Don Giovanni (1961, with W. H. Auden, for an NBC Opera Theatre production of the opera by Mozart).
Mozart also supervised the Vienna premiere of the work, which took place on 7 May 1788.
•
It was premiered by the Prague Italian opera at the Teatro di Praga (now called the Estates Theatre) on October 29, 1787.
This aspect of the character is examined by Mozart and his librettist Da Ponte in their opera Don Giovanni, perhaps the best-known artistic work on this subject.
She earned rave reviews in London for her several other portrayals of Mozart heroines, including Donna Anna in Don Giovanni, Dorabella in Cosi fan tutte and the Queen of the Night in The Magic Flute.
Later, in the summer of 1912, after the unsuccessful premiere of his Wagnerian-length opera Die Brautwahl in mid-April and a concert tour through Italy in May, Busoni decided to stay home alone in Berlin to work, while his wife Gerda was in Switzerland on holiday.
•
In 1991 the Scottish pianist and writer Kenneth Hamilton was the first to publish the results of such a comparison.
Slavoj Žižek uses the theory to explain various cultural artefacts, including Don Giovanni and Parsifal.
She was invited by Mapleson to sing in London, where her repertoire included Zerlina, Susanna, Rosina and Lucia.
The wine is most noted for its mention in the opera Don Giovanni of Wolfgang Amadeus Mozart ("Versa il vino! Eccellente Marzemino!").
•
In the opera Don Giovanni, the titular character Don Giovanni calls out for a glass of Marzemino just before his deliverance into hell.
The replacement of numbers with more continuous music began in operas by Jommelli, Traetta, Gluck, and especially Mozart, whose late operas Le Nozze di Figaro and Don Giovanni contain several segments in which different numbers are unified by bridge passages to form a musical whole.
Mozart marks "cello obligato" in Don Giovanni in Zerlina's aria Batti, batti, o bel Masetto.
After the end of World War II, they returned to England, where Czinner made numerous successful opera movies (e.g. Don Giovanni, Der Rosenkavalier).
In 2002 he created the set designs for the Opera Company of Philadelphia’s performance of Mozart’s Don Giovanni, highly acclaimed by critics in the New York Times and the Philadelphia Inquirer.
His records include a celebrated Ring Cycle, a notable Don Giovanni and a superbly played Salome which shows how exceptional his musicianship could be when he had adequate rehearsal time.
For about seven years it gave excellent performances of the operas of the best Italian, German, French and English composers, including Don Giovanni in 1861, and the Huguenots in 1862.
Don Quixote | Don Giovanni | Don Cherry | Don | Don (honorific) | Don Cheadle | Rostov-on-Don | Giovanni Pierluigi da Palestrina | Don Williams | Don Juan | Giovanni Bellini | Don Knotts | Don Imus | Don Carlos | Don Rickles | Don Omar | Giovanni Riggi | Giovanni Boccaccio | Don Henley | Salesians of Don Bosco | Giovanni Battista Pergolesi | Don Johnson | Don Drysdale | Don Pasquale | Don Messick | Don Bluth | Giovanni Battista Tiepolo | Giovanni Battista Guarini | Giovanni | Don King (boxing promoter) |
Other highlights of his career included the title characters in Rossini's William Tell, Mozart's Don Giovanni, Verdi's Rigoletto, Hérold's Zampa, and Heinrich Marschner's Der Templer und die Jüdin.
He has frequently showed his versatility by singing two roles from the same opera: Figaro and the Count in Mozart’s Le nozze di Figaro, Leporello and the title role in Mozart’s Don Giovanni, Guglielmo and Don Alfonso in Mozart’s Così fan tutte, and Dandini and Don Magnifico in Rossini’s La Cenerentola, among others.
The Daily Telegraph in London named him their "Newcomer of the Year" and said "Andrew Foster-Williams is an impressively intelligent artist who sang both Leporello in Don Giovanni and Alidoro in La Cenerentola with impressive vocal polish. We should be hearing more of him."
Amongst his performances in the 2008/2009 season were role debuts as the Duke of Mantua in Rigoletto at the Croatian National Theater, and as Don Ottavio in Don Giovanni at the Teatre de La Farándula in Sabadell.
In September 1953 he made his American debut at the San Francisco Opera in the title role of Werther, opposite Giulietta Simionato as Charlotte, and later that same year, in December, he debuted at the Metropolitan Opera in New York, singing Don Ottavio in Don Giovanni, other roles at the Met included; Tamino, Almaviva, Nemorino, Ernesto, Alfredo, des Grieux.
Although Mozart would always remain at the core of her repertoire (Susanna, Zerlina), she gradually included roles such as Rosina, Annchen, Véronique, as well as many roles in opera by Monteverdi, Rameau, and Haydn.
One of the Estates Theatre’s many claims to glory is its strong link with Wolfgang Amadeus Mozart, who conducted the world premiere of his opera Don Giovanni here in October 1787.
From 1792 until 1794 he worked as musical director of the new Frankfurter National-Theater, where he put on Mozart's Don Giovanni and The Magic Flute.
A versatile singer and an accomplished actress, Tucci was able to tackle a wide range of roles from bel canto to verismo, singing Donna Elvira in Don Giovanni, Elvira in I puritani, Gilda in Rigoletto, Violetta in La traviata, and Marguerite in Faust, as well as Maddalena in Andrea Chénier and the title role in Tosca.
Fioravanti's first known stage appearance was in 1817 at the Teatro del Corso in Bologna as Masetto in Wolfgang Amadeus Mozart's Don Giovanni.
British engagements also include Bartolo in Mozart's Le nozze di Figaro for Opera North and Garsington Opera; Collatinus in Britten's Rape of Lucretia at Buxton Festival; and Sacristan (Tosca), Bosun (Billy Budd), Benedict (La Vie Parisienne) and Masetto (Don Giovanni) for Scottish Opera.
Notable among his roles are the Count (The Marriage of Figaro), Guglielmo and Alfonso (Cosi Fan Tutte), the title role in Don Giovanni, Germont (La Traviata), Silvio (I Pagliacci), Dr Falke (Die Fledermaus), the Forester (The Cunning Little Vixen), Smirnov (William Walton's The Bear), and Demetrius (A Midsummer Night's Dream), which he recorded for Virgin Records.
Born in Rappersdorf in Austria, Wächter sang in various church choirs in Vienna, making his stage début in 1819 at Graz as Don Giovanni in Mozart's Don Giovanni.
Some of the roles she has created on stage are Dorabella (Mozart: Così fan tutte), Donna Elvira (Mozart: Don Giovanni), Amneris (Verdi: Aida), and the title role in Georges Bizet's Carmen among others.
The bass has made a number of recordings, including Sarastro in Arnold Östman's version of the Magic Flute, and Commendatore in his version of Don Giovanni.
The story follows the escapades of a Florentine mechanic, a local "Don Giovanni," who romances several women simultaneously and secretly.
The 2012-13 season featured La bohème (with Anna Samuil and Timothy Mix), Don Giovanni (in conjunction with the Peabody Institute), and Rigoletto (starring Stephen Powell and Bryan Hymel).
His operatic experience is well-rounded and extensive, performing roles in such operas as Don Giovanni, Jephtha, and Platée.
She danced main roles in many ballets like:Romeo and Juliet, Giselle, Coppelia, Cinderella, Carmen, Don Giovanni, The Nutcracker and in many contemporary pieces from choreographers such as George Balanchine, William Forsythe, Hans van Manen, Krzysztof Pastor, Septime Webre, Wayne Eagling, Ted Brandsen, Alexei Ratmansky, Mark Morris and Christopher Wheeldon.
On March 6, 2008, at the 8th Al-Ain Classical Music Festival at Al Ain in the United Arab Emirates, Polish opera director Ryszard Peryt directed Egyptian musicologist Aly Sadek's translation of Mozart's Don Giovanni, as performed by soloists, the choir of the Université Antonine, Baabda, Lebanon, and the Warsaw Philharmonic's Chamber Orchestra, conducted by Zbigniew Graca.
She went on to play Desdemona in Otello at the San Francisco Opera, Violetta in La traviata at the Deutsche Oper in Berlin, and Donna Elvira in Don Giovanni at the Metropolitan Opera.
Her repertory included Mozart's Donna Elvira from Don Giovanni, and First Lady from The Magic Flute; Monteverdi's L'incoronazione di Poppea and Rameau's Aricia; Jean-Baptiste Lully's Climène from Phaëton, Leclair's Circé in Scylla et Glaucus; Arthur Honegger's Diane from Les aventures du roi Pausole and Francis Poulenc's Madame Lidoine from Dialogues of the Carmelites.
Other early operatic appearances were Zerlina in Don Giovanni with Scottish Opera, and both Susanna in Le nozze di Figaro and Sophie in Der Rosenkavalier for English National Opera.
This includes the Requiem (K626, 1791), Great Mass in C minor (K423, 1783), Coronation Mass (C major) (K317, 1779), several other masses, Vesperae Solennes de Confessore (K339, 1780), Vesperae de Dominica, his arrangement of Handel's Messiah plus two of his three great operas: Don Giovanni (K527, 1787) and Die Zauberflöte (K620, 1791).
In 1991, he sang the role of Lucentio in Hermann Goetz's Der Widerspänstigen Zähmung at the Wexford Festival Opera, toured throughout Japan, and portrayed the role of Don Ottavio in Wolfgang Amadeus Mozart's Don Giovanni at the Savonlinna Opera Festival in Finland.
Her roles at the Met included Juliette, Marguerite, Marguerite de Valois from Les Huguenots, Micaela from Carmen, Cherubino from Le nozze di Figaro, Donna Elvira from Don Giovanni, Philine from Mignon, Berthe from Le prophète, the Forest Bird from Siegfried, Nedda from Pagliacci, Gilda from Rigoletto, Infanta from Le Cid, Inès from L'Africaine, and Mimì from La bohème among others.
He is credited with introducing, in Una cosa rara, the waltz to Vienna; and a melody from the same work is quoted by Mozart in the banquet scene in Act 2 of Don Giovanni (1787).
He appeared, too, in several German operas by Richard Wagner (on 30 March 1873 he sang in the first production in Milan of Lohengrin, to Gabrielle Krauss's Elsa), and was a famous Don Giovanni in Wolfgang Amadeus Mozart's opera of the same name.
The partially aleatoric orchestral writing is intended to be the voice of Stalin, and quotes from Carmen, La traviata and Don Giovanni for comedic effect.