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Don Giovanni
Wolfgang Amadeus Mozart
Pursue the ones you love
Mozart’s ‘Don Juan’ will seduce you and bring you to the depths of hell, as he leads you through his conquests that ultimately end with his spiritual downfall. You have to wonder, why do women always fall for the ‘bad boy?’
Conductor: JOSEPH WALSH
Stage Director: LILLIAN GROAG
Performed in Italian
with English Supertitles
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Study Guides available this August
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Act I: Scene 1 Outside Donna Anna's house at night
Don Giovanni, a noble of Spain, has set forth on a daring adventure and has broken into the house of Don Pedro, the Commandant of Seville, (the Commendatore), intending to seduce his daughter, Donna Anna.
Leporello, Don Giovanni's trusted servant, waits outside, doing sentry duty for his master. Don Giovanni is seen fleeing the palace, pursued by Donna Anna who is desperately trying to unmask the seducer, swearing he will pay dearly for his transgression. After hearing Donna Anna's screams, the Commendatore appears sword in hand to defend his daughter. The Commendatore challenges the stranger, and in reluctant self defense, Giovanni mortally wounds the Commendatore and then flees the scene. Donna Anna, horrified by her father's death, joins with her fiance, Don Ottavio, to swear revenge against the murderer.
Act I: Scene 2 A street at dawn
Don Giovanni and Leporello roam the city in search of new conquests. Donna Elvira is seen alighting from a coach and is heard expressing sadness, hope, and eventually outrage as she laments the treachery of her faithless lover, Don Giovanni. She is determined to find him, force him to return to her, and if she fails, she threatens to inflict terrible torture on him. Don Giovanni, unaware of the woman's identity, approaches the lady in distress, and before he can offer her consolation, finds to his consternation that she is none other than Donna Elvira of Burgos, the woman he had spurned some time ago. Giovanni tries to persuade her that he had justifiable reasons for abandoning her, but Elvira refuses to believe her betrayer nor accept his explanations. Giovanni manages to escape the scene, leaving Leporello to provide Elvira with an explanation.
Act I: Scene 3 In the couutryside near Don Giovanni's palace
Country folk sing, dance, and praise the joys of life and love. Don Giovanni learns of the approaching marriage between Zerlina and Masetto, and generously decides to place the marriage under his "protection." Giovanni has become enamored with Zerlina, envisions her as his next conquest, and invites all the peasants to his castle, including the bridegroom, Masetto. Discretion becomes the better part of valor for the protesting Masetto as Leporello escorts him away.
Alone with Zerlina, Giovanni tries to seduce her with a serenade, surprising her with his suggestion that he would marry her, and then suggests that they go to a little house on the estate where they can be alone. Just as Zerlina is about to surrender to the seductive charms of Don Giovanni, Donna Elvira suddenly appears. With indignation, Elvira seizes Zerlina and leads her away under her protection, warning her that she must defend her honor against the lecherous nobleman.
Don Ottavio and Donna Anna arrive, but Anna does not recognize her assailant from me night before and unwittingly solicits Giovanni's help and friendship. Before Giovanni can ask the reason for her request, Donna Elvira suddenly reappears and proceeds to warn Anna not to have faith in this man who would betray her. Donna Anna and Don Ottavio become moved by Donna Elvira's tears as Giovanni tells them in an aside that the poor woman is mad, and perhaps he can calm her. But Donna Anna and Don Ottavio become confused and do not know whom to believe. Elvira storms away, and Giovanni quickly announces that he must follow the poor unfortunate woman. Donna Anna has a revelation and is now convinced, through Giovanni's voice and manner that she recognizes her assailant and her father's murderer from me night before, and beseeches Ottavio to join her in revenge. Ottavio swears by his duty as lover and friend to vindicate Donna Anna's honor.
Act I: Scene 4 A terrace before Don Giovanni's castle
Don Giovanni, obsessed in his pursuit of Zerlina, has invited all the peasants to his castle for a night of merriment. Giovanni commands Leporello to round up the guests for the party. Meanwhile, Zerlina and Masetto argue, her fiance accusing her of being unfaithful and abandoning him on their wedding day. Zerlina claims innocence, and tries to pacify her outraged and jealous fiance.
Don Giovanni finds Zerlina, and persuades her to disappear with him into the arbor, but his intrigue is thwarted when he finds the implacable Masetto hiding there. In frustration, Giovanni escorts them both to his ball in the castle. Suddenly, a trio of masked avengers arrives: Donna Anna, Don Ottavio, and Donna Elvira, all determined to invade the ball, capture Don Giovanni, expose his wickedness, and punish him. Leporello, believing that the three figures are guests in masquerade, on Giovanni's instructions, welcomes them into me ball.
Don Giovanni becomes preoccupied with his attempt to seduce the apprehensive Zerlina, coerces her, and both disappear through one of the doors of the ballroom. When Zerlina screams, the dancing stops, the peasants hurriedly leave the scene, and the three masked avengers break down the door to rescue Zerlina. Zerlina is returned to safety and the avengers advance upon Don Giovanni. Giovanni firmly announces that he fears nothing and nobody, forces his way past the avengers, and escapes with his faithful servant Leporello.
Act II: Scene 1 In front of Donna Elvira's house
In a moment of pleading righteousness, Leporello threatens to leave Giovanni 's service, urging his master to give up his wasteful existence, but Giovanni 's philosophical explanation that seduction is the bread of his life, together with money, assuage the rebellious servant.
Don Giovanni has now become fascinated with Donna Elvira's maid. To clear the way for this new adventure, he must draw Elvira away: Giovanni and Leporello exchange cloaks and hats; in the disguise of his master, Leporello will court Elvira. Elvira appears at her window, and reflects on her bewildered feelings, praying that her heart stops yearning for the man she knows is a liar and deceiver. Giovanni takes a position behind Leporello, now dressed in his master's cloak and hat, and Giovanni, the voice behind Leporello, answers the vulnerable Elvira with seductive flat- tery and endearments and promises of true love. Elvira falls into Giovanni 's trap, and imagines the voice she hears belongs to the figure she mistakes for Giovanni, and she descends from her balcony to join the man she thinks is her lover. Elvira passionately embraces her lover (Leporello) the servant thoroughly enjoying the charade and the impersonation of his master. Giovanni creates a disturbance, Leporello's cue to flee with the frightened Elvira. With Elvira gone, Giovanni is left alone to serenade Elvira's maid in peace.
Don Giovanni 's attempted romantic escapade with Elvira's maid is interrupted by a band of armed peasants in search of him, led by the pistol-waving Masetto. But Giovanni, still in the disguise of his servant, Leporello, is taken into their confidence and proceeds to give them false directions to find the rascal: the peasants proceed to scatter throughout the city in search of Giovanni. Giovanni remains behind with Masetto and invites him to show him his weapons. When the naive Masetto hands over his musket and pistol, Giovanni thrashes him before disappearing into the night. Zerlina arrives and discovers an unhappy Masetto groaning in pain. She gives him solace, and promises him a cure that will restore him to health: the cure is her love.
Act II: Scene 2 A courtyard outside Donna Anna's house
Leporello leads the apprehensive Elvira into a darkened courtyard to seek refuge from their pursuers. Donna Anna, Don Ottavio, and then Zerlina and Masetto appear, all of them still in search of Don Giovanni. They believe they have discovered him (Leporello in disguise) and demand death to the perfidious villain. They are about to kill the unfortunate servant, but with terrified pleas and supplications, Leporello dissuades them, and then miraculously escapes. Alone, Don Ottavio vows to comfort his beloved by bringing Don Giovanni to justice.
Act II: Scene 3 A cemetery with the marble statue of the Commendatore
Don Giovanni and Leporello, fugitives from all the avengers, meet in the safety of a cemetery. Suddenly, they are interrupted by a sinister voice coming from a Stone Statue. Looking around, Giovanni notices the Commendatore's equestrian statue and commands Leporello to read its inscription: "Vengeance here awaits the villain who took my life." Giovanni instructs Leporello to invite the Stone Statue to supper. The Statue nods its head in acceptance, and then Giovanni personally extends the invitation: the Statue accepts with a solemn "yes." Don Giovanni, burning with defiance, goes home to prepare for the arrival of his strange guest.
Act II: Scene 4 A room in Donna Anna's house
Donna Anna continues to mourn for her father, advising the consoling Don Ottavio that they can- not wed until her father's murder has been avenged.
Act II: Scene 5 The dining hall in Don Giovanni's palace
In an expansive and hospitable mood, Don Giovanni prepares for a tense and terrifying confrontation with his guest. Donna Elvira, agitated and desperate, appears to warn her beloved that he is in danger and begging him to change his life. Elvira falls on her knees, and pleads with him to repent, but Giovanni loses patience with her, and excuses her.
A knocking is heard at the door and a fearful Leporello hides under a table. Giovanni opens the door, and returns followed by the Stone Statue of the Commendatore. The Stone Statue refuses Giovanni's offer to dine with him, but grasps Giovanni's hand and urges him to mend his ways and repent. Giovanni struggles frantically and in vain to free himself from the Statue's grip, defiantly refusing to repent. Flames envelop the hall and voices of demons are heard: the forces of damnation denounce Don Giovanni, and with a final cry of despair, Don Giovanni is swallowed up by the fires of Hell.
Epilogue:
The entire group of avengers arrive: Masetto and Zerlina, Don Ottavio and Donna Anna, and the lonely Donna Elvira, all unanimous in their lustful eagerness to show their contempt and hatred for the perfidious Don Giovanni. Leporello proceeds to provide the bloodthirsty avengers with a detailed account of the demise of his master. Donna Anna and Don Ottavio suggest that all their troubles have been resolved by divine intervention, and she advises Ottavio that she will remain in mourning for an entire year: her marriage to Ottavio will therefore be postponed and be reconsidered afterwards. Donna Elvira announces that she will retire to a convent. Zerlina and Masetto decide to return home: to dine. Leporello declares that he has but one practical alternative: he will go to the tavern and seek a new master. All join and celebrate the demise of the wrongdoer: divine justice has been victorious!
About the Composer
Wolfgang Amadeus Mozart (1756-1791)
Born in Salzburg, Austria, Mozart displayed uncanny musical talent at a very early age; by the time he was five, he was a keyboard virtuoso. Mozart toured Europe as a child, astounding the musical world and charming royal audiences with his improvisational ability. In addition to composing symphonies at
a tender age, he wrote his first operas while still a boy: La Finta Semplice , commissioned by the Emperor Josef II; and Bastien und Bastienne , a singspiel (German folk opera with spoken dialogue).
In 1777, Mozart journeyed to Paris with his mother to seek a formal position, but he had no luck, and returned home in 1779 after his mother's death. A suitably prestigious position was to elude Mozart all his life, due partly to his complicated personality and tactless, arrogant, often childish behavior. He managed to secure a job as court organist in Salzburg, an appointment he held for two years prior to the triumphant premiere of Idomeneo . This opera seria—a highly formalized type of dramatic opera which was becoming outmoded in Mozart's day—it is considered one of the greatest examples of the genre. Its success led Mozart to take up residence in Vienna.
The break with Salzburg marked the beginning of Mozart's maturity as a composer; nearly every work he produced thereafter is a masterpiece. In 1782, he wrote Die Entfuhrung auf dem Serail (The Abduction from the Seraglio), a charming comic opera which paved the way for Le Nozze di Figaro . A tremendous success at its premiere in 1786, Figaro was based on a satirical comedy by the French dramatist Beaumarchais. Unparalleled in its depth of characterization and synthesis of music and drama, Mozart's work contains some of the most sublime ensemble writing in all opera.
Following the success of Figaro , Mozart again collaborated with librettist Lorenzo da Ponte, this time on a work which explored the dark side of traditional comedy; Don Giovanni (1787), an opera of enormous power and eloquence, depicts the exploits and eventual punishment of an inveterate womanizer. Cosi fan Tutte (1790) found Mozart working with da Ponte for the last time. In this comedic study of human frailty are found some of the composer's most empathetic and realistic characters.
Mozart's last great opera, Die Zauberflote (The Magic Flute), written in 1791, is a singspiel with a libretto by impresario Emanuel Schikaneder. Beneath the simple, fairy-tale plot is a message of love, truth, and brotherhood set to music of profound spirituality and majesty. Flute was also a seminal work in the development of German music theater, which hardly existed, according to Richard Wagner, prior to the opera's premiere.
During Mozart's Vienna days, he composed a series of masterpieces in genres other than opera: his most famous piano concerti (no. 17 in G major, no. 20 in D minor, and no. 21 in C major, among others); the remarkable last symphonies (nos. 35-41); a number of superb piano sonatas; ten of his most beautiful string quartets; the clarinet concerto; the Mass in C Minor ;La Clemenza di Tito, another opera seria; and the unfinished Requiem Mass .
Mozart earned a living for himself and his wife, Constanze, through teaching, concertizing, and the fulfillment of occasional commissions from wealthy aristocrats, but the couple did not manage their money wisely, and was often heavily in debt. Mozart died penniless of unknown causes on December 5, 1791, and was buried in an anonymous pauper's grave.
Mozart's compositions rank among the greatest of all time. They are unsurpassed in beauty, wit, and technical mastery, and they express the full range of human emotions. Recent interest has centered around the composer's enigmatic life and personality as well as his music, exemplified in the great popularity of Peter Shaffer's Amadeus on stage and film.
Photos: Virginia Opera - Don Giovanni, Anne M. Peterson
Photos: Houston Grand Opera - Don Giovanni, Brett Coomer
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