© Anthony Kearns, March 17, 2002-2011, All Rights Reserved, All Copyright Laws Apply...lynnco.lc
Il dissoluto punito, ossia il Don Giovanni
The Rake Punished
An opera in two acts
Music: Wolfgang Amadeus Mozart
Italian libretto: Lorenzo Da Ponte
First performed in Prague’s Estates Theatre on October 29, 1787
It is interesting to note that Mozart himself conducted the opera’s orchestra in Prague. The city was euphoric over the production, praising the genius of the composer, who became the darling of Prague’s cultural elite. Mozart also supervised the Vienna production, composing a few new pieces for the occasion, but Vienna was not quite as appreciative. Perhaps that is why Mozart tarried awhile in Prague, where he was held in the highest, most honored esteem.
Of Mozart’s greatest opera, Gounod waxed gloriously poetic about the brilliance of Don Giovanni, calling it “…an unequalled and immortal masterpiece …. I regard it as a work without blemish, of uninterrupted perfection.” Tchaikovsky revered Don Giovanni as one of the finest operas ever written and considered Mozart a never-to-be-equaled genius.
Mozart classified his Don Giovanni as an opera buffa: translation comic opera. The genre is generally two acts filled with comic scenes and characters … common people with common problems, upper classes singing in interaction with the peasants … all aimed at tickling the fancy of the common man.
Opera buffa suggests an evening of fun, as opposed to a rather serious and heavy night of drama. This lighter side of opera came into fashion in the mid 1700s, the productions of which are still among the favorites of all operatic performances … with Don Giovanni ranking in the top 10 most performed operas in America.
Don Giovanni is, indeed, highly humerous; it is an intriguing mix of comedy and operatic melodrama, with a generous dose of the supernatural thrown in for good measure. It contains uproarious hijinx, rock ‘em sock ‘em brawls, raw sexuality, licivious schemes, narcisism, romance and nonsense: in short – a rollicking good show! In fact, there are so many entrances, exits, escapes, shrieks and sneaks, it rather puts me in mind of The Marx Brothers!
Don Giovanni has so many notches upon his belt that the list takes up an entire aria -- “640 in Italy, 231 in Germany, 100 in France, 91 in Turkey, and 1,003 in Spain” – Ah, every man’s dream – so many women, so little time. He is the quintessential licentious lothario, a libertine with just enough charm that by opera’s end, the scoundrel actually has the audience slightly saddened to see him get his just, and well earned, desserts! It is a testament to the brilliant combination of composer and librettist, that this comic tragedy creates such a contradiction of emotions in its observers.
As observed by Patrick Healy: "The role of Don Ottavio will well suit Anthony's voice. The very difficult scale passages in his aria Il Mio Tesoro will present no problem whatsoever; he will meet all the vocal demands quite easily. The part itself is not as dramatic as Don Jose in Carmen, but Mozart's exquisite music, both in ensemble and in the Arias and duets, will more than compensate for a less dramatic part. The story in Don Giovanni is full of dramatic situations, and without doubt the music of Don Ottavio will reveal the beauty and refinement of Anthony's singing in true Mozartian style."*
Synopsis: In Saville ~
Act I:
The garden of the Commendatore …
Don Giovanni’s servant, Leporello, stands guard yet again as his employer attempts another seduction – this time the lovely young Donna Anna, the Commendatore’s daughter. A scream indicates that he’s not having much luck, and in fact is chased from the house. As Donna Anna flees in fear, Don G is challenged by Anna’s father. Result: the Don kills the father.
Anna returns with her betrothed, Don Ottavio, to find her father dead. The couple plan revenge in the duet: Ah, vendicar, se il puoi, giura quel sangue ognor! - Ah, swear to avenge this blood!
Next scene: In a public square …
Donna Elvira describes a lothario who has seduced then dumped her. (Guess who!?) Giovanni cannot help himself: he flirts with her before recognizing her, then beats a hasty retreat as Leoporello sings to her the comic catalogue of Don Giovanni’s conquests (Madamina, il catalogo è questo – My little lady, this is the catalogue). Elvira, naturally, vows vengance upon the reprobate Don Giovanni! (She should take a number!)
Onward …
A marriage will soon take place between Masetto and Zerlina. But of course before it can happen, Don G is attracted to Zerlina. (The man has great energy!) He dispatches the long suffering Leporello to get Masetto out of the way. The two will plan a “wedding celebration” to give Giovanni time to move in on Zerlina. BUT the good Elvira enters to rescue the unsuspecting and gullable Zerlina from the Don’s clutches.
To further complicate matters, Don Ottavio and Donna Anna enter ~ they foolishly discuss the situation with Don Giovanni hoping for his assistance. He, naturally, agrees to help, then leaves the scene. But wait: Anna suddenly recognizes him as her father’s murderer! Ottavio is not convinced Don G is their man, but to stay on Anna’s good side, he agrees to join her in searching out Giovanni and exacting vengeance. (Or sai chi l'onore – He is the one who tried to rob me of my honour.) Ottavio resolves to keep an eye on DG. (Dalla sua pace – On her peace my peace depends!)
Later, at his home …
Don Giovanni is drinking champagne as he plots to continue his seduction of Zerlina at the party this night. (Giovanni's "Champagne Aria": Fin ch'han dal vino – Finally, with the wine.) Guests have arrived and he goes in search of the lovely Z, who at that moment is attempting to convince her groom of her fidelity. Masetto distrusts her and as he hears Giovanni approach, hides to observe her reaction to him. She is, of course, flustered at Giovanni’s presence. Masetto senses her nervousness and confronts the man. Giovanni deludes him, then leads them to the celebration in his grand ballroom.
Three masked guests arrive: Ottavio and Anna, accompanied by the very determined Elvira. AH - another plan: catch the dastardly swine with his hands in the honey pot.
The Grand Ballroom …
Giovanni’s loyal, yet increasingly disenchanated retainer, Leporello, is dispatched to keep Masetto entertained so Don Giovanni can entice Zerlina to privacy. Zerlina screams for help. To protect himself and fool the crowd, Don G dashes into the room dragging Leporello with him. The twisted devil accuses Leporello of seducing Zerlina! (He has NO shame!)
The masked trio, meanwhile, reveal themselves, convincing the guests of Don Giovanni’s long list of offences. The crowd attacks Giovanni, but he manages to escape once again into the night.
Act 2:
Elvira’s house …
Don Giovanni’s servant is ready to quit! Giovanni ensures his loyalty with a pouch of money. The fool agrees to exchange hat and cloak with the Don so he (DG) can seduce Elvira’s maid. The plan: Leporello will charm Elvira off her balcony and out of the way, as the Don, in servant’s clothes, makes the maid.
The situation deteriorates as Masetto and a band of peasants arrive to kill the Don. DG, still disguised as a servant, joins the hunt! He sends the troops off in several directions, leaving him alone with Masetto, whereupon Giovanni beats him badly and dashes away. Zerlina finds her Masetto and comforts and cares for him as the scene changes.
A dark courtyard …
Anna, Ottavio, Masetto, and Zerlina find Leporello with Elivra. The servant is still in Giovanni’s clothing, so all assume they have captured the villan. As Leporello removes the cape and hat to reveal his true identity, he begs forgiveness and escapes into the shadows.
Considering all that has happened – it has been an enlightening few days – Don Ottavio decides that Giovanni is, in fact, the murderer they seek. (Il mio tesoro – My treasure.) Again vengeance is sworn.
A local graveyard …
Giovanni and Leporello are sitting near the stone statue of The Commendatore, Anna’s father. They are lamenting their near escapes. Don G laughs at their various escapades when suddenly they hear a deep voice: Your last laugh comes by dawn, it warns. The servant is terrified, reading the inscription at the base of the statue: “I’m waiting for revenge against my murderer.” Giovanni is unconcerned and invites the statue to dinner … the statue graciously accepts with a nod of his head.
Meanwhile …
Don Ottavio is trying to convince Anna they should wed – but she holds out. It is too soon after her father’s death, after all, and his murderer is still free.
Giovanni’s palace …
Giovanni is enjoying his meal and the entertainment of a small orchestra playing the popular tunes of the day. (Interestingly, here the orchestra includes music from one of Mozart’s other operas, The Marriage of Figaro – very clever dude, that Mozart!)
Elvira appears to beg Don G to change his dreadful ways – she still loves him. Giovanni can’t be bothered: he laughs -- she leaves.
But wait: is that Elvira’s scream? He sends his servant to discover what is bothering the blasted woman now. Leporello's scream is louder yet!
Giovanni goes to investigate only to find his dinner guest, wearing his best marble, at the door. “I am here,” says the statue. (Don Giovanni! a cenar teco m'invitasti – Don Giovanni! You invited me to your dinner.) Giovanni takes its hand and a chill invades him. The Commadetore invites the villain to repent; Giovanni refuses – thrice. “Your time is UP” cries the statue. Flames surround the Don and the statue as they sink slowly to hell.
Anna, Ottavio, Elvira, Zerlina, and Masetto arrive only to find Leporello hiding from the terrible scene he has witnessed. He describes it to the shocked gathering. The group is stunned!
They all ponder their lives: Ottavio wants Anna – Anna wants her freedom for another year – Elvira is done with men and will join a convent – Masetto and Zerlina, relieved, go out to dinner – and Leporello vows to seek a less troublesome, lower-libido’d employer at the local tavern.
The gathering sings the moral of the story: "Such is the end of the evildoer: the death of a sinner always reflects his life" (Questo è il fin) … The naughty shall be punished!
~ FINIS ~
*NOTE: I extend my gratitude to Patrick Healy for his edit, and for his insight into Anthony's role ... webmaster
