Somewhat muzzy orchestral sound aside, this long neglected set, dating from 1953, has a deal to offer. Max Rudolf’s view of the score corresponds to current ideas more than to the more Romantic ones of his own day. He directs a performance of brisk, earthy energy in line with the demonic nature of the work’s protagonist, and Giuseppe Taddei’s reading of Giovanni provides the best reason for investigating this mid-price set.

Along with all but one of the cast (the Donna Anna is the exception), he has the inestimable advantage of being a native Italian so that the words roll off his tongue, literally as to themanner born. Then his beautifully firm and warm voice manages to sound the perfect note of seduction in ‘La cì darem la mano’ and in his Act 2 Serenade, delivered in a ravishing mezza voce. Elsewhere he suggests all Giovanni’s lust and, in the end, this Don defies death with the best of them. Six years later Taddei was to prove an ideal Leporello in Giulini’s EMI set. As Italians used to assert: ‘We gave Gobbi to the world and kept Taddei for ourselves.’

As his partner in nefarious deeds, Italo Tajo proves an engaging foil and, as with Taddei, the text ripples easily off this Leporello’s tongue. His voice may not be ideally focused but that hardly matters when the vocal characterisation is so sharp, and all Leporello’s craftiness emerges in his arias. Cesare Valletti, with his attractively grainy tone, provides a passionately committed and dignified Ottavio, singing both his arias with well-sustained phrasing and an apt sense of Mozartian style. The Masetto and Commendatore are more than adequate.

While all three of the female singers have the kind of Italianate edge to their tone not always consonant with Mozart’s music, their verypositive contributions offer more character in each role than that found on many more recent sets. I particularly liked Carla Gavazzi’s forthright, impassioned Elvira although her technique is occasionally sketchy. Maria Curtis Verna, an American soprano, was much admired in Italy, and her positive, quite grand Anna shows just why. She also conveys the requisite conviction and vulnerability. Elda Ribetti is a bit too edgy as Zerlina, but dramatically convincing. Altogether this is unlikely to be anybody’s first choice for the work, but at the price, it is a worthwhile addition to the many versions already available.