This live performance, taped in Berlin in September 1961, presents Mozart’s Don Giovanni in German, which is the first strike against it. The singers are all good enough to make it work, but I’ve never heard a German-language performance of this opera that was successful–Mozart set both Italian and German and he did so very differently. And besides that, no one will ever convince me that “Folget der Heissgeliebten” trips off the tongue as well as “Il mio tesoro”.
Fricsay’s view of the opera takes in only its demonic side and so this is a very grim reading of the work. Fischer-Dieskau is a vicious Don, utterly joyless. He snarls. Granted, the voice is in prime condition and he’s always remarkably thoughtful, but there’s no light. Walter Berry as Leporello follows his lead and is not having any fun at all; there’s venom in whatever he sings and he is a partner in his boss’ crimes. The slightly over-ripe Commendatore of Josef Greindl is in keeping with this as well: he sounds like Hagen.
Elisabeth Grümmer’s Donna Anna has unreservedly beautiful moments: “Crudele…Non mi dir” is taken slowly but she sings it impeccably, and her sense of outrage in the first act is similarly convincing. Pilar Lorengar’s Elvira lacks snap because of Fricsay’s tempos–her “Mi tradi…” is simply too slow–but again, the voice itself is lovely and in its prime. Donald Grobe is a fine Ottavio, unafraid of the role’s long lines and doing his best to create a character. Erika Köth’s Zerlina is not always on the note, but she’s flavorful and pert; Ivan Sardi does not impress as Masetto. The Berlin Orchestra is excellent and the sound is surprisingly good. This is an interesting document, but it gives little pleasure. Don Giovanni may not be a rollicking comedy, but to treat it like lead is wrong, and the whole show weighs too much. It’s heavier than Furtwängler’s.
