About this title: René Jacobs is an acknowledged master of informed period performance practice, and he turns his considerable arsenal of research, insight, and experience to Don Giovanni, which he maintains has become so mired in misguided nineteenth century interpretive traditions that most modern performances badly misrepresent Mozart's intentions. He points out that operatic roles in Mozart's time were clearly differentiated by type -- serious (such as Donna Anna, Don Ottavio, the Commendatore), which required the most musical virtuosity; comic (Leporello, Zerlina, Masetto), which were primarily required ...
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