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

Author: Grafiati

Published: 12 December 2022

Last updated: 27 January 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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9

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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10

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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11

Cortines Torres, Jacobo. "Paráfrasis sobre temas de Rigoletto." DIGILEC: Revista Internacional de Lenguas y Culturas 1 (September 17, 2018): 25. http://dx.doi.org/10.17979/digilec.2014.1.0.3483.

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12

Bandy, Dorian. "Mozart's Operatic Embellishments." Cambridge Opera Journal 33, no. 1-2 (March 2021): 1–23. http://dx.doi.org/10.1017/s095458672200009x.

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AbstractAlongside the model embellishments Mozart composed for various keyboard works, he also wrote embellishments for contemporary arias including ‘Ah, se a morir mi chiama’ from Lucio Silla, the concert aria ‘Non sò d'onde viene’ K.294 and ‘Cara, la dolce fiamma’ from J.C. Bach's Adriano in Siria. Although these have been overlooked in the critical literature, they shed light on many aspects of Mozart's art of melodic decoration. In this article, I begin by examining these notated operatic embellishments: their textual histories, the styles of elaboration they evince, the pacing with which they unfold, and their motivic construction, as well as their relation to broader trends in Mozart's style. I then explore the embellishments Mozart composed into the texts of his other operas, arguing that these served not only a musical but also an aesthetic purpose, furthering elements of characterisation and drama, particularly in Le nozze di Figaro, Don Giovanni, and Così fan tutte. I end with brief remarks on the challenges facing modern-day interpreters who wish to embellish Mozart's operas.

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13

Cole, Malcolm S., and Wye Jamison Allanbrook. "Rhythmic Gesture in Mozart: Le Nozze di Figaro and Don Giovanni." Eighteenth-Century Studies 18, no. 3 (1985): 459. http://dx.doi.org/10.2307/2738731.

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14

Wood, Gillen D'Arcy. "Cockney Mozart: The Hunt Circle, the King's Theatre, and "Don Giovanni"." Studies in Romanticism 44, no. 3 (2005): 367. http://dx.doi.org/10.2307/25602005.

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15

Kivy, Peter, and Wye Jamison Allanbrook. "Rhythmic Gesture in Mozart: "Le Nozze di Figaro" and "Don Giovanni"." Dance Research Journal 17, no. 1 (1985): 56. http://dx.doi.org/10.2307/1478224.

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16

Ford, Charles, and Wye Jamison Allanbrook. "Rhythmic Gesture in Mozart: Le Nozze di Figaro and Don Giovanni." Music Analysis 5, no. 1 (March 1986): 108. http://dx.doi.org/10.2307/854345.

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17

Grier, Francis. "Contessa perdono! Mozartian sexual betrayal and forgiveness." Musical Connections in Couple and Family Psychoanalysis 10, no. 1 (March 9, 2020): 28–41. http://dx.doi.org/10.33212/cfp.v10n1.2020.28.

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The dramatic and musical climax of 'The Marriage of Figaro', perhaps Mozart’s operatic masterpiece, is famously marked by the unexpected forgiveness of the Count by the Countess, whom the count has infamously refused to forgive earlier in the opera. This article will explore the musical and psychological ramifications of forgiveness and the refusal to forgive within couple relationships, not only in this opera but also in two other great Mozart operas, 'Don Giovanni' and 'Così fan tutte', in which issues around forgiveness are also implicitly central. It will be argued that Mozart’s very differing and contrasting realisations of this core human and couple dynamic through his unique dramatic, verbal, and musical talents may partially account for the reputation of these operas for depth and universality.

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18

Cowgill, Rachel. "Re-gendering the Libertine; or, the Taming of the Rake: Lucy Vestris as Don Giovanni on the early nineteenth-century London stage." Cambridge Opera Journal 10, no. 1 (March 1998): 45–66. http://dx.doi.org/10.1017/s0954586700005322.

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When Luigi Bassi entered the stage of the Prague National Theatre in 1787 to create the title role of Mozart and Da Ponte's Don Giovanni, he could have drawn inspiration from a rich tradition of theatrical, pantomimic and marionette representations of the legendary Don Juan, to which this new opera was the latest contribution. Previous incarnations had been shaped by the likes of Tirso de Molina, Molière, Shadwell, Purcell and Gluck; yet it is Mozart and Da Ponte's version that has for us become the definitive: the Don as paradox; an uncomfortable blend of the despicable and the admirable, hero and anti-hero. Lecher, rapist, liar, cheat, murderer, he is the brutal epitome of macho striving for power and domination, yet clothed with a seductive panache, conviction and bravado — the reckless-heroic libertine phallocrat who would rather face the fires of eternal damnation than curb his appetites.

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19

RUSSELL, C. C. "Confusion in the Act I Finale of Mozart and Da Ponte's Don Giovanni." Opera Quarterly 14, no. 1 (January 1, 1997): 25–44. http://dx.doi.org/10.1093/oq/14.1.25.

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20

Villanueva, Isabel, and Ivan Lacasa-Mas. "The audiovisual recreation of operas filmed in theaters: An analysis of Don Giovanni by W. A. Mozart." Communication & Society 34, no. 1 (January 12, 2021): 77–91. http://dx.doi.org/10.15581/003.34.1.77-91.

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This article analyzes select opera films produced during the 20th and 21st centuries by international opera houses in order to determine whether, when the diegesis of these films is recreated, there is also an attempt made for the films to reflect the conventions of operatic performance. We performed content analysis of the end of the first act in 29 filmed versions of the opera Don Giovanni by W.A. Mozart by evaluating 44 variables related to three categories that are central to translating the original story to the new audiovisual discourse: recreation of time and space and use of scenery. The main results reveal that in translating Don Giovanni to audiovisual media, the films continue to be influenced by the institutional conventions of operatic theater. In relying on the original performance, these films, even in the 21st century, do not exhibit full narrative autonomy. Our article proposes several ways to better adapt—from a cinematographic perspective—these scenic representations based on elements such as depth of field or scenery, without the need for greater resources than those already available to opera houses.

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21

Heartz, Daniel. "Constructing Le nozze di Figaro." Journal of the Royal Musical Association 112, no. 1 (1987): 77–98. http://dx.doi.org/10.1093/jrma/112.1.77.

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Lorenzo Da Ponte is our main witness as to how he and Mozart put together their three operas. His memoirs, first published in 1823, mystify the topic more than they illuminate it. Some additional light is shed by an earlier publication entitled An Extract from the Life of Lorenzo Da Ponte, with the history of several dramas written by him, and among others, II Figaro, II Don Giovanni e La Scuola degh Amanti set to music by Mozart. Whoever translated this from Da Ponte's original Italian worked from a text different in many details from what was published four years later as the Memorie. The well-known passage about how the poet must rack his brains in order to invent situations for the buffo finales will be familiar to most readers from its version in the memoirs.

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22

Stevens, Jane R. "Rhythmic Gesture in Mozart: "Le nozze di Figaro" and "Don Giovanni" . Wye Jamison Allanbrook ." Journal of the American Musicological Society 38, no. 2 (July 1985): 393–99. http://dx.doi.org/10.1525/jams.1985.38.2.03a00100.

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23

Platoff, John. ": Rhythmic Gesture in Mozart: Le Nozze di Figaro and Don Giovanni . Wye Jamison Allanbrook." Journal of Musicology 4, no. 4 (October 1985): 535–38. http://dx.doi.org/10.1525/jm.1985.4.4.03a00080.

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24

한택수. "Don Juan dans l'imaginaire européen dans Don Giovanni de Mozart, Don Juan d'Hoffmann et Le château des Désertes de George Sand." Etudes de la Culture Francaise et de Arts en France 37, no. ll (August 2011): 467–94. http://dx.doi.org/10.21651/cfaf.2011.37..467.

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25

Moseley, Roger. "The Qualities of Quantities Mozart, ‘Madamina, il catalogo è questo’ (Leporello),Don Giovanni, Act I." Cambridge Opera Journal 28, no. 2 (July 2016): 137–40. http://dx.doi.org/10.1017/s0954586716000112.

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26

한택수. "La présence féminine dans le mythe de Don Juan - dans Dom Juan de Molière et Don Giovanni de Mozart -." Etudes de la Culture Francaise et de Arts en France 27, no. ll (February 2009): 713–35. http://dx.doi.org/10.21651/cfaf.2009.27..713.

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27

LÜTTEKEN, LAURENZ. "NEGATING OPERA THROUGH OPERA: COSÌ FAN TUTTE AND THE REVERSE OF THE ENLIGHTENMENT." Eighteenth Century Music 6, no. 2 (August 3, 2009): 229–41. http://dx.doi.org/10.1017/s1478570609990017.

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ABSTRACTAmong the operas on which Mozart and Da Ponte collaborated, Così fan tutte is a special case. In some ways, the libretto is more conventional than those provided for Le nozze di Figaro or Don Giovanni, and Mozart was not the first composer asked to set it. To understand the work best, it is necessary to read the text closely. This article concentrates on a few, highly significant characteristics – in particular, the locations in which the opera takes place. Such details provide the foundations for surprising insights into the opera. First, the libretto deals with central issues in eighteenth-century aesthetics, but the mechanist philosophy that informs the plot (reminiscent of that theorized by Julien Offray de La Mettrie in L'Homme machine) defuses these issues over the course of the action. Secondly, the music that turns the libretto into an opera resonates with specialist issues of eighteenth-century music aesthetics, often to turn them, once again, on their heads. In the last analysis, Così fan tutte is an opera in which both text and music question truth and reliability, and the consequences are serious for the opera, for music and for the very Enlightenment itself.

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28

Steinbuch, Thomas. "Towards a Posthuman Sexuality: Art, Sex and Evolution in Nietzsche, Williams and Mozart." Journal of Posthumanism 2, no. 1 (February 28, 2022): 65–78. http://dx.doi.org/10.33182/joph.v2i1.1970.

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My paper is a study of art, sex and evolution as they are entwined in the text of On Those Who Are Sublime from Nietzsche’s Thus Spoke Zarathustra and other related texts from that work. N. introduces the thought of the Dionysian orgy in connection with the work of art, which should be Dionysian art, and in this meaning, the sexual orgy signifies evolution. My paper further attempts to identify art, sex and evolution in the context of evolution out of the mind of domination arguing that here evolution means experiencing freedom and backtracking from rape sex to anonymity in sex. A close reading is made of the psychology of domination in Tennessee Williams’ drama A Streetcar Named Desire I present a new interpretation of Mozart’s Don Giovanni as a search, however unclearly, for a post human sexuality. I draw on the works of Wilhelm Reich’s classics of the literature of the Frankfurt School on the critique of authoritarianism, and interrogate the idea of truthfulness promoted on the far right.

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29

Yermolenko, Volodymyr. "Lesia Ukrainka, Don Juan and Europe: ideology and eropolitics in the Stone Master." Filosofska dumka (Philosophical Thought) -, no. 2 (June 12, 2021): 49–79. http://dx.doi.org/10.15407/fd2021.02.049.

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The article is focused on Lesia Ukrainka’s famous drama The Stone Master (Kaminnyi Hospodar), her remake of the Don Juan legend. The author of the article, Ukrainian philosopher Volodymyr Yermolenko, localizes Lesia’s masterpiece in a broader European tradition of the legend. He compares The Stone Master with the previous version of the Don Juan legend, by Tirso de Molina (The Trickster of Seville), Moli re (Dom Juan), Mozart (Don Giovanni), Hoffmann (Don Juan), Grabbe (Faust and Don Juan) and others. He analyzes Lesia’s originality within this tradition. He also reads The Stone Master in the context of the dialogue between different epochs: the Baroque, Classicism, Rococo / Enlightenment, Romanticism, Post-Romanticism. Each of the epochs develops its specific version of Don Juan legend, according to Yermolenko, which reflects a specific concept of human being and human relations developed at each particular period. While the “Baroque” Don Juan of Tirso de Molina marks the crisis of the culture of honor, the “Classicist” Don Juan of Moli re shows the development of a culture of knowledge and general concepts, and the “Romantic” Don Juan of Byron and Hoffmann is a symptorm of a new 19th century culture of will and transformation. In this respect, it is important to look at Lesia Ukrainka’s text as a battleground of “Romantic” will to freedom and “Post-Romantic” (or fin de siècle) will to power. In this context, Yermolenko reads The Stone Master (written in 1912) as a criticism of the fashionable topic of “will to power”, and as a political warning, with Lesia Ukrainka showing the upcoming horrors of the 20th century’s authoritarianism and totalitarianism. With the help of the concept of eropolitics, the author shows how, through the erotic topic, Lesia Ukrainka passed a major political message to her epoch — and ours as well.

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30

Johnston, Keith. "Charles Ford, Mozart. 2012. Sexuality and the Enlightenment in Mozart’s Figaro, Don Giovanni and Così fan tutte. Burlington, VT: Ashgate. 336 pp. ISBN 978–0754668893." Intersections: Canadian Journal of Music 32, no. 1-2 (2012): 250. http://dx.doi.org/10.7202/1018589ar.

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31

Fairleigh, James P., and Andrew Steptoe. "The Mozart-Da Ponte Operas: The Cultural and Musical Background to Le nozze di Figaro, Don Giovanni, and Cosi fan tutte." Notes 47, no. 4 (June 1991): 1126. http://dx.doi.org/10.2307/941631.

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32

André, Jean-Marie. "Sombre comme la tombe où repose mon ami. Mozart, Don Giovanni, la mort et l’amour ou le combat d’Eros et de Thanatos." Hegel N° 3, no. 3 (2013): 185. http://dx.doi.org/10.4267/2042/51453.

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André, Jean-Marie. "Sombre comme la tombe où repose mon ami. Mozart, Don Giovanni, la mort et l’amour ou le combat d’Eros et de Thanatos." Hegel N° 3, no. 3 (July 1, 2013): 185–90. http://dx.doi.org/10.3917/heg.033.0185.

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34

Strohm, Reinhard. "Paolo Gallarati, La forza delle parole. Mozart drammaturgo. Turin: Einaudi, 1993. xiv + 374 pp. Giovanna Gronda, ed., Lorenzo Da Ponte: Il Don Giovanni. Turin: Einaudi, 1995. xxviii + 131 pp. Manfred Hermann Schmid, Italienischer Vers und musikalische Syntax in Mozarts Opern. Tutzing: Schneider, 1994 (Mozart Studien 4). 320 pp." Cambridge Opera Journal 11, no. 2 (July 1999): 193–98. http://dx.doi.org/10.1017/s0954586700005012.

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35

McKee, David. "Two Don Giovannis. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 2 (1993): 191–95. http://dx.doi.org/10.1093/oq/10.2.191.

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36

Mitchell, Katie, and Mario Frendo. "A Conversation on Directing Opera." New Theatre Quarterly 37, no. 3 (July 19, 2021): 246–55. http://dx.doi.org/10.1017/s0266464x21000142.

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Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

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ZEISS, LAUREL ELIZABETH. "Permeable boundaries in Mozart's Don Giovanni." Cambridge Opera Journal 13, no. 2 (July 2001): 115–39. http://dx.doi.org/10.1017/s095458670100115x.

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Permeable boundaries form the musical ‘thread’ of Don Giovanni– a compositional strategy fundamental to the opera's character. Customary cadential borders get omitted or blurred; material heard early in the opera prominently returns; and all the accompanied recitative-set piece pairs act as ‘composite pieces’ – scenes in which musical material as well as dramatic function bind the accompanied recitative and aria or duet together and fuse them into one entity. ‘Permeability’ is heightened in Don Giovanni due to the supernatural elements of the plot, the title character's refusal to to submit to society's strictures, Gluck's association with the story, and Mozart's propensity for musical one-upmanship. Yet it is by no means unique to that work. Studying the relationships between accompanied recitatives and adjacent numbers reveals a ‘middleground’ of musical continuity that lies between long-range tonal plans and the motivic and tonal unities of individual numbers. Hence these passages challenge, as well as complement, some of our underlying assumptions about operatic form, and urge us to expand our definition of a ‘number’.

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38

Ellis, Katharine. "Rewriting Don Giovanni, or ‘The Thieving Magpies’." Journal of the Royal Musical Association 119, no. 2 (1994): 212–50. http://dx.doi.org/10.1093/jrma/119.2.212.

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Mozart's text has undergone no changes. Just as it is performed in the great cities of Germany and Italy, so will it be performed at the great Paris Opéra. … The respect due to the memory of the illustrious master has not for an instant been forgotten in the staging of the French Don Juan. The slightest alteration has been outlawed as sacrilege.

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39

Brook, Peter, Laurent Feneyrou, and John Sidgwick. "A Conversation: Peter Brook on Mozart's Don Giovanni." Grand Street, no. 66 (1998): 17. http://dx.doi.org/10.2307/25008380.

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Curtis, Liane. "The Sexual Politics of Teaching Mozart's Don Giovanni." NWSA Journal 12, no. 1 (2000): 119–42. http://dx.doi.org/10.1353/nwsa.2000.0003.

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Wehner, Ralf. ""... das sei nun alles für das Düsseldorfer Theater und dessen Heil..."." Die Musikforschung 55, no. 2 (September 22, 2021): 145–61. http://dx.doi.org/10.52412/mf.2002.h2.753.

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In der Freemantle Collection der Brotherton Library, University of Leeds, befindet sich ein fünfseitiges Autograph von Felix Mendelssohn-Bartholdy, das bisher nicht identifiziert war. Dieses unbekannte Orchesterwerk des Komponisten ist eine kleine Bühnenmusik zu dem Vorspiel "Kurfürst Johann Wilhelm im Theater" von Karl Immermann, mit dem das Stadttheater Düsseldorf am 28. Oktober 1834 eröffnet wurde. Im ersten Teil werden einige Takte aus Mozarts "Don Giovanni" adaptiert, der zweite Teil bildete die Begleitmusik zu einem von Theodor Hildebrandt nach dem Kupferstich von Giovanni Volpato "Der Parnass von Raphael" entworfenen "lebenden Bild", das Schauspieler in Szene setzten.

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Gut, Serge, Ferenc Liszt, and Leslie Howard. "Fantasie über Themen aus Mozarts Figaro und Don Giovanni. Op. post." Revue de musicologie 84, no. 2 (1998): 334. http://dx.doi.org/10.2307/947394.

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Schneider, Magnus Tessing. "Kierkegaard and the Copenhagen Production of Mozart’s Don Giovanni." European Romantic Review 29, no. 1 (January 2, 2018): 43–50. http://dx.doi.org/10.1080/10509585.2018.1417011.

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Casey, Thomas G. "Mozart's Don Giovanni and the Invitation to Full Freedom." New Blackfriars 88, no. 1015 (May 2007): 288–99. http://dx.doi.org/10.1111/j.1741-2005.2007.00159.x.

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Nedbal, Martin. "Wenzel Mihule and the Reception of Don Giovanni in Central Europe." Journal of Musicology 39, no. 1 (January 1, 2022): 66–108. http://dx.doi.org/10.1525/jm.2022.39.1.66.

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This article traces the previously overlooked transmission of a German Singspiel adaptation of Mozart’s Don Giovanni in central Europe in the late eighteenth and early nineteenth centuries. Titled Don Juan, oder Die redende Statue, the adaptation originated with the troupe of Wenzel Mihule at the Patriotic Theater in Prague in the early 1790s and, initially at least, took fewer liberties with the opera than other German reworkings, possibly because it was created in an environment sensitive to Mozart’s Italian original. The adaptation was picked up by Emauel Schikaneder’s company in Vienna, by companies across Moravia, and by Joseph Seconda’s troupe in Leipzig and Dresden, and it traveled with Mihule from Prague to southern Germany and Slovakia. Newly discovered archival documents associated with Mihule’s Don Juan shed light on the early German-language history of Don Giovanni, illustrating, in particular, its reception outside of large urban centers—in smaller towns, aristocratic palaces, and a monastery. This article argues, moreover, that the lack of scholarly attention to the adaptation is to a large extent connected to national politics in central Europe in the nineteenth and twentieth centuries, specifically to Czech-German ethnic tensions and conflicts.

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Panagl (Salzburg), Oswald. "Zerlines Genugtuung. Rezeptionssplitter von Mozarts ›Don Giovanni‹ in Hermann Brochs ›Die Schuldlosen‹." Sprachkunst. Beiträge zur Literaturwissenschaft 38, no. 2 (2008): 243–53. http://dx.doi.org/10.1553/spk38_2s243.

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Werdinger, Η. E. "The “Dux Drafts”. Casanova’s Contribution to Da Ponte’s and Mozart’s Don Giovanni." Maske und Kothurn 52, no. 4 (December 2006): 95–130. http://dx.doi.org/10.7767/muk.2006.52.4.95.

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Rukoleeva, R. T. "MUSIC OF THOUGHT OF S. KIERKEGAARD." Culture and Text, no. 46 (2021): 260–70. http://dx.doi.org/10.37386/2305-4077-2021-3-260-270.

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This article analyzes the essay «Either-or» by the Danish thinker S. Kierkegaard. The musicality is an important feature of this work. The author attempts to combine the languages of music and prose, and a unique philosophical and literary text is born on the border of two types of art. Kierkegaard considered Mozart’s opera «Don Giovanni» as the pinnacle of musical creativity. Through the character of Don Juan, the philosopher recreates the type of aesthetic personality in the spirit of romanticism and shows the vulnerability of the romantic worldview. «Either-or» includes works written in different genres and reflecting opposing attitudes in life. This feature of narration can be compared with the phenomenon of polyphonism in music.

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Goehring, Edmund J. "The Jesuit and the Libertine: Some Early Reception of Mozart’s Don Giovanni." Studies in Eighteenth Century Culture 42, no. 1 (2013): 49–79. http://dx.doi.org/10.1353/sec.2013.0017.

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Tseng, S. K. "Kierkegaard and Music in Paradox? Bringing Mozart's Don Giovanni to Terms with Kierkegaard's Religious Life-View." Literature and Theology 28, no. 4 (August 30, 2013): 411–24. http://dx.doi.org/10.1093/litthe/frt029.

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