Filmed opera can be shot either on stage (one lead example is Trollflöjten (1975), but there are many others), either on site as in a fiction movie. (Rarely, it combines both elements, for instance The Tales of Hoffmann (1951).) "Don Giovanni" is a masterpiece of the latter kind.
Granted, the film is not the first opera off-stage: among others, we must mention at least the memorable Tosca (1988), shot in the actual Roman locations where the action is supposed to take place. However "Tosca" was a TV movie, while "Don Giovanni" was a full-scale cinema movie with live recordings. As such, it has set high standards and a trend that was imitated later on: La traviata (1982), Carmen (1984), Madame Butterfly (1995). Unfortunately, these films are rare because of costs (settings, singers mobilised for a long period, important crew, dedicated orchestra, etc.). Hence stage filming is more common because it is cheaper to produce: apart from royalties, there are few additional costs than stage production.
Even if you are not an opera amateur, you will probably like this movie: it is loaded with action and drama, settings are impressive, costumes are gorgeous. And the music, ah the music, anybody would love it. Mozart is eternal.
SUPERLATIVE ARTISTS
Where to start with such a masterpiece? Since it is an opera, with the most obvious: the singers are top class.
The orchestra, directed by Lorin Maazel, is a firm support to these great artists. To be honest, it is not the best interpretation but does the job for the purpose of the movie, with its dynamic tone and sharp texture. (For information, the reference recordings are by Giulini, which has my preference, and Krips. I would also recommend Jacobs, an elaborate version, or Gardiner, a red-blooded account). At the time, the acoustic was somewhat flawed, which raised criticisms, but has been corrected since.
A VISION: ABSTRACTION
Settings and costumes do more than illustrate the plot: they give it an altogether new dimension. Note the movie does not aim for historical accuracy (as the above-mentioned "Tosca"): it was shot in Veneto, Italy, while the action is supposed to take place in Sevilla, Spain. Losey aims here for maximal aesthetic effect. On the one hand, details enhance the feeling of reality: peasants working, eating, sleeping; a lively wedding; a lush party. On the other hand, remote surroundings, elaborate costumes and mysterious masks create a timeless and abstract atmosphere. This gives the movie its universal dimension, which makes me believe it will never be surpassed.
THE ESSENCE OF OPERA
In such an environment, the fabulous arias rise to artistic stratosphere.
Enhanced by this artistic vision, the opera's themes are better than illustrated: they are transcended. Desire, love, ambiguity, humour, social constraints, domination, money, destiny, fate: it is rare to see a movie that is at the same time so enjoyable and so profound. Regardless if you are a connoisseur or not, "Don Giovanni" will change your vision of filmed opera, opera in general, classical music, music in general and even cinema. Already outstanding at the time, it has now become a must-see classic.
Granted, the film is not the first opera off-stage: among others, we must mention at least the memorable Tosca (1988), shot in the actual Roman locations where the action is supposed to take place. However "Tosca" was a TV movie, while "Don Giovanni" was a full-scale cinema movie with live recordings. As such, it has set high standards and a trend that was imitated later on: La traviata (1982), Carmen (1984), Madame Butterfly (1995). Unfortunately, these films are rare because of costs (settings, singers mobilised for a long period, important crew, dedicated orchestra, etc.). Hence stage filming is more common because it is cheaper to produce: apart from royalties, there are few additional costs than stage production.
Even if you are not an opera amateur, you will probably like this movie: it is loaded with action and drama, settings are impressive, costumes are gorgeous. And the music, ah the music, anybody would love it. Mozart is eternal.
SUPERLATIVE ARTISTS
Where to start with such a masterpiece? Since it is an opera, with the most obvious: the singers are top class.
- Ruggero Raimondi is a fabulous lead role. He conveys an intense aura throughout the movie; he gives everything to the character; he strips figuratively and literally. He does not play Don Giovanni, he IS Don Giovanni. We knew he was a great singer, we now know he is a great actor.
- José Van Dam is a colourful, stylish, smart Leporello. It is a bright idea to attribute this role (that was then frequently considered secondary) to such a talented singer: the character and plot gain depth.
- Teresa Berganza is a prodigious Zerlina: although she was more than 40 when the movie was shot, we believe she is a young peasant. Despite her small role, she is the most convincing of the female singers.
- Most other performers are remarkable, even though those three really break the house down in terms of singing and acting.
The orchestra, directed by Lorin Maazel, is a firm support to these great artists. To be honest, it is not the best interpretation but does the job for the purpose of the movie, with its dynamic tone and sharp texture. (For information, the reference recordings are by Giulini, which has my preference, and Krips. I would also recommend Jacobs, an elaborate version, or Gardiner, a red-blooded account). At the time, the acoustic was somewhat flawed, which raised criticisms, but has been corrected since.
A VISION: ABSTRACTION
Settings and costumes do more than illustrate the plot: they give it an altogether new dimension. Note the movie does not aim for historical accuracy (as the above-mentioned "Tosca"): it was shot in Veneto, Italy, while the action is supposed to take place in Sevilla, Spain. Losey aims here for maximal aesthetic effect. On the one hand, details enhance the feeling of reality: peasants working, eating, sleeping; a lively wedding; a lush party. On the other hand, remote surroundings, elaborate costumes and mysterious masks create a timeless and abstract atmosphere. This gives the movie its universal dimension, which makes me believe it will never be surpassed.
THE ESSENCE OF OPERA
In such an environment, the fabulous arias rise to artistic stratosphere.
- "Madamina, il catalogo è questo" is illustrated by Leporello unwinding a huge manuscript down stairs and a hill: we can barely believe what is happening, we are bewildered like Donna Elvira. This brilliant idea has since been imitated numerous times on stage, in different forms.
- "Là ci darem la mano" is sung in a beautiful, sunny house, surrounded by friendly folks: we believe, as Zerlina, that Don Giovanni will love her for ever.
- "Dalla sua pace" is sung by Don Ottavio in a boat floating among marshes: the calm and surrealist surroundings increase the character's loneliness and melancholy. Likewise later on with "Il mio tesoro", where he wanders alone in deserted gardens.
- The overture, where there is no action, always is a tricky part: what to film as the music plays? Losey imagines a splendid and clever scene: Don Giovanni visits a glass fabric. We see him behind a fire, an illustration of his devilish character and an anticipation of the fact he will be devoured by the flames of hell.
- Losey even manages to beautify the epilogue (after Don Giovanni dies), clearly not Mozart's best piece of music.
- The duel, the wedding, the love scenes, the party, the cemetery, Don Giovanni's death, etcetera, etcetera: all scenes are impressive and flawless. The movie is a long string of perfect pearls.
Enhanced by this artistic vision, the opera's themes are better than illustrated: they are transcended. Desire, love, ambiguity, humour, social constraints, domination, money, destiny, fate: it is rare to see a movie that is at the same time so enjoyable and so profound. Regardless if you are a connoisseur or not, "Don Giovanni" will change your vision of filmed opera, opera in general, classical music, music in general and even cinema. Already outstanding at the time, it has now become a must-see classic.