Don Giovanni

Question 1

Don Giovanni basic info

Answer 1

1787
opera buffa
two acts
Don Juan myth

Question 2

Don Giovanni Vienna

Answer 2

revised in 1790 and Donna Elvira was taken from seconda donna to prima donna

Question 3

Don Giovanni

Answer 3

BARITONE
young and licentious nobleman
anti-hero
charming but scummy

Question 4

Commendatore

Answer 4

BASS
killed by Don Giovanni in the first act
the father of Donna Anna and a powerful man
dies in the first act and re-appears at the end to get revenge

Question 5

Donna Anna

Answer 5

SOPRANO
Commendatore’s daughter
betrothed to Don Ottavio
victim of DG

Question 6

Don Ottavio

Answer 6

TENOR
betrothed to Sonna Anna
swears to avenge her

Question 7

Donna Elvira

Answer 7

SOPRANO (lyric)
lady from Burgos
abandoned by DG
victim
complex
love and revenge

Question 8

Leporello

Answer 8

BASS
DG servant
loyal to DG and complicit but also a victim
likeable

Question 9

Masetto

Answer 9

BASS
peasant betrothed to Zerlina
sweet but dim

Question 10

Zerlina

Answer 10

SOPRANO
peasant girl betrothed to Masetto
prayed upon by DG

Question 11

Act I highlights/lowlights

Answer 11

Leporello keeps watch while DG seduces DA
Commendatore overhears and challenges DG to fight, C ends up dead
DO swears to avenge
DG and L come across distressed woman and maid
DE sings about how DG abandoned her
At Zerlina’s wedding DG tries to take her
DG orders L to make up party for Z and M and guests
DA, DO, DE attend and unmask to accuse DG of his crimes

Question 12

ACT II highlights/lowlights

Answer 12

DG and L swap identities
M looking for DG who beats him up, Z consoles him
DA, DO, Z and M find L disguised as DG
L escapes
DG and L swap back
Statue appears
Gives DG ultimatum and DG resists
DO, DA, DE, Z, M and L take revenge.
DG dies

Question 13

No.2 Ma qual mai s’offre (DA and DO)

Answer 13

Donna Anna and Don Ottavio come in to see her father the commendatore’s death, and Donna Anna makes Ottavio swear to avenge her father’s death. Fast moving strings at the beginning show anguish, DA recit accompanied by nearly full strings and woodwind before duet begins. As DO swears to avenge DA’s father people come onstage to clear up after the fight.
Don Ottavio is the only tenor, who is usually the hero. In this opera however he is someone who loses. Here he comes in too late, and throughout the opera he does what he is told to by Donna Anna.

Question 14

No.3 - ah chi mi dice mai (DE, DG, L)

Answer 14

Donna Elvira rages of the betrayal she’s felt from a scoundrel who seduced and then deserted her. DG sees this as a prospect of another conquest and goes over to comfort her, but then she recognises him as the man who abandoned her. Sees herself as victim of DG exploits, Leporello comments on the conversation. Leporello talking to DE to distract from DG leaving.
Donna Elvira is a very self-confident and noble woman. This aria is set in a very colourful way, the instruments passing round musical motifs. It’s a very flowing aria and demands a lot from the singer.
Stabbing sounding sfortsandos and flurries from the orchestra accompanying Donna Elvira, full of anger and rage.
Don Giovanni comes in singing at the end of Donna Elvina’s very impressive ending which doesn’t allow the audience to ooi9oapplaud and continuing the narrative.
Not a static aria or quiet moment of reflection – still giving her feelings.
Seria style aria (she is Donna and so high society) – more elevated musical style.
Orchestra with her but perhaps not taking her seriously – musical exclamation marks may be serious but going overboard.
Interjections from DG reminding that the story is about him and undermines and mocks DE.
Mozart goes through text twice 1-2-1-2

Question 15

No.4 Madamina! (Leporello)

Answer 15

Leporello tells Donna Elvira in this aria a list of all the women that Don Giovanni has courted, showing her that he is not the marrying type. He says in total he has courted 2065 women. This comes across comic to the audience, but really shows Giovanni not only as a man but rather a demon serial seducer of women and someone who can get what he wants. He quickly departs at the end and leaves Donna Elvira even more angry and on the path for revenge.
Mozart shows the way DG possesses the three women in this opera by having Leporello sing here in the style of which ever one is with at that moment. He also scores the words into the music, using shorter notes to portray smaller women, and longer note values to depict women of more grandeur. Not a very lyrical aria overall, one with lots of text though.
Reels it off – almost as if he has given the story before.
Tempo change in the middle?
Leporello sense of morality?
This is a catalogue aria – comic patter feature of opera buffa.

Question 16

No.7 - La ci darem la mano (DG, Z)

Answer 16

In the recit DG coming onto Zerlina calling her ‘my love’ – she reminds him who her husband is, DG emphasising her beauty. Zerlina says noble men often cheat on women.
Here Giovanni and Zerlina have alternate verses, but as Don Giovanni’s conquest goes on the two blend together into harmony, the music reflecting emotional unity. In this duet DG promises to marry Zerlina who agrees.
This is the first time that we see DG’s attempts of seduction. A very languidly sung melody, and he lies to her about marriage and wealth. Mozart adapts musically to the peasant environment and composes a very simple melody for DG. Zerlina is torn but through the music Mozart shows her being seduced, as he lets her repeats everything DG sings until they sing the melody together at the end. Super simple melody but very lyrical.

Question 17

No.8 - Ah fuggi (DE)

Answer 17

This is a short piece, and odd as its composed in an outdated baroque style. Dotted rhythms and in ¾ like a French dance lots of hemiolas etc.
DE warns Zerlina of DG’s ways and to let her own situation serve as a warning to her.

Question 18

No.10b (new for Vienna 1788) Don Ottavio

Answer 18

Now left alone he reflects on his love for Donna Anna
This aria has sparing orchestration and an overall high pitch. It requires a beautiful legato from the singer throughout. Very lyrical and sincere and overall a high aria to sing. Orchestra’s orchestration and articulation adds to his longing and emphasises the intent – very Ernest.

Question 18

No.9 - non ti fidar, o misera (DE, DA, DO, DG)

Answer 18

Donna Anna comes in with Ottavio and doesn’t realise that Don Giovanni is the one who killed her father. She tries to enlist his help to avenge her father, but Elvira returns and tries to tell them what sort of man he really is. Giovanni tells them that she is mad and takes her away.
Donna Anna and Don Ottavio sing together, very lyrical. DG sings also in a higher style to convince them that Donna Elvira is mad. Lots of it has DG Donna Anna and Don Ottavio singing together opposing Donna Elvira.
DG recit at end as he leaves says he will wait in his house if they need anything.

Question 19

No.12 Batti batti - Zerlina

Answer 19

Here Zerlina is begging for forgiveness form Masetto who has accused her of being unfaithful. She urges him if he wants he can beat her, as long as they end up together.
This is a beautiful love song, where Zerlina has Masetto wrapped around her finger. In the music there are teasing moments, trills and a solo cello which plays with the singer’s voice throughout this aria. Semiquavers in middle string parts throughout, very flowing easy and pleasant.

Question 20

No.13 ACT I FINALE

Answer 20

Masetto relents, but they hear DG approaching, and Zerlina becomes agitated and Masetto suspicious again, so he hides to watch them interact. Masetto jumps out of the foliage as DG tries to bring Zerlina to the place where he is hiding. DG lies saying that they were looking for him and invites them to join in the castle for the party.
Once they have left three masked figures enter the garden: Donna Anna, Don Ottavio, and Donna Elvira, and they are determined to expose DG to everyone there. DG and Leporello see them from the balcony, not recognising them, and invite them to the party too.
The ‘terzetto of the three masks’ is a sublime and lyrical bit of music where the three ask heaven for help. It’s orchestrated only for wind instruments, something Mozart does to show pureness (?) like clarinets.
DG and Leporello enter as the party is beginning. Masetto and Zerlina enter as Masetto warns Zerlina to be careful.
The masked guests enter (DA, DE and DO) they all sing in homophony thanking DG for hospitality.
There is a dance scene too with an onstage orchestra, and there are three dances played simultaneously in three different times. Orch 1 plays a ¾ minuet for the aristocratic trio, the second dance in 2/4 for DG and Zerlina (who has been taken by DG), and the third in 3/8 for the peasants.
ballroom dancing
DG tries to get Z
DO, DA and DE unmask

Question 21

No.19 sextet sola sola

Answer 21

Long andante section that builds and gets darker.
Starts in Eb with D major DO transition.
Mostly through-composed.
Finish in G major on C minor chord.
Stretta to finish – same thing happens in the finale where a groundbreaking thing happens and then suddenly a stretta.
Motif of things suddenly happening.
Functions in some ways like mini-finale: starts with duet, then more characters enter before all six are onstage. Growth.
Platoff – active and expressive cycles.
Dotted sigh motif in orchestra permeates a lot of it – descending chromatic as weeping. Sextet as DE vs others. She shows compassion for someone who treats her badly and orchestra mocks her with the crying motif in violins. Starts as only accompanying DE then moves to the other characters before taking over the texture of the ensemble. The rhythmic pattern of this motif is then maintained until the end of the section. This is lost with the stretta and into another section.
Tripartite in libretto – only set in two sections.
Argument that Mozart saw change of poetic metre and treats as interruption not change in number.
Zerlina and Masetto not presenting their own problems – lower characters.
Left dramatically where you started, if final scene is cut this is resolution for some?

Question 22

No.23 non mi dir Donna Anna

Answer 22

Donna Anna confirms her love to Don Ottavio tenderly, but says that their marriage must wait until her father’s death has been avenged.
Dramatically this aria is not necessary. The orchestra begins with the supernatural theme just heard, and Donna Anna then repeats it. It takes on an almost ecclesiastical prayer like character. The chromaticism describes her pain and sorrow.
Reminder of Commandatore – humanises him.
Confirms DA doesn’t need DO?
Reminds of the beginning and the danger of DG.
Rondo aria - marks her as prima donna of the story - high emotional intensiry

Question 23

Platoff (1990) operatic ensembles DG sextet

Answer 23

DG sextet as climax of comic subplot with L’s disguise as DG
Long Andante movement containing lots of dramatic action which then turns into molto allegro of stretta movement. Moves back to comic frenzy.
Key change from end of andante cadence on dominant of C minor to molto allegro in tonic of E flat.
Shift from V /vi to I.
Ensembles made up of active and expressive music and poetry. One advances the drama and the other expressing feeling.
Zerlina and Masetto’s entrance preceded by cadential tutti for Leporello and Elvira then sudden outburst which is treated more as surprise by music than is implied in the text.
Mozart divides into two but DP into three which enhances continuity.

Question 24

Steptoe (1988) DG source

Answer 24

Nature of the audience for which the opera was written and the position of Prague in the late 18th century as potential reasons for why they set this text?
Original – Tirso de Molina El Burlador de Sevilla – Don Juan story. Reduced to clown piece in German speaking world.

Question 25

Steptoe (1988) DG musical form

Answer 25

Less satisfying dramatic structure than Figaro.
Unity of purpose throughout the work.
Elimination of musical numbers which impeded the flow of the story.
Grouping successive musical numbers into broader harmonic units to retain their harmonic structure and identity. overture linking opening theme and duet
Central focus of D (major and minor) in DG.
Key of Bb major employed as a contrast to D minor/major throughout.
Associations between harmony and drama expanded in DG beyond sonata form.
Dramatic climax with the Stone Guest and DG himself.
Zerlina far removed from DA and reflected in musical range.
Elvira mediates between A and Z and appears with both on different occasions.

Question 26

Rusbridger (2008) the internal world of DG

Answer 26

Mozart’s music depicts him as a much emptier character, with phallic narcissism as a way of surviving a psychic catastrophe by projecting his pain onto others.
1787 version later changed for Vienna
Intensity and darkness of statue’s music that begins and almost ends the opera contrasted with sexualised rush of DG.
Guilt as the key to mania – persecutory and depressive.
DG emptiness as a character and his inability to tolerate guilt are connected.
sexual psychopathy in relation to oedipus
Living in the phallus of omnipotent father and has no character of his own - masks to fit whoever he is with
pervasive darkness under beauty

Question 27

hubris

Answer 27

excess of pride
act of defiance of the Gods
outrage
DG provokes the dead by inviting Commendatore to dinner.
divine justice not human justice
nothing more stable than death

Question 28

DG Oedipus triangle

Answer 28

Not related to parents – its displaced to Donna Anna and fatherly figure of Commendatore gets in the way.
Superego
C punishes DG

Question 29

Robinson (1997) the alternative endings

Answer 29

Rushton says modern audiences might find the ending too neat.
Beckerman calls the scene ‘somewhat hollow’.
Evidence that they intended to cut it for Vienna. Was cut for France later
Two endings found to be more or less acceptable at different time periods.
By choosing the less ‘tragic’ solution Da Ponte also chose the less dramatic one.
How the others will resolve their stories remains unclear without the final scene.
Final scene ending in a presto D major in diatonic style with trills and semiquavers induce many to interpret as one more expression of joyous comic endings.
Dido factor – ambiguity of feeling that may result when the wrong person acquires tragic status and sympathy by suffering horrific death onstage.

Question 30

Till (1991)

Answer 30

Enlightenment liberating people from the fear of death which had given the church power over Christians.
SInger - human fear of death not damnation?
Enlightenment rationalising the supernatural and believing in just universe.
Don Juan popular buffoon by this point
sensualist not seducer - women as objects of consumption to him
attempted seduction of those about to marry
bourgeois libertarian - quest for liberty but disintegration at fulfilment, materialist pleasure
Damnation of DG both real to the extent that the Enlightenment recognized the importance of a belief in the avenging powers of God and not real in the extent that Mozart and Enlightenment thinkers considered themselves personally exempt from the need for such beliefs.
Institutions of church and state not in the opera.

Question 31

Don Giovanni end resolution

Answer 31

Resolution hanging on a characters moment of realisation and revelation.
Cherubino not resolved.
Comic character – not there for the plot.
Count no longer a problem for Cherubino in the same way.
All couples still together – his flirting resolved?
Parallels to Leporello and resolution with DG.

Question 32

Ford (2012) Don Giovanni and the stone man

Answer 32

Tonal triangle playing key part to the opera D – D minor – Bb.
Tutti ff chord of G# diminished 7 announces stone man.
Names Giovanni and moves to D minor (last of triangle).
Long period of harmonic instability and chromaticism.
Statue’s chromatic melody underpinned by dissonance.
Giovanni and Leporello’s melodic lines crossing over each other and sharing voice-leading so yes and no become hard to distinguish.
Few motivic relations.

Question 33

To look again (at Don Giovanni) – Alessandra Campana (2009)

Answer 33

Connecting 16th century improvised comedy and 18th century court entertainment and opera buffa, as well as Romantic and later concerns through DG opera.
Don Juan’s seductions as metaphor for theatre itself and the performative force.
Faithful to generic and local opera buffa conventions.
Includes fantastic and supernatural events as well as spectacular ones.
Each production and performance has to establish what is seen and how and what the elements are that reactivate an older work.
Recorded visual records of previous performances.

Question 34

DG end music

Answer 34

long periods of tonal instability and chromaticism arise in the statue scene in which the Commandatore statue materialises and kills Don Giovanni
a tutti diminished seventh chord to announce the presence of the statue which then begins the chromatic melody and continued dissonance for the statue and its interactions
final scene that follows is thus crucial to the opera’s end as the chromatic movement slows and returns to the joyful major key from the beginning, returning the audience to what audience’s would likely have expected

Question 35

no.3 huguet berlin 2022

Answer 35

Donna Elvira expressing her anger by disrupting the set of the dress shop. She is talking to the other characters but in a sense only communicating her internal monologue.
Don Giovanni and Leporello making their interjections from another part of the stage, unseen by her.
When she realises it is him she physically pushes him around.

Question 36

Losey film no.3 huguet

Answer 36

DE wandering round a garden in white with veil.
Leporello and Don Giovanni are on ground level making their interjections whilst she sings from a higher level.
Dressed in period dress.
They are in close proximity to her movements but she doesn’t see them.
The veil over her head obscures the facial expressions she makes.
At the end they are right behind her, she delays turning round to face them.

Question 37

no.4 berlin huguet 2022

Answer 37

Leporello’s catalogue on iPad, reading the list to Donna Elvira who becomes gradually more interested.
Leporello trying to get DE interested, she elicits minimal reaction and is sat on the sofa trying not to acknowledge or look at him.
By the end is more like he is communicating with the audience.
Donna Elvira takes the iPad and seemingly exploring it – it is magnified onto a larger screen the audience can see whilst she examines pictures of women he has on there (seems to be her). She gets more uncomfortable at the photos (become explicit).
Leporello playful in movement – across the sofa falling and rolling.
Pretends to be Don Giovanni seducing a woman at the end until DE pushes him away.

Question 38

Losey film no.4

Answer 38

Leporello and DE go to sit on the steps of the big house, he unveils a huge scroll as the prop for this catalogue.
Seems factual exploration, takes her through the paper which unfolds all the way down the stairs as he continues.
Physical representation of the catalogue enhances comic aspect.
Two servants bringing two further catalogues then appear.
Very formal in setting but the prop makes it more ridiculous.
Leporello continues round the grounds as they still unfold.
Shows Count’s flirting through his own actions with the servant girls on the grounds, stroking their faces as they line up for him.
Camera switches to woman washing (alarmingly young), interaction of staring faces turns Leporello into a creep.
Ends by zooming into Donna Elvira’s face.

Question 39

no.13 huguet berlin 2022

Answer 39

Zerlina and talking flirting, Zerlina trying to get M to feel ok about her and DG. Very physically close, Masetto clearly in control and moves her around with seeming ease. DG then enters with chorus planning party and Zerlina re-emerges.
Z comes across as quite naïve in this production, hides within plain sight.
DG physically manipulates Z but she looks scared, of DG? Of M finding out? DG attempts to lead her away straight into Masetto. Masetto will have none of Z’s physical attraction attempts.
Three in disguise is subtly.
Party is DG showcasing his photography and winning.
Onstage orchestra shown with conductor.
Leporello distracts M with camera as DG takes Z.
Party continues as M becomes more angry and masked singers continue.

Question 40

Losey film no.13

Answer 40

Zerlina and Masetto outside.
Don Giovanni flirting in the kitchen (chorus are in the kitchen but they are seen and heard – not seen singing).
DG and Zerlina physically close – shows she is nearly taken by him until Masetto reveals outrage.
Mask sitch is strange – weird all black costumes and they arrive by boat.
The sublime bit of music for three masked figures highlighted by view of ornate and religious ceiling.
Visible orchestra for the three mased figures.
Don Giovanni and Zerlina and peasants dancing – no seen orchestra.
Party outside.
Crowd gathering to break down door.
Unmask as they sing their line in the trio that follows.
Looking at the masked figures like they are insane?
DG attempts to flee.
Big thunder and lightning crash as DG stands in the doorway to massive house with everyone looking at him.

Question 41

no.19 berlin 2022 huguet

Answer 41

DE smoking alone on chair – she looks rather depressed.
DA and DO appear very much loved up.
Four characters around L won’t let DE close to start with.
L then reveals himself – he is on the floor with all others standing.
Interacting with DE again, all against L instead of her.
They put him in the bin (DE is apart from the rest).

Question 42

no.19 losey film

Answer 42

Inside – maybe basement setting.
DG and L have masks of each other’s faces which are rather alarming.
All characters coming together in front of the ensemble to sing the rest of the sextet?
Paired together: L and DE, DA and DO and Z and M.
DE showing compassion and physical affection for someone she believes to be DG (obvs L).
This pairing are in the middle with the others and chorus watching.
L revelation DE looks outraged.
Functions a bit like finale with everyone onstage.

Question 43

Williams (2006) Don Juan as an Idea

Answer 43

DG not having to bear the weight of the significance that figure of DJ expresses
Later writers of DJ narrative influenced by the opera - forever changing character
Dg presented always in action, no deep insight into character or inner thoughts
‘characterless seducer’ at centre of opera
pursuing women but not the ideal of marriage - liberates them in a way?
DA ponte reminds us that DG is a member of the nobility who deploys rank and money to get what he wants
Count and Figaro belong to the world in which they are presented and this is reflected in their actions but DG exploits his position

Question 44

Buch (2008) the supernatural

Answer 44

19th century commentators seeing DG as heroic character irresitible to women
juxtaposition of comic and terrifying music
emphasis of serious character in DA, DE, DO and contrast to DG
DJ story and abusing privileges of class - attempted rape, flase oaths, blasphemy, abusing marriage, cruel to L, refuses repentence

Question 45

Hunter (2010) nobility in Mozart operas - Don Ottavio

Answer 45

Ottavio as the epitome of enlightened nobility.
not an understood character
comic operas suggest nobility is permanent - no cross-rank marriage
DA and DO friends with DE even after not knowing her becuase of her class
DO more trusting of DG due to high class
noble simplicity of DO