![]() In order to connect " Ah, certo è l'ombra che l'incontrò" ("It must have been the ghost she met") directly to the moral of the story " Questo è il fin di chi fa mal" ("This is the end which befalls to evildoers"), Mozart composed a different version of " Resti dunque quel birbon fra Proserpina e Pluton!" ("So the wretch can stay down there with Proserpina and Pluto!"). He also made some cuts in the Finale in order to make it shorter and more incisive, the most important of which is the section where Anna and Ottavio, Elvira, Zerlina and Masetto, Leporello reveal their plans for the future (" Or che tutti, o mio tesoro"). Mi tradì quell'alma ingrata" (K. 540c, composed on 30 April for the soprano Caterina Cavalieri) – and the duet between Leporello and Zerlina " Per queste tue manine" (K. 540b, composed on 28 April). For this production, he wrote two new arias with corresponding recitatives – Don Ottavio's aria " Dalla sua pace" (K. 540a, composed on 24 April for the tenor Francesco Morella), Elvira's aria " In quali eccessi. Mozart also supervised the Vienna premiere of the work, which took place on. Playbill for the 1788 Vienna premiere of Don Giovanni In the same act, two of the Commendatore's interventions (" Di rider finirai pria dell'aurora" and " Ribaldo, audace, lascia a' morti la pace") are accompanied by a wind chorale of oboes, clarinets, bassoons, and trombones (with cellos and basses playing from the string section). In act 2, Giovanni is seen to play the mandolin, accompanied by pizzicato strings. For the ballroom scene at the end of the first act, Mozart calls for two onstage ensembles to play separate dance music in synchronization with the pit orchestra, each of the three groups playing in its own metre (a 3/4 minuet, a 2/4 contradanse and a fast 3/8 peasant dance), accompanying the dancing of the principal characters. The composer also specified occasional special musical effects. The score calls for double woodwinds, two horns, two trumpets, three trombones (alto, tenor, bass), timpani, basso continuo for the recitatives, and the usual string section. is extremely difficult to perform." The Provincialnachrichten of Vienna reported, "Herr Mozart conducted in person and was welcomed joyously and jubilantly by the numerous gathering." Scoring The Prager Oberpostamtzeitung reported, "Connoisseurs and musicians say that Prague has never heard the like", and "the opera. The opera was rapturously received, as was often true of Mozart's work in Prague. Mozart recorded its completion, finally, on 28 October, the night before the premiere (29 October). The opera was supposed to premiere on 14 October 1787 for Archduchess Maria Theresa of Austria’s visit, but it was not ready in time and Le nozze di Figaro was substituted. In two aspects he copied Bertati: by opening with the Commendatore's murder and by avoiding mention of Seville (for Bertati the setting was Villena, Spain Da Ponte simply writes "city in Spain"). Lorenzo Da Ponte's libretto is based on Giovanni Bertati's for the opera Don Giovanni Tenorio, which premiered in Venice early in 1787. The subject may have been chosen because the sub-genre of Don Juan opera had originated in that city. The opera was commissioned after the success of Mozart's trip to Prague in January and February 1787. The Estates Theatre in Prague, venue of the world premiere of Don Giovanni in 1787 when it was four years old and called the Comital Nostitz National Theatre (Gräflich Nostitzsches Nationaltheater) Don Giovanni is regarded as one of the greatest operas of all time and has proved a fruitful subject for commentary in its own right critic Fiona Maddocks has described it as one of Mozart's "trio of masterpieces with librettos by Da Ponte". It was premiered by the Prague Italian opera at the National Theater (of Bohemia), now called the Estates Theatre, on 29 October 1787. ![]() It is a dramma giocoso blending comedy, melodrama and supernatural elements (although the composer entered it into his catalogue simply as opera buffa). Its subject is a centuries-old Spanish legend about a libertine as told by playwright Tirso de Molina in his 1630 play El burlador de Sevilla y convidado de piedra. 527 Vienna (1788) title: Il dissoluto punito, ossia il Don Giovanni, literally The Rake Punished, or Don Giovanni) is an opera in two acts with music by Wolfgang Amadeus Mozart to an Italian libretto by Lorenzo Da Ponte.
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