Mozart: Casanova - The Giacomo Variations - with John Malkovich

In spite of the skill and artistry of Ingeborga Dapkunaite (actress), Florian Boesch (baritone), and Sophie Klussmann (soprano) I cannot honestly say that I enjoyed this strange interlude or adaptation of Mozart's "Don Giovanni". For me the best thing was the music and I found Dapkunaite, Boesch, and Klussmann very charming and immensely talented. I thought that John Malkovich was completely miscast here, even as an aging and dying Casanova who, I imagine, probably still possessed considerable charm in his later years. The staging was simple but effective. I am looking forward to seeing more of Dapkunaite, Boesch, and Klussmann.

Excellent actors, fine photography. Subtitles for spoken parts are missing! It's a great disadvantage for viewers who are not native speakers.

Giacomo Casanova (just "Casanova" has almost become an adjective of its own) was reputedly among the most shameless womanizers and personal egos of the late eighteenth century's Venice. He also had substantial financial, political and social connections. Mozart's three operas set to libretti by Lorenzo Da Ponte are generally considered his most "bawdy" built on themes of deception, adultery, mistaken identity, coverups and so forth. Certainly, "Cosi fan tutti", "The Marriage of Figaro" and "Don Giovanni" were all considered quite racy and almost unfit topics for opera by the aristocracy if not the common audience member of the time. This new play with opera - or is it vice versa? - "The Giacomo Variations" by German director, Michael Sturminger, takes a factual circumstance and turns it into a fascinating theatre experience. Casanova met Mozart and Da Ponte during a 1783 job trip to Venice and is also said to have attended the Prague premiere of "Don Giovanni" - a character that Casanova admits he related to! The premise of "The Giacomo Variations" is a fairly simple one - an aging Casanova is trying to solicit the help of the German poet, Elisa van der Recke, in publishing his memoirs. Along the way, Casanova's life and ideologies are played out - sometimes to a younger version of himself - through scenes from the three Mozart-Da Ponte operas. The theatre experience is very well done, the concept clever and the performances are generally very solid. The great John Malkovich has a propensity for the very unusual and he brings off Casanova convincingly; in this case an interesting blend of egotist, romantically insatiable but also a bit paranoid and unsure. The other leading parts are well done as well, especially Ingaborga Dapkunaite as Elisa (and in multiple operatic roles), as well as Florian Boesch and Sophie Klussmann in similar, multiple parts. The Orchestra Wiener Akademie under the direction of Martin Hasselbock is in fine form, playing on authentic instruments. Just from the standpoint of opera; even selections from Mozart's hits, this is not intended as a benchmark performance, although the singers do a fine job. The reason to see "The Giacomo Variations" is to enjoy the dry wit, the bland 'sleaziness' and the trademark wonderful expressions that John Malkovich brings to this - and every - performance. Along the way, you will hear and probably enjoy some of Mozart's best known scenes and arias along the common theme of what motivates people. I do think that fans of Malkovich and people who do know Mozart would enjoy this very unusual, but creative, theatre experience.

This DVD is features John Malkovich as Mozart's Casanova. That sounds simple enough on the surface. But what we have here is a combination of acting (and what an amazing performance from Mr. Malkovich), music from Mozart's Figaro, Don Giovanni, and Cosi Fan Tutte, beautiful costumes, and a story that ranges from the comic to the subtle, from emotional hunger to basal lust. Prior to getting this video, I did not know that the infamous Casanova actually knew Mozart and his librettist Lorenzo Da Ponte, and that Casanove himself might well have been the inspiration for some of the characterizations present in some of the operas previously mentioned.The production alternates between the actors performances, well done exchanges between the actors and the opera singers (Sophie Klubmann is *wonderful*) so that the music from the various operas can be sung in the proper context of the piece, and back again. Mr. Malkovich even sings a piece near the end as best he can - and even though his voice is certainly not of operatic quality, the genuine nature of what he wants to convey comes right through. His performance is such that this viewer actually felt sorry for Casanova at several points in the piece, which is not what I expected. This is lyrical theater of a sort that I had not seen before, and it is very special...a treat for the eyes, ears, and the mind.This is a fascinating and incredible work, and certainly worth the price. Very highly recommended!

Très surpris que toute l'action se passe sur une scène de théâtre. Je m'attendais a un filmé tourné en extérieur avec Venise comme cadre.Je ne l'ai certainement pas apprécié à sa juste valeur. Il faudra que je le revois dans une autre disposition.

great experience and excellent service.

In questa edizione non compaiono le prestazioni dei vari cantanti lirici che hanno preso parte al film. Perche ? non è stata pubblicata?

Eine tolle Produktion mit schönen Originalkostümen und noch schönerer Musik, perfekt in Szene gesetzt von Martin Haselböck und seinem Orchester Wiener Akademie. Überragend John Malkovich und Ingeborga Dapkunaite, grosse Stimmen von Sofie Klußmann und Florian Bösch

Mettre en scène un Casanova vieux et écrivant ses Mémoires, en y mêlant des extraits des 3 opéras de Mozart dont le librettiste fut Da Ponte était a priori une bonne idée.Hélas, le résultat n'est pas à la hauteur des intentions ; la mise en scène outrée, caricaturale, ne s'élève guère plus haut que le théâtre de patronage ; tout le monde joue faux, même John Malkovich, qu'on a connu en meilleure forme.Quant à la musique de Mozart - sortie de son contexte - elle ne transmet aucune émotion ; on se contente de noter de quel opéra est extrait tel ou tel morceau. Où est l'intérêt ?Ce spectacle enregistré ne convaincra ni les lecteurs de Casanova ni les admirateurs des opéras de Mozart. On se demande même à qui il peut convenir, sinon à quelques snobs plus argentés que connaisseurs.