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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.
Don Giovanni, o sia Il convitato di pietra, [1] (English: Don Giovanni, or The Stone Guest) also known as Don Giovanni Tenorio [2] is a one-act opera (dramma giocoso) by the Italian composer Giuseppe Gazzaniga.
Don Juan Tenorio is still performed throughout the Spanish-speaking world on 2 November ("All Souls Day", the Day of the Dead). Mozart's opera Don Giovanni has been called "the opera of all operas". [5] First performed in Prague in 1787, it inspired works by E. T. A. Hoffmann, Alexander Pushkin, Søren Kierkegaard, George Bernard Shaw, and ...
“The original title was ‘Il dissoluto punito ossia il Don Giovanni,’ (The Libertine Punished, or Don Giovanni),” van Hove pointed out. “Mozart couldn’t have been clearer about his ...
Cast (Don Giovanni, Leporello, Donna Anna, Don Ottavio, Donna Elvira, Zerlina, Masetto, Commendatore) Conductor, Opera house and orchestra Label [1] 1954 Cesare Siepi Otto Edelmann Elisabeth Grümmer Anton Dermota Lisa Della Casa Erna Berger Walter Berry Dezső Ernster: Wilhelm Furtwängler Vienna Philharmonic, Salzburg Festival
In his maturity, according to music writer Nicholas Kenyon, he "enhanced all of these forms with the richness of his innovation", [1] and, in Don Giovanni, he achieved a synthesis of the two Italian styles, including a seria character in Donna Anna, buffa characters in Leporello and Zerlina, and a mixed seria-buffa character in Donna Elvira. [1]
The duet, with words by Lorenzo Da Ponte, is sung during the first act of the opera.Don Giovanni has just met Zerlina and her betrothed, Masetto. In an attempt to distract Masetto and have him removed from the scene, Giovanni offers to host a wedding celebration for the couple at his castle.
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.
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