Il dissoluto punito, ossia il Don Giovanni, K. 527: Act II, Scene VII. Recitativo "Di molte faci il lume" (Leporello, Donna Elvira)
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific … Read Full Bio ↴Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works of virtually every Western classical genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is widely regarded as among the greatest composers in the history of Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture".
Born in Salzburg, then in the Holy Roman Empire and currently in Austria, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and traveled in search of a better position.
While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are uncertain and much mythologized.
Born in Salzburg, then in the Holy Roman Empire and currently in Austria, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and traveled in search of a better position.
While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are uncertain and much mythologized.
Il dissoluto punito ossia il Don Giovanni K. 527: Act II Scene VII. Recitativo "Di molte faci il lume"
Wolfgang Amadeus Mozart Lyrics
We have lyrics for these tracks by Wolfgang Amadeus Mozart:
Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agn…
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte Erzeugt von heißer Phantasie, In einer schwärmerischen Stund…
Ave Maria Ave, ave verum corpus natum De Maria virgine Vere passum imm…
Ave Verum Ave ave verum corpus natum de Maria Virgine Vere passum, imm…
Ave Verum Corpus K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Ave verum corpus, K. 618 Ave verum corpus natum de Maria Virgine Vere passum, immolat…
Ave Verum K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Batti Batti O Bel Masetto Batti, batti, o bel Masetto, La tua povera Zerlina; Starò qu…
Benedictus Benedictus qui venit in nomine Domine. Hosanna in excelsis!…
Confutatis Confutatis maledictis, flammis acribus addictis, voca me c…
Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen Tod und Verzweiflung…
Der Vogelfänger bin ich ja Der Vogelfänger bin ich ja Stets lustig heissa hopsasa! Ic…
Die Zauberflöte K. 620 Act 2: Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung…
Die Zauberflöte: Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen, Hells Revenge cooks …
Dies Irae Dies irae Dies illa Solvet saeclum en favilla Teste david…
Domine Jesu Domine, Jesu Christe, Rex gloriae, libera animas omnium fid…
Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Hostias Hostias et preces tibi, Domine laudis offerimus tu suscipe…
I Introitus : Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
III CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
III. Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
III. Sequentia: / Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Introitus Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Introitus Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
iv HOSTIAS et preces tibi, Domine, laudis…
IV. Offertorium: / Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.…
La' ci darem la mano (Don Giovanni): Là ci darem la mano, Là mi dirai di sì, Vedi…
Lacrimosa Lacrymosa dies illa, qua resurget ex favilla judicandus ho…
Laudate Laudate Dominum omnes gentes Laudate eum, omnes populi Quon…
Le Nozze di Figaro: Che soave zeffiretto Sull'aria... Che soave zeffiretto... Zeffiretto... Questa se…
Le nozze di Figaro: Cinque... dieci... venti... trenta... Cinque... dieci... venti... trenta... Trentasei... quarantat…
Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
O Fortuna O Fortuna, velut Luna statu variabilis, semper crescis a…
Offertorium Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Offertorium Hostias HOSTIAS et preces tibi, Domine, laudis…
Offertorium%3A Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Porgi amor Porgi, amor, Qualche ristoro Al mio duolo A′miei sospir! O …
Porgi, amor (Le nozze di Figaro) Porgi, amor, qualche ristoro al mio duolo a'miei sospir! O …
Queen Of The Night Aria Der Hölle Rache kocht in meinem herzen Tot und verzweiflung …
Recordare Recordare Jesu pie, quod sum causa tuae viae, ne me perdas…
Requiem 1. Requiem Requiem aeternam dona eis, Domine, et lux…
Requiem Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem in D minor K 626: 3. Sequentia: "Recordare" Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas …
Requiem in D minor K. 626: I. Introitus: "Requiem aeternam" INTROITUS Requiem aeternam dona ets, Domine, et lux perpetu…
Requiem in D minor K.626 Dies iræ, dies illa Solvet sæclum in favilla Teste David cum…
Requiem in D Minor K.626: 1. Introitus: Requiem Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Requiem in D Minor K.626: 3. Sequentia: Lacrimosa La crimosa Dies illa Qua Re sur get est fa vi lla Iudicandus…
Requiem in D Minor K.626: 4. Offertorium: Domine Jesu Domine, Jesu Christe, Rex gloriae, rex gloriae Libera animas…
Requiem in D Minor K.626: 4. Offertorium: Hostias Hostias et preces, tibi, Domine, Laudis offerimus: Tu suscip…
Requiem Introitus Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem%2C Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem, Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Agnus Dei CHORUS AGNUS DEI, qui tollis peccata …
Requiem: Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Introitus: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: IV. Offertorium: Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Lacrimosa Requiem aeternam dona eis, Domine, et lux perpetua luceat ei…
Requiem: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem: VII. Agnus Dei Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Requiem: VIII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Rex Tremendae Rex tremandae maiestatis, qui salvandos salvas gratis, sal…
Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Ridente la calma K.152 Ridente la calma nell′alma si desti Né resti più segno di…
Sanctus Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt…
Sequentia Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Sequentia Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Sequentia%3A Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Sequentia: Rex tremendae majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Time To Say Goodbye cutumn roams silently through the streets, You'll be gone, a…
Tuba Mirum Tuba mirum spargens sonum per sepulchra regionum, coget om…
Turkish March Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa …
V. Sanctus SANCTUS, Domine Deus Sabaoth. Pleni sunt …
VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem Agnus…
VII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Voi che sapete che cosa è amor Voi che sapete Che cosa è amor, Donne, vedete S′io l'ho nel …
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Classical Music/ /Reference Recording
Wolfgang Amadeus Mozart (1756-1791) Don Giovanni by Fritz Busch
🎧 Qobuz https://bit.ly/3BAT7gL Apple Music https://apple.co/41HHLlO
🎧 Amazon Music https://amzn.to/3Mf83Gn Tidal https://bit.ly/3OgAM09
🎧 Deezer https://bit.ly/45cvQ2b Spotify https://spoti.fi/3pHW7oU
🎧 SoundCloud -- Youtube Music https://bit.ly/3BCStzj
🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本...
Don Giovanni, K. 527
Act 1, Scene 1
00:00 I. Overture
06:15 II. Introduzione: Notte e giorno faticar..
07:59 III. Non sperar, se non muccidi
09:21 IV. Lasciala, indegno!
10:25 V. Ah, soccorso!
11:44 VI. Recitativo: Leporello, ove sei?
12:12 VII. Recitativo: Ah del padre in periglio..
15:59 VIII. Duetto: Fuggi, crudele, fuggi
Scene 2
20:04 IX. Recitativo: Orsù, spicciati presto..
21:22 X. Aria: Ah, chi mi dice mai
24:43 XI. Recitativo: Chi è là?
27:07 XII. Aria: Madamina, il catalogo e questo..
Scene 3
32:54 XIII. Coro: Giovinette che fate all'amore..
34:19 XIV. Recitativo: Manco male, è partita
36:17 XV. Aria: Ho capito, signor si
37:56 XVI. Recitativo: Alfin siam liberati..
39:41 XVII. Duetto: La ci darem la mano..
43:13 XVIII. Recitativo: Fermati, scellerato!
43:53 XIX. Aria: Ah, fuggi il traditor!
44:57 XX. Recitativo: Mi par choggi il demonio..
46:04 XXI. Quartetto: Non ti fidar, o misera..
50:43 XXII. Recitativo: Don Ottavio, son morta!
54:19 XXIII. Aria: Or sai chi 'onore..
57:40 XXIV. Recitativo: Come mai creder deggio..
58;12 XXV. Aria: Dalla sua pace..
1:02:31 XXVI. Recitativo: lo leggio ad ogni patto..
1:04:02 XXVII. Aria: Finch'han dal vino..
Scene 4
1:05:22 XXVIII. Recitativo: Masetto, senti un po..
1:06:28 XXIX. Aria: Batti, batti, o bel Masetto..
1:10:23 XXX. Recitativo: Guarda un po..
1:10:55 XXXI. Finale: Presto, presto, pria ch'ei venga..
1:15:28 XXXII. Bisogna aver coraggio..
Scene 5
1:20:27 XXXIII. Riposate, vezzose ragazze
Act 2, Scene 1
1:30:07 XXXIV. Duetto: Eh via, buffone, non mi seccar!
1:31:14 XXXV. Recitativo: Leporello!... Signore?
1:33:02 XXXVI. Trio: Ah taci, ingiusto core!
1:38:01 XXXVII. Recitativo: Amico, che ti par?
1:39:59 XXXVIII. Serenata: Deh vieni alla finestra..
1:41:38 XXXIX. Recitativo: V'è gente alla finestra..
1:42:50 XL. Aria: Metà di voi qua vadano..
1:45:51 XLI. Recitativo: Zitto, lascia ch'io senta!
1:47:40 XLII. Aria: Vedrai, carino..
Scene 2
1:51:32 XLIII. Recitativo: Di molte faci il lume..
1:51:58 XLIV. Sestetto: Sola, sola in buio loco..
1:59:46 XLV. Recitativo: Dunque quello sei tu..
2:00:05 XLVI. Aria: Ah, pietà! signori miei!
2:01:50 XLVII. Recitativo: Ferma, perfido, ferma!
2:02:32 XLVIII. Aria: Il mio tesoro..
2:07:03 XLIX. Recitativo: In quali eccessi..
2:09:42 L. Aria: Mi tradi, quell'alma ingrata..
Scene 3
2:13:54 LI. Scena: Ah, ah, ah, questa e buona..
2:17:37 LII. Duetto: O statua gentilissima..
Scene 4
2:21:12 LIII. Recitativo: Calmatevi, idol mio!
2:22:10 LIV. Recitativo: Crudele? Ah no, mio bene!
2:24:11 LV. Aria: Non mi dir, bell'idol mio..
Scene 5
2:29:37 LVI. Finale: Già la mensa è preparata
2:33:20 LVII. Questa poi la conosco purtroppo
2:36:58 LVIII. Che grido è questo mai?
2:38:17 LIX. Don Giovanni a cenar teco..
2:45:47 LX. Epilogo: Ah, dove il perfido?
2:47:29 LXI. Or che tutti, o mio tesoro..
2:50:06 LXII. Questo è il fin di chi fa mal
Don Giovanni: John Brownlee
Donna Anna: Ina Souez
Donna Elvira: Luise Helletsgruber
Leporello: Salvatore Baccaloni
Don Ottavio: Koloman von Pataky
Commendatore: David Franklin
Zerlina: Audrey Mildmay
Maseto: Roy Henderson
Glyndebourne Festival Chorus & Orchestra
Conductor: Fritz Busch
Recorded in 1936, at Glyndebourne
New mastering in 2023 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : https://spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) https://www.patreon.com/cmrr // https://en.tipeee.com/cmrr
This was not Mozart's first dramma giocoso (literally "joyful drama") when he composed Don Giovanni: the young Viennese composer had already proved himself in this operatic genre with La Finta giardiniera (1774). Nevertheless, the strength of Da Ponte's drama, thanks to the famous myth of Don Giovanni, enabled him to reach a new peak in his operatic work. The sources used to compose a new plot on this emblematic figure of the libertine are varied, ranging from Molière (Dom Juan or the Stone Feast) to the libretto of Da Ponte's rival, Giovanni Bertati (Don Giovanni tenorio). The dramma giocoso brings together tragic action (the murder of the Commander) and comic misunderstanding, and thus allows the boundaries of the traditional operas seria and buffa to be crossed with humour tinged with a touch of cynicism. However, Don Giovanni is not limited to satirizing the moral value of the characters (including the eponymous hero), since the nobles are mocked by Don Giovanni and his jester valet as much as the peasants. Through the arias of the female characters, Mozart depicts a unique psychological evolution, whether in the nobles Anna and Elvira or in the peasant Zerline: women assaulted, deceived or manipulated, all three look back on their past actions and invite reflection on the inconstancy of love.
Mozart's tour de force lies as much in the prominence of the psychological portraits as in the great dramatic twists and turns that make up the half-tone plot of Don Giovanni. The ensembles offer a constantly renewed musical and dramatic progression, whether in the Trio of Masks in Act I ("Protegga il giusto cielo") which opens the final scene of the act, or in the sextet of Act II ("Solo in buio loco") in which the characters pursuing Don Giovanni expose Leporello's deception. Mozart also demonstrates his genius through orchestral writing that is both powerful and subtle, as evidenced by the spectacular opening of the opera with the Commander's theme, the harmonic audacity of the Act II Finale, and the ball scene that closes Act I. The orchestra is divided into three (with musicians on stage) and superimposes three dances of different meter to illustrate the presence of different social classes through the minuet, a noble dance for Donna Anna and Don Ottavio, the counter-dance in which Don Giovanni drags Zerlina and the allemande where Leporello forces Masetto to dance.
By combining the tragic drama of the opera seria with the punchy humour of the opera buffa, Don Giovanni gives its letters of nobility to the genre of the dramma giocoso, to which Da Ponte and Mozart will return with Così fan tutte (1790) https://youtu.be/bXUuV6LHxHM.
Wolfgang Amadeus Mozart PLAYLIST (reference recordings): https://www.youtube.com/watch?v=gIgg_QUVV04&list=PL3UZpQL9LIxMe6H3Sfn2lvPVFzrvhhPO7&index=19&t=263s
Classical Music/ /Reference Recording
Wolfgang Amadeus Mozart (1756-1791) Don Giovanni by Fritz Busch
🎧 Qobuz https://bit.ly/3BAT7gL Apple Music https://apple.co/41HHLlO
🎧 Amazon Music https://amzn.to/3Mf83Gn Tidal https://bit.ly/3OgAM09
🎧 Deezer https://bit.ly/45cvQ2b Spotify https://spoti.fi/3pHW7oU
🎧 SoundCloud -- Youtube Music https://bit.ly/3BCStzj
🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本...
Don Giovanni, K. 527
Act 1, Scene 1
00:00 I. Overture
06:15 II. Introduzione: Notte e giorno faticar..
07:59 III. Non sperar, se non muccidi
09:21 IV. Lasciala, indegno!
10:25 V. Ah, soccorso!
11:44 VI. Recitativo: Leporello, ove sei?
12:12 VII. Recitativo: Ah del padre in periglio..
15:59 VIII. Duetto: Fuggi, crudele, fuggi
Scene 2
20:04 IX. Recitativo: Orsù, spicciati presto..
21:22 X. Aria: Ah, chi mi dice mai
24:43 XI. Recitativo: Chi è là?
27:07 XII. Aria: Madamina, il catalogo e questo..
Scene 3
32:54 XIII. Coro: Giovinette che fate all'amore..
34:19 XIV. Recitativo: Manco male, è partita
36:17 XV. Aria: Ho capito, signor si
37:56 XVI. Recitativo: Alfin siam liberati..
39:41 XVII. Duetto: La ci darem la mano..
43:13 XVIII. Recitativo: Fermati, scellerato!
43:53 XIX. Aria: Ah, fuggi il traditor!
44:57 XX. Recitativo: Mi par choggi il demonio..
46:04 XXI. Quartetto: Non ti fidar, o misera..
50:43 XXII. Recitativo: Don Ottavio, son morta!
54:19 XXIII. Aria: Or sai chi 'onore..
57:40 XXIV. Recitativo: Come mai creder deggio..
58;12 XXV. Aria: Dalla sua pace..
1:02:31 XXVI. Recitativo: lo leggio ad ogni patto..
1:04:02 XXVII. Aria: Finch'han dal vino..
Scene 4
1:05:22 XXVIII. Recitativo: Masetto, senti un po..
1:06:28 XXIX. Aria: Batti, batti, o bel Masetto..
1:10:23 XXX. Recitativo: Guarda un po..
1:10:55 XXXI. Finale: Presto, presto, pria ch'ei venga..
1:15:28 XXXII. Bisogna aver coraggio..
Scene 5
1:20:27 XXXIII. Riposate, vezzose ragazze
Act 2, Scene 1
1:30:07 XXXIV. Duetto: Eh via, buffone, non mi seccar!
1:31:14 XXXV. Recitativo: Leporello!... Signore?
1:33:02 XXXVI. Trio: Ah taci, ingiusto core!
1:38:01 XXXVII. Recitativo: Amico, che ti par?
1:39:59 XXXVIII. Serenata: Deh vieni alla finestra..
1:41:38 XXXIX. Recitativo: V'è gente alla finestra..
1:42:50 XL. Aria: Metà di voi qua vadano..
1:45:51 XLI. Recitativo: Zitto, lascia ch'io senta!
1:47:40 XLII. Aria: Vedrai, carino..
Scene 2
1:51:32 XLIII. Recitativo: Di molte faci il lume..
1:51:58 XLIV. Sestetto: Sola, sola in buio loco..
1:59:46 XLV. Recitativo: Dunque quello sei tu..
2:00:05 XLVI. Aria: Ah, pietà! signori miei!
2:01:50 XLVII. Recitativo: Ferma, perfido, ferma!
2:02:32 XLVIII. Aria: Il mio tesoro..
2:07:03 XLIX. Recitativo: In quali eccessi..
2:09:42 L. Aria: Mi tradi, quell'alma ingrata..
Scene 3
2:13:54 LI. Scena: Ah, ah, ah, questa e buona..
2:17:37 LII. Duetto: O statua gentilissima..
Scene 4
2:21:12 LIII. Recitativo: Calmatevi, idol mio!
2:22:10 LIV. Recitativo: Crudele? Ah no, mio bene!
2:24:11 LV. Aria: Non mi dir, bell'idol mio..
Scene 5
2:29:37 LVI. Finale: Già la mensa è preparata
2:33:20 LVII. Questa poi la conosco purtroppo
2:36:58 LVIII. Che grido è questo mai?
2:38:17 LIX. Don Giovanni a cenar teco..
2:45:47 LX. Epilogo: Ah, dove il perfido?
2:47:29 LXI. Or che tutti, o mio tesoro..
2:50:06 LXII. Questo è il fin di chi fa mal
Don Giovanni: John Brownlee
Donna Anna: Ina Souez
Donna Elvira: Luise Helletsgruber
Leporello: Salvatore Baccaloni
Don Ottavio: Koloman von Pataky
Commendatore: David Franklin
Zerlina: Audrey Mildmay
Maseto: Roy Henderson
Glyndebourne Festival Chorus & Orchestra
Conductor: Fritz Busch
Recorded in 1936, at Glyndebourne
New mastering in 2023 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : https://spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : https://bit.ly/370zcMg
❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page.
Thank you :) https://www.patreon.com/cmrr // https://en.tipeee.com/cmrr
This was not Mozart's first dramma giocoso (literally "joyful drama") when he composed Don Giovanni: the young Viennese composer had already proved himself in this operatic genre with La Finta giardiniera (1774). Nevertheless, the strength of Da Ponte's drama, thanks to the famous myth of Don Giovanni, enabled him to reach a new peak in his operatic work. The sources used to compose a new plot on this emblematic figure of the libertine are varied, ranging from Molière (Dom Juan or the Stone Feast) to the libretto of Da Ponte's rival, Giovanni Bertati (Don Giovanni tenorio). The dramma giocoso brings together tragic action (the murder of the Commander) and comic misunderstanding, and thus allows the boundaries of the traditional operas seria and buffa to be crossed with humour tinged with a touch of cynicism. However, Don Giovanni is not limited to satirizing the moral value of the characters (including the eponymous hero), since the nobles are mocked by Don Giovanni and his jester valet as much as the peasants. Through the arias of the female characters, Mozart depicts a unique psychological evolution, whether in the nobles Anna and Elvira or in the peasant Zerline: women assaulted, deceived or manipulated, all three look back on their past actions and invite reflection on the inconstancy of love.
Mozart's tour de force lies as much in the prominence of the psychological portraits as in the great dramatic twists and turns that make up the half-tone plot of Don Giovanni. The ensembles offer a constantly renewed musical and dramatic progression, whether in the Trio of Masks in Act I ("Protegga il giusto cielo") which opens the final scene of the act, or in the sextet of Act II ("Solo in buio loco") in which the characters pursuing Don Giovanni expose Leporello's deception. Mozart also demonstrates his genius through orchestral writing that is both powerful and subtle, as evidenced by the spectacular opening of the opera with the Commander's theme, the harmonic audacity of the Act II Finale, and the ball scene that closes Act I. The orchestra is divided into three (with musicians on stage) and superimposes three dances of different meter to illustrate the presence of different social classes through the minuet, a noble dance for Donna Anna and Don Ottavio, the counter-dance in which Don Giovanni drags Zerlina and the allemande where Leporello forces Masetto to dance.
By combining the tragic drama of the opera seria with the punchy humour of the opera buffa, Don Giovanni gives its letters of nobility to the genre of the dramma giocoso, to which Da Ponte and Mozart will return with Così fan tutte (1790) https://youtu.be/bXUuV6LHxHM.
Wolfgang Amadeus Mozart PLAYLIST (reference recordings): https://www.youtube.com/watch?v=gIgg_QUVV04&list=PL3UZpQL9LIxMe6H3Sfn2lvPVFzrvhhPO7&index=19&t=263s
Andre Oliveira
The greatest of all operas. Timeless masterpiece.
Lyle Waller
Oh, no! PDQ Bach's ”The Abduction of Figaro" is the best!
michel d'oliveyra
The greatest indeed, with maybe the best Leporello ever.
Classical Music/ /Reference Recording
This was not Mozart's first dramma giocoso (literally "joyful drama") when he composed Don Giovanni: the young Viennese composer had already proved himself in this operatic genre with La Finta giardiniera (1774). Nevertheless, the strength of Da Ponte's drama, thanks to the famous myth of Don Giovanni, enabled him to reach a new peak in his operatic work. The sources used to compose a new plot on this emblematic figure of the libertine are varied, ranging from Molière (Dom Juan or the Stone Feast) to the libretto of Da Ponte's rival, Giovanni Bertati (Don Giovanni tenorio). The dramma giocoso brings together tragic action (the murder of the Commander) and comic misunderstanding, and thus allows the boundaries of the traditional operas seria and buffa to be crossed with humour tinged with a touch of cynicism. However, Don Giovanni is not limited to satirizing the moral value of the characters (including the eponymous hero), since the nobles are mocked by Don Giovanni and his jester valet as much as the peasants. Through the arias of the female characters, Mozart depicts a unique psychological evolution, whether in the nobles Anna and Elvira or in the peasant Zerline: women assaulted, deceived or manipulated, all three look back on their past actions and invite reflection on the inconstancy of love.
Mozart's tour de force lies as much in the prominence of the psychological portraits as in the great dramatic twists and turns that make up the half-tone plot of Don Giovanni. The ensembles offer a constantly renewed musical and dramatic progression, whether in the Trio of Masks in Act I ("Protegga il giusto cielo") which opens the final scene of the act, or in the sextet of Act II ("Solo in buio loco") in which the characters pursuing Don Giovanni expose Leporello's deception. Mozart also demonstrates his genius through orchestral writing that is both powerful and subtle, as evidenced by the spectacular opening of the opera with the Commander's theme, the harmonic audacity of the Act II Finale, and the ball scene that closes Act I. The orchestra is divided into three (with musicians on stage) and superimposes three dances of different meter to illustrate the presence of different social classes through the minuet, a noble dance for Donna Anna and Don Ottavio, the counter-dance in which Don Giovanni drags Zerlina and the allemande where Leporello forces Masetto to dance.
By combining the tragic drama of the opera seria with the punchy humour of the opera buffa, Don Giovanni gives its letters of nobility to the genre of the dramma giocoso, to which Da Ponte and Mozart will return with Così fan tutte (1790) https://youtu.be/bXUuV6LHxHM.
birjanka
Прекрасно! Спасибо! Ich liebe Mozart sehr.
Татьяна Пономарева
Из окна на даче вижу озеро и сосны с берёзами в руках бокал сухого вина мне на днях было 76 эта чудесная музыка несмотря на мировую печаль жить здорово порадуйтесь вместе со мной мира нам
RhoneGlacier
Ето вздор.
birjanka
Мои поздравления!
Здоровья Вам и, конечно, мира! И пусть эта красота - Моцарт, солнце, озеро, сосны присутствуют в Вашей жизни еще долго-долго!
Dejan Stevanic
Wow! The best. Thank you so much... the sound is remarkable.