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The Don Giovanni Moment: Essays on the Legacy of an Opera. Columbia Press University, New York. Kaminsky, Peter (1996). "How to Do things with Words and Music: Towards an Analysis of Selected ensembles in Mozart's Don Giovanni." Theory and Practice; Noske, F[rits] R[udolf] [in Dutch] (1970). "Don Giovanni: Musical Affinities and Dramatic ...
Madamina, il catalogo è questo" (also known as the Catalogue Aria) is a bass catalogue aria from Mozart's opera Don Giovanni to an Italian libretto by Lorenzo Da Ponte, and is one of Mozart's most famous and popular arias. It is sung by Don Giovanni's servant Leporello to Elvira during act 1 of the opera. [1]
Don Giovanni The role was created by Antonio Baglioni [Wikidata], [4] who sang Don Ottavio in the premiere of Mozart's opera. Pasquariello, Don Giovanni's manservant ; The Commendatore (bass) Donna Anna, the Commendatore's daughter ; Duca Ottavio, Donna Anna's fiancé (tenor) Donna Elvira, a former lover of Don Giovanni (soprano)
The vocal range for Don Giovanni covers E 3 to E 4, Zerlina's range covers E 4 to F ♯ 5. The piece is labelled a "duettino", a "little duet". The piece is labelled a "duettino", a "little duet". This may be because the two roles sing only as a duet towards the very end of the piece, after Zerlina's assenting Andiam! .
When Ivo van Hove first discussed his “very dark” vision of Mozart’s “Don Giovanni” with his cast at the Metropolitan Opera, the leading man had doubts.
"Là ci darem la mano" is a duet sung by Don Giovanni and Zerlina in act 1 of Mozart's 1787 opera Don Giovanni. In a manuscript of this composition, dedicated to his schoolfriend Tytus Woyciechowski, the latter replied on the title page in written form „J’accepte avec plaisir“ („I accept with pleasure“).
The opera was the first of three collaborations between Mozart and Da Ponte, followed by Don Giovanni and Così fan tutte. It was Mozart who originally selected Beaumarchais's play and brought it to Da Ponte, who turned it into a libretto in six weeks, rewriting it in poetic Italian and removing all of the original's political references.
The clearest antecedent of the catalogue aria of Mozart and librettist Lorenzo Da Ponte can be found in the 1787 opera, Don Giovanni Tenorio, with which they were both familiar, composed by Giuseppe Gazzaniga on a libretto by Giovanni Bertati. Da Ponte based much of his libretto on Bertati's, heavily revised for content and language but ...