| Don Giovanni |
| This website contains information that anyone can find with Google. |
| x |
 |
 |
|
 |
|
| Donna Anna |
| Coloratura soprano role. She is the Commendatore's daughter. |
| Year |
| Artist |
| 1938 |
| 1940 |
| 1943 |
| 1945 |
| 1947 |
| 1948 |
| 1949 |
| Rose Bampton |
| 1952 |
| 1974 |
| 1953 |
| 1978 |
| 1955 |
| 1959 |
| Sena Jurinac |
| 1962 |
| 1965 |
| 1968 |
| Enriqueta Tarrés |
| 1981 sum |
| 1984 |
| Rebecca Cook |
| 1991 |
| Marilyn Mims |
| 1995 |
| Deborah Riedel |
| 1999-2000 |
| Monica Colonna |
| San Francisco Opera Donna Anna History |
| Mary Curtis |
| Ellen Faull |
| Licia Albanese |
| 1999-2000 |
| Nicolle Foland |
|
| 1965 |
| Aria Data Base for Donna Anna |
| Act II, Scene IV / 'Non mi dir. bell'idol mio' |
 |
|
| Act I, Scene III / 'or sai chi l'onore' |
| To play above on a piano and hear it in play back - open Classical Music Search in a new page. Play notes on piano and press the play button when finished. Using the search button will bring up any symphonic music that has the same notes. |
 |
 |
 |
| 1999-2000-Monica Colonna |
| The advance press about the ladies turned out to be more-or-less true; however, soprano Monica Colonna's handsome and dynamic Donna Anna shockingly veered of course vocally towards the end of the last act. Was it something in the air? Something she ate? Could she have sounded so bad when she got those initial rave reviews? Before the final curtain, she was singing well off pitch./ Review Colonna didn't quite have the serene nobility for some of Donna Anna's more restrained moments -- particularly the final ``Non mi dir,'' which sounded a little rough-hewn for all the ease with which she dispatched the aria's demanding coloratura. It made one think that she might have been better cast as the slightly unhinged Donna Elvira./ Review |
| Van den Heever, a superbly gifted Adler Fellow, stepped into the breach with a big, vibrant and not entirely modulated performance. Her voice is expansive and full of vitality, and her initial set-to with Don Giovanni crackled with dramatic zest even as she got her bearings acoustically.
Better still was the final aria, "Non mi dir," with its blend of emotional rawness and technical panache. Van den Heever's difficulties blending into the ensembles could presumably be chalked up to the circumstances, and may well get ironed out as the run progresses./ Review |
 |
| 2006-2007 |
| Much interest was focused on Elza van den Heever, who made her main-stage debut as a last-minute replacement for Hope Briggs. Van den Heever showed a huge voice of considerable range, rounded and resonant throughout and with special warmth in the middle and bottom.
She has plenty of promise, but that big voice isn't under sufficient control yet; at this first performance, she was too loud in some ensembles and faltered toward the end of "Or sai chi l'onore" (Now you know who sought to steal my honor) She needs more schooling in passagework, as well, to smooth out the fast section of "Non mi dir" (Do not say to me). Yet she cuts a fine figure on stage and acted well, even though she must have learned the staging in a tearing hurry./ SFCV |