theatrical release of the film, Vincent Canby complimented the singing but concluded that the filming 'didn't work'. He found the filmed closeups of the singers to be mostly jarring and ineffective. On the other hand, Judith Martin considered it successful. In 2007, Nicholas Wapshott wrote that 'One near perfect amalgamation of opera and the screen is Joseph Losey's Don Giovanni'.[2][5][6]
Reginald Beck won the 1980 César Award for Best Editing, and Alexandre Trauner won for Production Design.
Home media[edit]
A Blu-ray and a region 1 DVD were released by Olive Films in 2013.[7][8]
Don Giovanni 1979 Seyret
References[edit]
Don Giovanni (1979 Film)
- ^Maddocks, Fiona (19 August 2011). 'Top 50 Operas'. The Guardian.
- ^ abcWapshott, Nicholas (15 January 2007). 'A Screen 'Don Giovanni' With a Hint of Marx'. New York Sun.
One near perfect amalgamation of opera and the screen is Joseph Losey's Don Giovanni.
CS1 maint: discouraged parameter (link) - ^Megahey, Noel (2007). 'Don Giovanni Review'. The Digital Fix. Review of the DVD that details the difficulties of filming the opera.
- ^Davis, Peter G. (4 November 1979). 'Filming Mozart's 'Don Giovanni''. The New York Times. Article about the production of the film published shortly before its release.
- ^Canby, Vincent (6 November 1979). 'Losey Brings Mozart's 'Don Giovanni' to the Screen:Philanderer Bar None'. The New York Times.
Mr. Losey and his associates haven't destroyed Don Giovanni, but then they haven't illuminated it either. Their film is a busy, disorienting spectacle, superbly sung (and available on a CBS Masterworks recording).
CS1 maint: discouraged parameter (link) - ^Martin, Judith (9 November 1979). ''Don Giovanni': It Works'. The Washington Post.
- ^Don Giovanni (DVD). Olive Films. 22 February 2013. OCLC1039408501.
- ^Don Giovanni (Blu-Ray). Olive Films. 22 February 2013. OCLC827950576.
Further reading[edit]
- Schwartz, Dennis (23 January 2012). 'Don Giovanni'.
A nearly great adaptation of Mozart's greatest opera
- Redwine, Ivana (2003). 'Review of Don Giovanni'. About.com. Archived from the original on 25 July 2011. The review is undated, but was done after the DVD release. It was archived for the first time in 2003.
External links[edit]
Don Giovanni 1979 Watch Online
- Don Giovanni at IMDb
Don Giovanni (1979)
