Nestas coisas de crítica, cada cabeça, sua sentença. O The Guardian pouco diz de abonatório, enquanto a Gramophone enaltece o recentíssimo Don Giovanni, de René Jacobs:
«Simon Keenlyside had been pencilled in for the title-role for this recording, with Johannes Weisser only playing it in the warm-up live performances. Apparently, however, conductor René Jacobs was so impressed with his young baritone that he got the gig, as they say. No Giovanni can fully encompass every aspect of this multi-faceted role but (and I know I am even more enthusiastic about him than our reviewer, Richard Wigmore) I feel that he has reinvented the role for our age. Weisser is young, only 26 when this was recorded, and sounds it. If his tone sounds a touch callow, that is actually an advantage for a Don who here is presented as utterly narcissistic, shallow in every respect except his deeply felt love for himself. He is not evil, just spoilt. Doubtless thanks to those live performances, the cast feel like a played-in ensemble and they create real drama and genuine comedy (graced by some of the most sparkling recitative accompaniments you will hear). Three cheers for someone having the sense to record Kenneth Tarver’s graceful, agile Ottavio. And, despite the odd pipey moment from Pendatchanska’s impassioned Elvira, there are no real weak links.»
A acreditar no entusiasmo da Gramophone, a glória desta interpretação tem um nome, a reter: Johannes Weisser.
(Johannes Weisser, o protagonista do Don Giovanni de Jacobs)
«Simon Keenlyside had been pencilled in for the title-role for this recording, with Johannes Weisser only playing it in the warm-up live performances. Apparently, however, conductor René Jacobs was so impressed with his young baritone that he got the gig, as they say. No Giovanni can fully encompass every aspect of this multi-faceted role but (and I know I am even more enthusiastic about him than our reviewer, Richard Wigmore) I feel that he has reinvented the role for our age. Weisser is young, only 26 when this was recorded, and sounds it. If his tone sounds a touch callow, that is actually an advantage for a Don who here is presented as utterly narcissistic, shallow in every respect except his deeply felt love for himself. He is not evil, just spoilt. Doubtless thanks to those live performances, the cast feel like a played-in ensemble and they create real drama and genuine comedy (graced by some of the most sparkling recitative accompaniments you will hear). Three cheers for someone having the sense to record Kenneth Tarver’s graceful, agile Ottavio. And, despite the odd pipey moment from Pendatchanska’s impassioned Elvira, there are no real weak links.»
A acreditar no entusiasmo da Gramophone, a glória desta interpretação tem um nome, a reter: Johannes Weisser.
(Johannes Weisser, o protagonista do Don Giovanni de Jacobs)
Esta deve ser a cara dele quando estava a receber a notícia de que is ser o Don Giovanni no projecto Jacobs ou será quando estava a ouvir a sua própria gravação ?
ResponderEliminarRaul
Esta deve ser a cara dele ao ler as letras miudinhas do contacto de gravação que dizem que não tem direito a "royalties".
ResponderEliminarJ. Ildefonso.