Relevant bibliographies by topics / Don Giovanni (Mozart)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'Don Giovanni (Mozart)'

Author: Grafiati
Published: 12 December 2022
Last updated: 27 January 2023

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Journal articles on the topic "Don Giovanni (Mozart)"

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PERL, BENJAMIN. "Mozart in Turkey." Cambridge Opera Journal 12, no. 3 (November 2000): 219–35. http://dx.doi.org/10.1017/s0954586700002196.

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The essay analyses the Turkish mode in Mozart's output, discovering some unexpected examples, particularly Don Giovanni's aria ‘Fin ch'han dal vino’, whose uncommon sonority, obsessive rhythm and harmonic poverty evoke this topos. Don Giovanni may present Turkish features because his character coincides with eighteenth-century Western European views of the Turks as a threat to the established order and inclined to reckless sensuality. The romantic view of Don Giovanni as an ideal figure may also be connected with eighteenth-century thinking about ‘orientals’ as the representatives of utopia.
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Jones, Mark. "Don Giovanni." Psychiatric Bulletin 14, no. 7 (July 1990): 417–21. http://dx.doi.org/10.1192/pb.14.7.417.

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In the second of this occasional series, Mark Jones looks at Mozart and his 1788 masterpiece, Don Giovanni, and interviews Tom Sutcliffe, opera critic of The Guardian, about his views on this problematical work and its portrayal on the stage.
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Graeme, R. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 18, no. 1 (January 1, 2002): 114–17. http://dx.doi.org/10.1093/oq/18.1.114.

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Huck, William. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 3, no. 1 (1985): 152–53. http://dx.doi.org/10.1093/oq/3.1.152.

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Pines, Roger G. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 4, no. 4 (1986): 105–6. http://dx.doi.org/10.1093/oq/4.4.105.

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Jellinek, George. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 5, no. 4 (1987): 128–30. http://dx.doi.org/10.1093/oq/5.4.128.

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Nedbal, Martin. "Mozart's Figaro and Don Giovanni, Operatic Canon, and National Politics in Nineteenth-Century Prague." 19th-Century Music 41, no. 3 (2018): 183–205. http://dx.doi.org/10.1525/ncm.2018.41.3.183.

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After the enormous success of Le nozze di Figaro at Prague's Nostitz Theater in 1786 and the world premiere of Don Giovanni there in 1787, Mozart's operas became canonic works in the Bohemian capital, with numerous performances every season throughout the nineteenth century. These nineteenth-century Prague Mozart productions are particularly well documented in the previously overlooked collection of theater posters from the Czech National Museum and the mid-nineteenth-century manuscript scores of Le nozze di Figaro. Much sooner than elsewhere in Europe, Prague's critics, audiences, and opera institutions aimed at historically informed, “authentic” productions of these operas. This article shows that the attempts to transform Mozart's operas into autonomous artworks, artworks that would faithfully reflect the unique vision of their creator and not succumb to changing audience tastes, were closely linked to national politics in nineteenth-century Prague. As the city's population became more and more divided into ethnic Czechs and Germans, both groups appropriated Mozart for their own narratives of cultural uniqueness and cultivation. The attempts at historic authenticity originated already in the 1820s, when Czech opera performers and critics wanted to perform Don Giovanni in a form that was as close as possible to that created by Mozart in 1787 but distorted in various German singspiel adaptations. Similar attempts at historical authenticity are also prominent in Bedřich Smetana's approach to Le nozze di Figaro, during his tenure as the music director of the Czech Provisional Theater in the late 1860s. German-speaking performers and critics used claims of historical authenticity in the 1830s and 40s to stress Prague's importance as a prominent center of German culture. During the celebrations of the 1887 Don Giovanni centennial, furthermore, both the Czech and German communities in Prague appropriated Mozart's operas into their intensely nationalistic debates.
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Diasio, Nicoletta. "La fin de Don Giovanni." Articles 20, no. 2 (July 9, 2008): 32–36. http://dx.doi.org/10.7202/018331ar.

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Résumé Par l’analyse de deux « entrées en scène » du libertin, celle du Don Giovanni de Mozart et Da Ponte (1787) et celle de The Rake’s Progress de Stravinsky et Auden (1951), l’article pointe les transformations du rapport à la mort et aux morts en Europe. Ces deux opéras représentent aussi l’apogée et le déclin du mythe de Dom Juan et de cette connexion entre le thème de l’inconstance amoureuse et celui de l’offense et de l’invitation au mort.
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Williams, Simon. "‘No Meat for the Teeth of my Viennese’: Don Giovanni and the Theatre of Its Time." Theatre Research International 14, no. 1 (1989): 23–40. http://dx.doi.org/10.1017/s0307883300005538.

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After the triumph of its première in Prague in November 1787, Don Giovanni enjoyed little immediate success in the theatres of central Europe. It was received with indifference in Vienna, with unease, even outright hostility elsewhere. Mozart's music on its own aroused almost universal admiration, but as a dramatic medium it unsettled audiences. This was best expressed by a correspondent for the Chronik von Berlin, who saw the first performance at the Berlin National Theatre in December 1790. In his review he granted readily that ‘Mozart is an excellent, a great composer’ but in Don Giovanni he felt that greatness to have been betrayed.
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Otero Luque, Frank. "Portrait in Don Juan: Individualization of Myth and Redemption from Sin." Studium, no. 26 (September 1, 2020): 121–38. http://dx.doi.org/10.26754/ojs_studium/stud.2020264558.

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Abstract. There are many types of artistic representations (theatre, music, opera, ballet, literature, cinema, television, painting, sculpture, etc.) of the legend of Don Juan, i.e. the universal archetype of the seducer who, through deception, conquers a woman and, once she succumbs to his charms, he boasts of his triumph, despises her, and shifts his interest towards another lady. In this work, I compare three of the most famous versions don Juan: The Trickster of Seville and the Stone Guest (1630) by Tirso de Molina, Don Giovanni (1787) by Wolfgang Amadeus Mozart and Lorenzo Da Ponte, and Don Juan Tenorio (1844) by José Zorrilla. The first and third are theatrical pieces, while the second is an opera. The myth of Don Juan is essentially the same in all three, but the message and the moral vary according to the cultural movement the works belong to, namely the Baroque, the Enlightenment and the Romanticism, respectively. Key words: The Trickster of Seville and the Stone Guest, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, sin, redemption, sociopath. Resumen. Son muchos los tipos de representación artística —teatro, música, ópera, ballet, literatura, cine, televisión, pintura, escultura, etc.— de la leyenda de Don Juan, el arquetipo universal del seductor que, mediante engaños, conquista a una mujer y, una vez que ella sucumbe a sus encantos, se jacta de su triunfo, las desprecia y reenfoca su interés en otras damas. En este trabajo, comparo a tres de los don Juanes más famosos: El burlador de Sevilla y convidado de piedra (1630) de Tirso de Molina, Don Giovanni (1787) de Wolfgang Amadeus Mozart y Lorenzo Da Ponte, y Don Juan Tenorio (1844) de José Zorrilla. La primera y la tercera son piezas teatrales, en tanto que la segunda es una ópera. El mito de Don Juan es, esencialmente, el mismo en estas tres obras, aunque varían el mensaje y la moraleja según el movimiento cultural al que pertenecen: Barroco, Ilustración y Romanticismo, respectivamente. Palabras clave: Burlador de Sevilla, Don Giovanni, Don Juan, Tirso de Molina, Wolfgang Amadeus Mozart, Lorenzo Da Ponte, José Zorrilla, pecado, redención, sociópata.
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Dissertations / Theses on the topic "Don Giovanni (Mozart)"

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Klitzing, Andrea. "W. A. Mozart: Don Giovanni. Arrangements - gedruckt im deutschsprachigen Raum bis 1850." Andrea Klitzing, 2020. https://slub.qucosa.de/id/qucosa%3A38046.

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Die große, weltweite und berechtigte Aufmerksamkeit, die Wolfgang Amadeus Mozarts Don Giovanni innerhalb der Musikhistoriographie zuteil wurde, täuschte lange Zeit darüber hinweg, dass sich die frühste Form seiner Verbreitung und Appropriation im Kleinen vollzog: Im Arrangement. Bis 1850 wurden Arrangements des Don Giovanni im deutschsprachigen Raum in stetig wachsender Auflagezahl und für verschiedenste Kammermusikbesetzungen ohne Worte ediert. Andrea Klitzing recherchierte mehr als 300 Don Giovanni-Arrangements und fasste sie in einer Tabelle zusammen, welche über zahlreiche Links den Zugang zu digitalisierten Notenausgaben und historischen Rezensionen ermöglicht. Das ergänzende Buch „Don Giovanni unter Druck“ widmet sich der systematischen Erfassung, Auswertung und Kontextualisierung dieser Druckausgaben und erscheint voraussichtlich Mai 2020 bei V&R Unipress.
The global and justified attention that Wolfgang Amadeus Mozart's Don Giovanni received in music historiography has long concealed the fact, that the earliest form of its dissemination and appropriation took place on a small scale: the Arrangement. Up until 1850, arrangements of Don Giovanni were edited in the German-speaking countries in ever-increasing numbers and for various chamber music ensembles without words. Andrea Klitzing researched more than 300 Don Giovanni-arrangements and summarized them in a table with numerous links to digitized music prints and historical reviews. The book 'Don Giovanni unter Druck' (“Don Giovanni in press”) is devoted to the systematic recording, evaluation, and contextualization of those print editions. Estimated release, V&R Unipress, May 2020.
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Tomaszewski, Mieczyslaw. "Mozarts Don Juan in Polen." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-218474.

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Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.
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Tomaszewski, Mieczyslaw. "Mozarts Don Juan in Polen." Musikgeschichte in Mittel- und Osteuropa ; 1 (1997), S. 21-32, 1997. https://ul.qucosa.de/id/qucosa%3A15296.

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Die Geschichte der Mozartrezeption entwickelte sich - und ich meine nicht nur in Polen - in mehreren Phasen. Die erste war eine feen- und märchenhafte Phase, bei der vor allem Papageno Pate stand. Die nächste Phase ist die dämonische (oder bescheidener gesagt romantische), die im Zeichen von Don Juan stand. Sie hat bei uns fast ausschließlich das 19. Jahrhundert beherrscht. Gegen Ende des Jahrhunderts kommt eine neue Phase: Mozart im Rokokostil - Mozart als Autor vom Figaro und leichter Klaviersonaten.
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Schneider, Magnus Tessing. "The charmer and the monument : Mozart's Don Giovanni in the light of its original production /." [Aarhus] : Dept. of Aesthetic Studies, University of Aarhus, 2008. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018761392&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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Marty, Laurent. "1805, la création de Don Giovanni à Paris." Paris 12, 2003. http://www.theses.fr/2003PA120007.

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La première représentation à l’Opéra de Paris du Don Giovanni de Mozart fut l’un des événements marquants de la saison 1805, car c’était la première fois qu’une oeuvre véritablement intégrale du compositeur était jouée en France. Après l’étude du contexte musical et esthétique de l’époque, cette thèse retrace l’historique de cette création, avec de nombreux documents et extraits de correspondance montrant les nombreuses réticences de l’administration et la peur des chanteurs. L’étude détaillée du livret et de la partition de la version française, en comparaison avec l’oeuvre de Mozart et Da Ponte, révèle les très nombreuses différences entre original et adaptation et permet de mieux comprendre l’esthétique musicale française du temps. Enfin, l’étude de la réception de l’oeuvre au travers de la presse française et étrangère met en évidence les réticences du public français au style de Mozart et plus généralement à la musique allemande, vus comme une atteinte au “bon goût” classique
First performance of Mozart’s Don Giovanni at the the Opera de Paris was one of the outstanding events of 1 805 season, because it was the flrst time that a truly coniplete work by this composer was played in France. After studying musical and aesthetic context of the tirne. This thesis recalls the history of this creation, with many documents and extracts of correspondence showing administration’s reserves and singers’ fear. The detailed study of French version booklet and score, in comparison with work by Mozart and Da Ponte. Reveals the very many differences between original and adaptation and makes it possible to understand better French musical aesthetics oftime. Lastly, study ofreception ofwork through French and foreign press highlights reluctance of French audience to Mozart’s style, and more generally to German music, seen to be an attack on classical “good taste’
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Höllerer, Elisabeth. "Handlungsräume des Weiblichen : die musikalische Gestaltung der Frauen in Mozarts Le nozze di Figaro und Don Giovanni." Frankfurt am Main : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb37714474c.

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Lieberzeit, Michal. "Don Giovanni - historie díla,jeho vznik a interpretace opery ve 20.století." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177883.

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The master thesis "Don Giovanni - history, its origin and interpretation in the 20th century" is dealing with an entire development of the opera and it reflects staging approaches of the 20th century. The thesis offers a brief analysis of the opera and the literary work it is based on. Furthermore it summarizes information about the origin of the work and its creators. Finally in the supplement there are cast lists of the productions of National Theatre Prague, photographs and pictures of the production in various opera houses worldwide.
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Weber, Franziska. "Dimensionen des Denkens : der raumzeitliche Kollaps des Gegenwärtigen : geistes- und naturwissenschaftliche Entwürfe - verifiziert an Martin Kusejs "Don Giovanni"." Bielefeld transcript, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=3108873&prov=M&dokv̲ar=1&doke̲xt=htm.

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Klitzing, Andrea [Verfasser]. "Don Giovanni unter Druck : Die Verbreitung der Mozart-Oper als instrumentale Kammermusik im deutschsprachigen Raum bis 1850 / Andrea Klitzing." Göttingen : V&R Unipress, 2020. http://www.v-r.de/.

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Perchet-Féron, Séverine. "Don Giovanni de Mozart et Da Ponte à travers les premières adaptations parisiennes (1805-1834) : contribution à l'histoire du goût musical." Paris 4, 2002. http://www.theses.fr/2001PA040186.

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De sa découverte en 1805 à sa consécration définitive au sein du répertoire de l'Académie de Musique en 1834, le Don Giovanni de Mozart-Da Ponte fut régulièrement joué à Paris, y compris en version originale au Théâtre des Italiens dès 1811. Durant ces trente années, l'ouvrage connut de nombreuses adaptations en langue française qui le transformèrent successivement en une tragédie lyrique, en un opéra-comique et en un grand opéra romantique. L'analyse de ces remaniements (nécessités par la francisation d'un opéra étranger sur les scènes de l'Odéon et de l'Académie), ainsi que l'étude des multiples réactions provoquées par leur réception, permettront d'appréhender le goût lyrique français tout en mesurant les diverses strates de son évolution tout au long d'une époque particulièrement mouvante recouvrant l'Empire, la Restauration et la Monarchie de Juillet. L'imaginaire de ce début de siècle, dévoilé à travers l'étude technique des moyens mis en oeuvre en ces parodies (choix musicaux et formels, parti-pris littéraires et scénographiques, problématiques vocales, enjeux culturels, dimensions politiques et religieuses) nous servira alors à cerner la vision romantique du mythe de Don juan et à comprendre l'éclosion d'une esthétique du Don Giovanni qui perdurera plus d'un siècle durant. La bibliographie traitant des premières adaptations du Don Giovanni en langue française, s'avère aussi peu abondante que les études en sont rares. Aussi, cet essai sur la perception de l'"opéra des opéras" (comme le qualifiait Hoffmann), comblera-t-il un vide et contribuera-t-il, nous l'espérons, à enrichir tout autant la connaissance de cet ouvrage polysémique singulier que celle du goût français en ce début de XIXème siècle
From its discovery in 1805 to its definitive consecration within the repertory of the Academy of Music in 1834, Mozart-Da Ponte's Don Giovanni has been regularly in Paris, including in its original version in the 1811 Italian's Theatre. Over this 30 year period, the work was adapted in the French language many times, adaptations that transformed it successively into a lyric tragedy, a comic opera and a great romantic opera. In order to understand the French lyrical style, while taking into account the different stages in its evolution throughout a particularly dynamic era which spanned The Empire, The Restoration and The July Monarchy, one must analyse these rearrangements (made necessary by the need to 'Frenchify' a foreign opera being produced in the Odeon's and Academy's stages) as well as the multiple reactions to their performances. The collective imagination of the turn of the century, unveiled by the technical study of the methods employed in these parodies (musical and forma choices, literary and theatrical bias, vocal questions, cultural games, political and religious dimensions) will lead us to the romantic vision of the myth of Don Juan and to an understanding of the de-compartmentalisation of the aesthetic of Don Giovanni, an aesthetic that would be lost for more than a century. The background reading list on the first French adaptations of Don Giovanni is as sparse as studies are scarce. Therefore this essay about the perception of <> (as Hoffmann termed it) will fill a gap and contribute - we hope - to enriching the recognition of this singularly ground-breaking work as a reflection of French style as the beginning of the 19th century
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Books on the topic "Don Giovanni (Mozart)"

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Raja, Michele. Don Giovanni di Mozart. Sorrento, Napoli: F. Di Mauro, 2011.

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Raja, Michele. Don Giovanni di Mozart. Sorrento, Napoli: F. Di Mauro, 2011.

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Junker, Hildegard. Wolfgang Amadeus Mozart, Don Giovanni. Altenmedingen: Hildegard Junker Verlag, 1993.

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Mila, Massimo. Lettura del Don Giovanni di Mozart. Torino: G. Einaudi, 2000.

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Mila, Massimo. Lettura del Don Giovanni di Mozart. Torino: G. Einaudi, 2000.

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Mila, Massimo. Lettura del Don Giovanni di Mozart. Torino: G. Einaudi, 1988.

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Imagining Don Giovanni. New York: Atlantic Monthly Press, 2001.

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Oberhoff, Bernd. Wolfgang A. Mozart, Don Giovanni: Ein psychoanalytischer Opernführer. Giessen: Psychosozial-Verlag, 2004.

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Don Giovanni in musica: Dall'"Empio punito" a Mozart. Venezia: Marsilio, 1991.

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Maragliulo, Marilena. Eros in musica: Kierkegaard e il Don Giovanni di Mozart. Casciago (Varese): M&B, 2005.

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Book chapters on the topic "Don Giovanni (Mozart)"

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Willaschek, Wolfgang. "Il dissoluto punito o sia Il Don Giovanni." In Mozart Theater, 185–244. Stuttgart: J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-03426-7_4.

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Schneider, Magnus Tessing. "Luigi Bassi as Don Giovanni." In The Original Portrayal of Mozart's Don Giovanni, 15–53. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429281709-2.

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Zelechow, Bernard. "Kierkegaard, the Aesthetic and Mozart’s Don Giovanni." In Kierkegaard on Art and Communication, 64–77. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22472-2_4.

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Schneider, Magnus Tessing. "Don Giovanni and the three women." In The Original Portrayal of Mozart's Don Giovanni, 68–97. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429281709-4.

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Schneider, Magnus Tessing. "The second finale." In The Original Portrayal of Mozart's Don Giovanni, 168–212. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429281709-8.

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Schneider, Magnus Tessing. "The graveyard scene." In The Original Portrayal of Mozart's Don Giovanni, 155–67. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429281709-7.

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Schneider, Magnus Tessing. "The opening scene." In The Original Portrayal of Mozart's Don Giovanni, 54–67. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429281709-3.

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Schneider, Magnus Tessing. "The disguise episode." In The Original Portrayal of Mozart's Don Giovanni, 131–54. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429281709-6.

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Schneider, Magnus Tessing. "Postscript." In The Original Portrayal of Mozart's Don Giovanni, 213–26. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429281709-9.

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Schneider, Magnus Tessing. "The party episode." In The Original Portrayal of Mozart's Don Giovanni, 98–130. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429281709-5.

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Reports on the topic "Don Giovanni (Mozart)"

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Villanueva-Benito, I., and I. Lacasa-Mas. El uso del lenguaje audiovisual en la expansión de las artes escénicas fuera del teatro: el caso de Don Giovanni, de Mozart. Revista Latina de Comunicación Social, October 2017. http://dx.doi.org/10.4185/rlcs-2017-1217.

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Villanueva-Benito, I., and I. Lacasa-Mas. The use of audiovisual language in the expansion of performing arts outside theater: Don Giovanni’s case, by Mozart. Revista Latina de Comunicación Social, October 2017. http://dx.doi.org/10.4185/rlcs-2017-1217en.

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