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Madamina, il catalogo è questo. " 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 (Italian pronunciation: [ˌdɔn dʒoˈvanni]; K. 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.
Il mio tesoro. " Il mio tesoro " (or " Il mio tesoro intanto ") is an aria for lyric tenor voice from scene 2 in act 2 of Mozart 's opera Don Giovanni. It is often performed in recitals and featured in anthologies of music for tenor. [ 1 ] In the aria, Don Ottavio, a young nobleman, urges the listener to assure his (the nobleman's) beloved ...
A catalogue aria is a genre of opera aria in which the singer recounts a list of information (people, places, food, dance steps, etc.) that was popular in Italian comic opera in the latter half of the eighteenth and early nineteenth centuries. The traditional devices of the catalogue aria include a solidly neutral opening, a section of rising ...
Zerlina. "Là ci darem la mano", number 7 in the score, starts in the key of A major with a tempo indication of andante and a time signature of 2/4. 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". This may be because the two roles sing only as a duet ...
Mozart also quotes Figaro's aria "Non più andrai" in the second act of his opera Don Giovanni. Further, Mozart used it in 1791 in his Five Contredanses, K. 609, No. 1. Mozart reused the music of the "Agnus Dei" of his earlier Krönungsmesse (Coronation Mass) for the Countess's "Dove sono", in C major instead of the original F major.
Leave the dead in peace!") and from the finale where he condemns Don Giovanni to Hell. The love duet of Don Giovanni and Zerlina follows ("Là ci darem la mano"), along with two variations on this theme, then an extended fantasy on the Champagne aria ("Fin ch'han dal vino"), and finally the work concludes with the Commendatore's threat.
This is the only appearance of Cherubino's music. Figaro's aria returns, initially in its original C major, but is quickly varied both harmonically and pianistically. However, instead of proceeding to Mozart's coda, the aria transitions to the dances from Don Giovanni. In the opera, the dances are a minuet in 3 4, a country dance in 2