Transcript Don Giovanni 1787 - Bath Spa University

Don Giovanni 1787
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A comic opera (opera buffa) in 2 acts.
Commissioned by the Pasquale Boldini’s Prague Opera company
after the success in Prague of Marriage of Figaro.
Planned as entertainment for visit of newlywed niece of Emperor –
the archduchess Maria Theresia and Prince Anton Clemens of
Saxony – 14 October 1787.
Mozart home to Vienna from Prague February 8 1787 to start work.
His father died 28 May and was buried that day. Also his pet starling
died. Mozart did not travel to Salzburg to oversee arrangements.
Libretto
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By Court poet – Lorenzo Da Ponte (like Cosi and Figaro)
Based on a very well known existing story.
Going back to El burlador (before 1630) it had been used and
adapted for a variety of purposes – commedia dell’arte in particular
– Goldoni’s Don Giovanni Tenorio 1736. Don Giovanni has obvious
parralels with Mr Punch. Don Juan is a stock character.
Il convitato di pietra (1762) with libretto by Giovanni Bertati and
music by Giuseppe Gazzaniga – a success all over Europe. This
was the starting point for Da Ponte.
Da Ponte and Mozart worked closely together on the opera right up
to the performance.
Rehearsals
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Mozart arrived in Prague 4 Oct 1787 with only 5
days before the premiere.
Da Ponte arrived and was resident across the
road.
The performance had to be postponed as it was
under-rehearsed and then one singer was ill.
The Prague company was small and singers not
easily replaced.
The work was considered very difficult.
The Cast
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As always the singers determined the nature of
the music – Mozart had to write to their
capabilities. He knew them all except one as he
had conducted them in Figaro.
Don Giovanni – Luigi Bassi had been Count
Almaviva – a fiery Italian `very handsome and
very stupid’ – 22 years old an excellent mimic
and a very good actor.
The cast requires 3 females (all sopranos), 5
males (3 basses, baritone and tenor), plus
chorus. This small cast reflects the Prague
company exactly.
First Performance
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29 October 1787 beginning at 7pm and planned to end
at 9.30.
Mozart had composed the overture the night before it
was to be rehearsed.
Mozart greeted with great cheers on entering pit to
conduct at the keyboard.
A great success and a long run of performances.
Mozart remained in Prague until 13th November.
Boldini wanted Mozart to stay and write another but
Mozart had to make it back in Vienna.
Prague was always a great supporter of Mozart and
Mozart remained very fond of the city to the end.
Vienna
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The success of Don Giovanni became known in Vienna
and helped Mozart get Gluck’s job as Kammermusikus
to the Emperor.
Command for Vienna performance by Emperor – 7th May
1788 in Burgtheater.
Joseph II already busy on battlefield of second Turkish
War.
Some alterations to arias and scenes to accommodate
Viennese taste and singers available.
Mozart conducted first three performances. Only
gradually did Vienna warm to the work.
Vienna and Prague versions exist – the Prague is
generally preferred.
Characters - Male
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Don Giovanni – a cavalier and seducer of
women. An ambivalent role that can be played
a number of ways. Needs a great voice.
Leporello – servant of Don – his assistant in
crime who unlike Don has some reservations
about their activities.
Don Ottavio – fiance of Donna Anna.
Masetto – country peasant lover of Zerlina
Commendatore – elderly knight and man of
honour.
Characters Female
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Donna Anna – daughter of Commendatore
and betrothed to Ottavio.
Donna Elvira a highborn lady from Burgos
– used and abandoned by Don.
Zerlino – a country girl who Don attempts
to seduce.
Terror and Effects.
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Don Giovanni is notable for the introduction of
terror into opera. Naked fear.
To do this he uses Trombones – always
associated with the underworld. They do not
appear until Commendatore statue appears on
stage to condemn Don Giovanni.
At the end of Act I three orchestras play
simultaneously on stage. First band plays
Minuet in G in ¾ for oboes, horns and strings;
then orchestra II turn up and play Contradanse
in G in 2/4 time; orchestra three tune up and
play German Dance in 3/8.
Keys
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As always the opera is carefully constructed in
terms of key relationships.
D is the opera key – minor at first (overture and
statue scene at end). Overture and opera end
in D major.
Second Act leads from G major to A major, D
major, F major, E flat (sextet – forgiveness by
Elvira of Don who is Leporello in disguise at that
moment). Then to D major for trumpets and
drums. Then to D minor punishment key for
murder. Back to D major then D minor for end of
sextet in E flat.
Liberty
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Act I scene 20 Don’s grant reception in the Hall. After
introductory scene with Don, Leporello, Masetto and
Zerlina – key changes to C major for entry of Don
Ottavio, Donna Anna and Donna Elvira (all masked).
After greeting all Don sings `E aperto tutti, a tutti quanti,
viva, viva la liberta’ (it is open to everyone, long live
liberty).
Every one seizes the phrase and it turns into triumphal
march with trumpets and drums
IS this Da Ponte’s personal tribute to Joseph II and his
ideas on personal freedom and enlightenment.