Mozart: Don Giovanni

I recently picked up a copy of Marriner's Don Giovanni - not that I needed another recording of this masterpiece - in order to hear how Sharon Sweet negotiates Donna Anna.

I have become enthralled with the "period performance practice" of Rene Jacobs (and similar), and must admit that Marriner now sounds more than a little bit old-fashioned in his approach. The whole recording has a gloss - no - a dull patina of mellifluousness that skimps on theatricality to the point of inducing near-boredom. Marriner conducts as if he himself is bored (since Philips was relying on him in the 80s and 90s to record MANY genres - perhaps he was simply tired or uninspired?).

Still, much of the singing is excellent, if not quite as detailed and error-free as we hear now, 20 years or so since this studio effort was completed. Sharon Sweet's voice is in the "dramatic soprano" category for certain, and here, she seems to be reining herself in much of the time. She sings accurately, but without the flair she brought to her later recording of Lohengrin (Davis, RCA). The roles of Donna Anna and Elsa could hardly be more different, of course, and the latter gives the singer much more opportunity for letting her voice bloom fully and ring out to the ears of the listener. Still, I love her sound, and it's great to have this recording for her alone. Thomas Allen is a favorite too, but here I felt he was just too suave, too elegant. His tone also reminded me - jarringly - of Robert Preston. I prefer a little more bite and sinister coloring for this role, or else the Don seems rather more happy-go-lucky than psychotic.

McLaughlin is a pleasant surprise as Zerlina - thank God not another soubrette in the role, but her singing is a bit coarse in places. Mattila sounds unwieldy - the voice has an interesting color, but she sounds out-of-sorts, which I guess is appropriate for Elvira. Alaimo is thoroughly miscast as Leporello, sounding like Dulcamara or Bartolo has wandered in to the wrong theater. Otelli makes little impression as Masetto, but Robert Lloyd is wonderfully chocolatey and imperious as the Commendatore. All in all, I don't imagine I will return to this recording again, but I am happy to add to the Sharon Sweet library, and may play her contributions from time to time.