Jane Wong

ID #: 1227816
Music 122: Extra Credit

The piece that I chose to analyze is Ah Taci, Inguisto Core, from Don Giovanni by W.A
Mozart. The trio of Don Giovanni, Leporello, and Donna Elvira in this piece is both comedic
and lovely to listen to. Furthermore, after watching Don Giovanni in class, this opera has
quickly become my favorite. In this essay Ill be comparing the 1990 production (with Samuel
Ramey, produced by James Levine) to the 1995 production (with Rod Gilfry, produced by Jurgen
Flimm).
Both productions were similar in the tone quality and style of Donna Elviras part in the
trio. She had a sweet and slow singing style, which is appropriate for reflecting on her feelings.
Laszlo Polgars Leporello from the 1995 version had a soft style of singing, but I think it might
have been a bit too soft, since his voice sounded barely there. Ferruccio Furlanettos 1990
Leporello had a richer tone quality and it was easier to hear him individually. I think its
important that Leporello is heard clearly, since many of his lines are comedic and add to the
opera buffa quality of the piece.
Rod Gilfrys Don Giovanni from 1995 had a very gentle tone quality, and a more tender
singing style.

This is one interpretation of Don Giovannis character, where he uses his

tenderness to slowly persuade women like a gentleman. Samuel Rameys Don Giovanni in the
1990 version had a much stronger and more dramatic voice. I personally think hes the best Don
Giovanni of all time, but again, that is another character interpretation. In the 1990 version, Don
Giovanni uses his strength and passion to seduce women. I think this is more effective in the
overall ensemble piece, since he has a strong enough voice that carries well with Donna Elviras

and Leporellos, so the audience can hear them all equally. In the 1995 production, I felt that
both mens voices were overshadowed a bit by Donna Elviras.
There were a couple major differences in the staging between the productions, as
evidenced mostly in the directorial decisions and positioning of the singers. In the 1990 version,
Don Giovanni shoves Leporello out into the open, while he stays hidden behind the pillar. As
Don Giovanni is singing and doing all the accompanying romantic gestures, Leporello has to
look back and try to mimic them for Donna Elvira. In the 1995 version, Don Giovanni is
standing behind Loperello, and both are in the open. Don Giovanni is moving his limbs in
romantic gestures from behind Leporellos body, or moving Leporellos limbs himself. I think
the singers freedom to act out these character roles greatly effects the mood of the scene. The
1990 staging let Don Giovanni physically demonstrate his prowess to make women fall in love
with him, as evidenced by singing on his knees and gesturing tragically. At the same time,
Leporellos awkwardness was emphasized by his hasty and clumsy imitations. This contributes
to the comedic value of the piece. Unfortunately, this wasnt really possible with the staging that
the 1995 version utilized, which I think decreased its overall effectiveness.