But there are other wonderful singers in this Don Giovanni. The most striking may be Ljuba Welitsch's Donna Anna, who, for once, doesn't sound dominating and vengeful, but genuinely hurt by her father's death. She projects a heroic figure that is quite unique. The duo with Dermota's Don Ottavio near the beginning, under Furtw?ngler's masterful conducting, was a revelation when I first heard this recording many, many years ago.
In addition, I prefer Kunz's Leporello to Edelmann's because it is less buffo. Then there are Schwarzkopf's dramatic Donna Elivira and Seefried's smooth Zerlina. I also have to mention Josef Greindl's Commendatore. His appearance in the climax is hair-raising. All that experience singing Wagnerian roles is a great preparation for this moment.
Finally, there is Furtwängler. I have heard people criticise this performance because it is too serious: not enough humour. It is true that most other Don Giovanni's have more humour, which often turns too buffo. However, I believe that it is precisely this attitude that makes it possible to have a climax such as this one. You can't have everything in life. One must chose, and I chose this climax. Don Giovanni becomes a mythological hero here. Some may object to this on moral grounds. But all classical heroes are fundamentally defiant figures. Greek heroes are always fighting with the gods, and Don Giovanni's refusal to repent elevates him to this level.