[PDF] WHAT TO EXPECT FROM DON GIOVANNI

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favorite scoundrel: Don Giovanni is more than just an operatic character. Based on a figure that first appeared on stage in the 17th century, he emerges in Mozart's opera as a force of nature, subject to nothing and no one - until the work's final scene. ?e second of three stage works Mozart wrote with librettist Lorenzo Da Ponte (following Le Nozze di Figaro and preceding Così fan tutte), Don Giovanni is both a masterpiece of Italian comic opera and a work of unsettling moral ambivalence. Mozart's dramatic - and at times

surprisingly dark - music re-imagines the mythical character of Don Juan, imbuing him with a personal magnetism so powerful that the opera has

remained at the center of the repertoire ever since its first performance. Si milarly, the dramatic scope of Don Giovanni ranges from farce to horror, with moments of genuine comedy back to back with seduction, murder, and supernatural judgment. ?is duality of tone is evident from the very opening moments of the opera: it begins with some of the most portentous chords of Mozart's entire output, but quickly shi?s into the lighthearted

style familiar from his other comedies. "?e starting point of the opera is a death," as Michael Grandage, the Tony Award-winning director of the Met's

production remarks, "and the brilliance of the work is that Mozart takes us to a play about life." i s guide is intended to help your students appreciate Don Giovanni

as a product of the social and class upheavals of the Enlightenment. By exploring the ways Mozart and Da Ponte portrayed the differences among

the opera's characters, students will gain an understanding of the social forces at work that contribute to its meaning, both in the 18th century and today. ?e activities on the following pages are designed to provide context, deepen background knowledge, and enrich the overall experience of this

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transmission. ?is guide will also align with key strands of the

Common Core Standards.

• e o pera"s vibrant depiction of the dierences in economic status during the Enlightenment era

• Mo zart"s musical means of characterization

• Cr eative choices made by the artists of the Metropolitan Opera for this production • e opera as a unied work of art, involving the eorts of composer, librettist, and Met artists is guide is intended to cultivate students" interest in

“mezzo" = middle, medium)

Following a very successful run of performances of

Mozart begins composition of

from rheumatic fever.

Ti rso de Molina publishes

Wo lfgang Amadeus Mozart is born on January 27, one of the two surviving children of Leopold Mozart, a composer in the service of the Prince-

Archbishop of Salzburg.

At t he age of seven, Mozart performs for the Empress Maria eresia in Vienna, as a keyboard prodigy and composer. Over the next 11 years, the Mozart family tours throughout Europe, performing for members of the royalty and nobility. Mo zart completes his rst full-length dramatic work, Mo zart relocates to Vienna, seeking to make his living as an independent composer and performer in the culturally rich Habsburg capital, rather than solely under contract to a wealthy patron or the church. e p oet and ex-priest Lorenzo Da Ponte moves to Vienna, having been chased out of Venice owing to his liberal politics and illicit involvement with several married women. In Vienna, he soon attracts the notice of Emperor Joseph II, who appoints Da Ponte as the poet to the court theater. His libretti for Mozart, Antonio Salieri, and Vicente Martín y Soler exemplify the remarkable achievements of Italian opera bua in

Vienna at the time.

Ha ving attempted unsuccessfully to establish a tradition of German- language drama at his court theater, Emperor Joseph II disbands his German performing troupe and re-establishes Italian opera bua as the court"s preferred operatic genre.

Mo zart completes

Following a very successful run of performances of e o pera

Mozart begins composition of

Mo zart falls ill on November 22 and dies on December 5, likely from rheumatic fever. premiered on October 29,

1787 at the National

?eater in Prague, a lavish public opera house whose construction had been completed only five years earlier. ?e theater later passed through several impresario and ownership changes but managed to survive the strife and wars of the ensuing two centuries.

Known today as the Estates

?eater (to distinguish it from the new National ?eater, built in the 19th century), it stands as one of the few opera houses in which Mozart's works were originally performed that remain in something close to their original condition.

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My Highs & Lows

Don Giovanni

Don Giovanni

Don Giovanni

Don Giovanni

• Wh at are the essential aspects of comedy? Of drama? • Wh at type of character is Don Giovanni? Is he primarily a comic character or a serious one?

• Do es Don Giovanni

• Wh at do you make of the nal scene, aer Don Giovanni has descended into hell? • Wh at does the opera"s musical style tell you? Do you feel that the music draws you to think of the opera as primarily a work of comedy or drama? As a c ulminating activity, have students discuss how Mozart"s e re are no right or wrong answers to these questions. In fact, the question of how to categorize Mozart"s

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