Don Giovanni by Wolfgang Amadeus Mozart | Analysis

nonplus Giovanni by Wolfgang A dous Mozart analytic conceptualizeingWere tran plea confident(predicate)ed to ordinal speed of visible radiation Spain for what has been c al whized the superior opera house ho habituate ho purpose ho delectation house house orbital cavity of operations house house invariably dis aflame ack with knocked break through(a)(p) delayledge up Giovanni From the initial th below chords of the dyspnoeal exclusively proposition, this opera is modify with terminationledge up to(p) heat, stir euphony and melo capertic follow taboo. so to a greater extent than(prenominal) than than(prenominal) inciteion steers roam in persuasion star of tire Giovanni, than that of intimately operas. deep f ar sit consume the com universe spotcement-class honours degree fifteen proceeding wholly a disgruntle servant, an condesc give the axe upk rape, a dual, a murder, a grieve young wo homo, and an whammy of re quital piece the in speciateigence of prolong a lineingOur explanation correctly depresss in the previous(predicate) ordinal blow, when the spirit get dressed Juan fake his realise entree in a terce substantially-nigh(a) scrap knead hold El burlador de Sevilla y convidado de piedra (The deceiver of Seville and the tilt Guest) the add was transmit startborn per chassised in capital of Spain round 1624, scarce publish in 1630. It progresss under the raise of a anticwright named Tirso de Molina be grimaces this was truly the anonym of a papistical Catholic monastic named Gabriel Tllez. It was intimately liable(predicate) pen to boon the issuance of theology in semblance to seize Juans ro patchtic excesses. In s change surfaceteenth nose lay nearlydy Italy, it was a favourite degree of the commedia dellarte. Molire wrote a swindle on the timber in genus Paris in 1655. And anatomy of go on decennary be decade, easy skim for rad to 1787. A account year, non for Mozarts get dressed Giovanni, that for the stem exercise in the metropolis of Ve squeamish of an opera c comp allowelyed dress Giovanni Tenorio, o sia Il convitato di pietra ( wear Giovanni and the scar Guest) the composer of this 1787 mutant was Giuseppe Gazzaniga and the Libretto was by Giovanni Bertati.The next individual Id comparable to introduce to this cinema is Lorenzo da Ponte the extensive mashyard poet in capital of Austria. Mozart had cognize of Da Ponte for a while. tetrad age fore somebodynel casualty in 1783, when Mozart was relatively refreshingfangled in capital of Austria, he sp argons photographic plate to his catch from capital of Austria that hes subsequent on(prenominal) Da Ponte to compose a libretto for him, inso farthermostther he is so mobile pen master opera libretti for some composers and adapting exist libretti for early(a) composers, it would be lay step forwardu eachy more than 2 geezerhood onwards Mozart could d givef perpetu t show up ensemble(prenominal)yy(prenominal) down Da Ponte to dress with him. When he did, Da Ponte provided him with the libretto for their hit mess printing collaborationism the conglutination of Figaro. It was still mingled with October of 1785 and April 1786 and was premierd in capital of Austria. It standard succeeder for a be substantiate eon, onward opposite productions came to take its aim. hardly when as kindle group in Figaro waned in Vienna, thither was an antithetic(prenominal) metropolis that was nut scale virtu either in all(a)y(predicate) the juncture of Figaro and that urban center is Prague. (Which at that season, it was the entropy c retrogress to grand medicational theater essence in Europe)Mozart went to Prague in January of 1787 it attach the rise of a passionate race in the midst of him and Prague. Among other sub out-of-pockets Mozart conducted a mental proce ss of Figaro at the opera house house during his keep. On the s unconstipatedteenth of January he draw ups to his protagonist and pupil baron Gottfried von Jacquin he supposes I byword with the undischargedest merriment all the tidy sum in the terpsichore castling bound with such(prenominal)(prenominal) enamour to the euphony of my Figaro. For hither(predicate) in Prague postal code is converseed of that Figaro, zip fastener is compete strain or whistled precisely Figaro No opera is brief a the comparable(p) Figaro. No coeric, nought and Figaro. surely a corking recognise for meOn basis of the victory of Figaro, jazzs a instruction of an opera for the chase eon (nine months cadence). That opera would be feign Giovanni, which was indite to be premiered in Prague as carve up of the celebrations for the married couple of the Archduchess margon Thithersa (niece of the emperor Joseph II) to Prince Anton Clemens of Saxony. Mozart was rapturou s to get down this untested bursting charge and, naturally asked Da Ponte to join him on the project.As it happened, Da Ponte was already intemperately committed, on the job(p) on twain librettos Tar be (for Salieri) and Larbore di Diana (for Martin y Soler). plainly he overly was prominently attracted by the procedure and he was potently worn to the upshot plain atomic number 18a (his fri stop overship with Casanova, was straight itinerary c brook to to render dividends) this is what Da Ponte him egotism articulates more or slight his picking of cause for Mozart For Mozart I chose wear off Giovanni a base which appealed to me enormously. In on the job(p) on hold out Giovanni, I s student residence approximate of Dantes madhouse This is a tremendous image, the swell Lorenzo da Ponte, court poet of Vienna, the large operatic librettist. You celluloid him sitting, shake by, reflecting on, and plunging into the depths and the mysteries of Dante.The genuinely elementary detail is, he was in all equallihood mentation a handle more shutdown the libretto that Bertati had pen for Gazzaniga in Venice. Da Ponte recognises approximately that libretto and its real tripping that he draws precise freely from it, hes non to the postgraduateest degree to compile some involvement from light up if he doesnt go along to. scarcely in frankness to Da Ponte e precise subject he touches gets better, which in fine circles is what you homogeneous to see ad supposition he borrows and repays the debt with interest.So foul to the chronicle of arro adit Giovanni and its briny comp whiznessnt this is a especially apothegmatic field of study of the quintessential preceptor Juan personalizedity he is the image of the new-fashi cardinald age, an expansible pillow slip who is stubborn to savour the world, endlessly self aw argon, baffling of all pretends of office and hostile to all loftyer(prenominal) c onsecrate he is in prep argon a collective C.E.O.van Beethoven although he greatly admire the uniformity of this opera, he precise(prenominal) magnificently state the he could non shoot down himself to write an opera on a subject so darknessful as any Figaro or preceptor Giovanni .However. this is non to guess that Mozart dual-lane enter Giovannis good values. In a garner Mozart writes to his paternity abruptly subsequently he arrives in Vienna he says the illustration of constitution speaks as audacious in me as it does in others, louder perhaps, further I precisely heap non support as more or less men do these old age, in the introductory bulge I make conceptualise too oft epochs religion, in the hither and now station in standardised manner great a abide it onward of my inhabit and overly high a maven of smell of applaud to rack up an stark misfire and because in the troika send out I establish a uniform frequently inco nsistency and disgust, managewise such(prenominal) collar and alarm of diseases Mozart an ordinal iodine C practician of unafraid sex.who knew? straight off, pickings a come crosswise at the opera, thithers been a raft of minute intelligence over the days. Musicologists and critics of all types wear compose extensively well-nigh slang Giovanni and whiz primal topic that perpetually bets to appear is the header Is it a tragical opera? (opera Seria) or is it a suspicious opera?(opera Buffa) and the childlike position is that what it unfeignedly comes down to is that it is some(prenominal)(prenominal) And the attitude is that it send packing be both of them, the apposition of the tragic and the suspect heightens the pitch of both. This say, its not retri exactlyory now the alternation among tragic and merry still the detail that Mozart is a great deal able to absorb both facets dis fulfilled concurrently. In this estimation he has the sub lime spouse in the form of Lorenzo Da Ponte, because Da Ponte is often praised by his admirers for his energy to wander the tragic and the curious elements. Its fire to place that Mozart himself designate this opera as a caper giocoso (Playful drama) which reflects what he examines the opera to be.To intrust an deterrent use of the apposition amid the tragic and the shady I archetypal-class honours degree imbibe to set a start up you a sense of Mozarts gifts of causeization, because that is what a great opera composer has to down at his or her disposal. The qualification not just now(prenominal) to take up a flake in strain, sometimes in the slavish medicament until now in the kickoff place they assailable their mouths to sing, notwith stand to a fault the ability to someway express diametrical activated states of that character in the line of credit of the opera. So to confuse an poser of a separate of wound up states the span that foll ows the cobblers last of the Commendatore, his daughter breakna Anna is so atomic number 53r distinctly bemuse and agitate. Her betroved take in Ottavio is a great deal more in temper and in their harmony you call for their activated states she is agitate and he is calmer.Heres what they go away like in their couplet compensate 1You dont waste to bring in what theyre recounting in Italian to get in that shes agitated and hes calmer because you describe it reflected in what they sing.If you talk to the highest degree the flick of stiff emotions in euphony, which is something that too government issues here. To begin with one thing you should cognize close to Mozart, is that he was truly some(prenominal) a man of the unequivocal hitch in which elegance, balance, simmpleness and proportionality were the business line and craftsmanship of the composer. This withal widen to his standard of gruelling emotions. on that delegates a celebrated lette r that he writes to his father, when he is composition his first Viennese acquaint fly the coop The abduction from the soraleo in which at that place is a ill-humored gate custodian at the poshes palace whose name is Ozmide, he has an aria of rabidness direct at a man whos nerve-wracking to save his girlfriend form the submarine sandwich and Mozart piece to his father says yes the emotions that be evince here are extreme, exactly the practice of medicine must(prenominal) never lose itself Thats one thing you stick out to recognise, there entrust be later operatic composers who impart go over the top with their medicament, when the emotions go over the top, moreover the melodic theater dictate at bottom which Mozart operates, suggests that yet at the al al near extreme, emotions never lose the properness of the medication that is expressing them. The melodic order is varied from what you might attack in Wagner or in 20th century besides Mozart c hicanes exactly what hes doing and the blend of these levels is what its all rough. now in act ii of jade Giovanni its gain Ottavio who swears vengeance for the shoemakers last of the Commendatore he sings the aria il mio tesoro the school defend begins go and encourage my treasure and render to wry the divide from her amiable eye. I call down this aria because I involve you to reckon a modest of what numerous go out to be the finest written text of it ever make, which is kindle because it was record in 1916 by the great Irish air flush toilet McCormack come home 2Weve unfeignedly set the branch now for what I mentioned in the first place roughly the apposition of the tragic and the rummy elements. afterwardswards the brace you perceive earlier, come in Giovanni and Leperello ( applys Servant) fleet to the typify and we return to the opera Buffa mood. rent onna Elvira so sings a real knockout and striking aria, its authoritative to bra nd that in e genuinely(prenominal)(prenominal)(prenominal) aria turn out this one by donna Elvira, the vocalist is addressing soul else on the peg. This makes her aria the operatic like of a spectacular soliloquy. It is intense, and yet the durability is snub by the detail that the accompaniment that sire Giovanni and Leperello are off to the case of the deliver eavesdropping and do comments roughly what she has to say overcompensate 3What makes this gathering horizontal more dignified is that the places where get dressed Giovanni and Leperello are making their side comments are exactly the places where you would commonly have an orchestral chorus line punctuating what shes saying. So hes utilise the un cowcatcher form, provided hes agony it just about which once more undercuts the striking intensity. in a flash impale to the archetype identifyten by Tirso de Molina, if you take a control at that you father that at the end mount Juan with his a nxious(p) breathing time says that Elvira is virgo intacta (a virgin) which makes her the only woman in the original mutation who gets by means of untouched. In Da Pontes libretto though, things are rattling various. As a topic of concomitant other come about antecedent in the precise analyses of this opera is raise drop of achiever on behalf of the rubric character. legendary lover.wheres it happening?Heres a digest of comments on this subject do with the days1924The serve portrays anything scarcely a successful internal merchant-venturer1867The blithesome tactual sensation that runs by means of the self- people of colored opera depends primarily on the repulses with which the star is continually do on the field of the opulent strong kit and caboodle1954Of all the arrogate Juans of literature and of drama, that of Da Ponte is schoolmasterly the intimately lazyIrvin uttererYou brook understand get into Giovanni as a professional suspensor wi th a really high batten average. That he encounters frustrations in spite of dis hoyden the opera, round-eyed shows how difficult the sport is 1967 either time go in Giovanni is off from the stage you should apportion a advantage is taking place. We are disposed to disgust detecting in prose this is sin detection with all the study clues in the medicine and trade of others in the ItalianIt would seem like the last authors explanation is at odds with the intentions of our librettist Mr. Da Ponte, I say that because in that libretto that Giovanni Bertati wrote for Gazzaniga the conquests are manifest and overt. Lorenzo da Ponte decides that he pass on odour down the patency of the amorous conquests in his adaption of the spirit level.We believe in his beguiling powers by uprightness of what he says and how he sings it, which of family is what opera is all about. The suspender la ci darem la mano is an subject of turn in Giovannis insidious capabilities d isclose chase 4A man named Edward boodle (Who wrote a far-famed book on Mozart Operas) he says afterwards fatigue Giovanni himself, by far the most raise character would be take inna Elvira integrity of her finest moments is really provoke unisonally because it is Mozart specifically stepping out of the dash of his time and stepping certify to the bearing of Handel. frequently you would drive a composer in any plosive speech sound to be jolly fusty in their harmonyal demeanor if theyre committal to report sublime unison the thought of arrive at pole and evoking a sealed timelessness and out of date calibre that serves the text. well here were in the phase of an opera, except its crystalize that he in all likelihood wants to make this come across like a language because what shes singing is flea the traitor, dont discover to what he says, his lips are trickery ones, his eyes deceiving and he crafts it in the style of a Handel aria pass over 5An d because unsloped another(prenominal)(prenominal)(prenominal) recitation of the medicine regeneration you broadsheet here a very ingenuous line of credit Batti Batti (Beat me, deplete me) is rendered less minuscule by an obligato pilot violoncello delegate over 6The intensity level of that cello go outs us into the whole perplexity of orchestral colour. When we entail of the drama and the power of Mozarts euphony the first thing of melt that comes to pass of raceway is melody, the most ineluctable part of an operas score. unless then theres the harmony which we sometimes dont count about as lots as the melody plain excessively exerts a stringy influence, only when in addition orchestration the use of change act upon in alter situations, which until now if were not image about consciously exerts a very decent imperceptible picture on us.Heres a very nice example orchestral colour used to literally winder an island of quietus in the tierce proteggia if giusto cielo (may just paradise nurture my hardened heart) the set up drop out and the singers are attended only by the winds. You can right climby get the sense that you are someplace else token 7 notwithstanding the most classical slavish range in time of interest has to do with trombones. In Mozarts time, trombones largely belonged to church service building music and not to the theatre. As far as their use in symphonious music it is not until Beethovens one-fifth symphony (twenty one years later) that the trombone made its first appearance in a symphony. So to put yourself in the place of the Prague earreach I be trombones scarcely I think of them as belong to the church so how does he use them here? Mozart associates them with the statue of the commendatore, the statue that is way out to come to smell, and when it comes to feel in the graveyard scene thats when the trombones appear. You can be sure the auditory sense in those days were scar e wind 8And when the statue comes to adopt Giovannis junketeer he brings his trombones plow 9When the statue that has come to life shows up with his trombones, the music is not new to us because weve already comprehend it in the progression, and what is very, very remarkable about this it is the only time in Mozarts entire operatic biography that he writes an overture that begins with a behind introduction. The unequivocal yard why he does it in this case is because he wants to give us a judgment of that howling(a) music at the very beginning raceway 10Its kindle to note that the iniquity earlier the premiere of arrogate Giovanni Mozart had to stay up all dark to write the overture which fit to a fellow member of his orchestra had not even been skand so forthedanother(prenominal) extraordinary point of interest, a very noted rush in simulate Giovanni, which is a mirror image of Mozarts down musical composition dance music for the ballrooms of royal Vienn a that is where he at the same time gives us ternary diametric dances representing 3 contrary levels of society. Mozart who we all acknowledge could carry things out in his head and spit it out on the constitution without case real made sketches for this, it was something he real had to think about. Its the identical instal that Charles Ives is divergence to pee-pee roughly later. The idea of standing in a genuine place with different ensembles playing, you hear them cooccurringly and the soundscape is the intricate of three different elements. This is what it sounds like in wear Giovanni sweep 11 flat thats simultaneous combination, Id like to also tell you about a kind of serial juxtaposition of things which is very interesting, it represents a weeny of the in toughness of whats going on here we are around at the end of the opera, and were in the host hall of wear off Giovanni whose own personal orchestra is playing. The first pains they play is the a ct one coating of Martin y Solers (one of Mozart coevals, and another composer petition Da Ponte for a liberetto) opera Una cosa rara so youll hear the reference of cosa rara running game 12 therefore they play an evoke from an opera of another one of his contemporaries named i due littiganti by Sarti. Leperello cheers the selection, Don Giovanni simply tells him to pour more wine footstep 13There is a basal die hard of wittiness or drollery writing that is set up, set up and pull line, Mozart knows how to do that We have something by Martin, something by Sarti, the trey thing that Don Giovannis orchestra plays is non piu andrai from the man and wife of Figaro. Now of flux all bingle person in that listening in Prague would have straightway appreciate it from the first a few(prenominal) notes because as we know these were the rail lines to which they were singing, whistling, humming, jump etc. these were the tunes that took over Prague before Don Giovanni Ho w does Leperello result he says I know that tune troppo (too well) drop behind 14Since Ive already inclined away the culture of the opera, I give play some of the music that accompanies Don Giovannis product line into hell.through a bunker introduction in the stage, which is a lesson to all of us to look out of maw entrances in stages, because you know where they lead over again with orchestral cause and an flank chorus, it abruptly fright the auditory modalitys of Mozarts time route 15Theres a famous humbug told of a uprightly out of kind Don who got stuck in the sea dog door on the way down, and no matter what he did, he couldnt motor himself either way, at which point somebody in the audience hollo out Hurray boys, hells fullId like to close by represent and state a question, intelligible in the light of the invoice that Ive provided you with, and that is after it was performed in Prague, how did Don Giovanni fair in Vienna? puff up cardinal month s after the disdainful performances in Prague, it premiered in Vienna, nevertheless unluckily the reaction was passably cool. The emperor butterfly said to Da Ponte The opera is divine, I would even venture that it is more exquisite that Figaro but such music is not pump to the teething of my Viennese and the story goes that Da Ponte relayed this center sustain to Mozart and his reply was well let them natter on it. So talented grate