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Journal articles on the topic 'Don Giovanni'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 January 2023

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1

Freeman-Attwood, Jonathan. "Don Giovanni." Musical Times 131, no. 1769 (July 1990): 375. http://dx.doi.org/10.2307/965767.

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2

Vallet-Collot, Catherine. "Don Giovanni." Revue de la BNF 54, no. 1 (2017): 108. http://dx.doi.org/10.3917/rbnf.054.0108.

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3

McKee, David. "Don Giovanni." Opera Quarterly 7, no. 2 (1990): 188–89. http://dx.doi.org/10.1093/oq/7.2.188.

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4

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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5

Brouwers, Toon. "Don Playboy Giovanni." Documenta 25, no. 3-4 (March 28, 2019): 279–84. http://dx.doi.org/10.21825/doc.v25i3-4.10450.

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6

McLeod, Kenneth. "Don Giovanni (review)." Notes 62, no. 3 (2006): 781–82. http://dx.doi.org/10.1353/not.2006.0031.

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7

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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8

King, Alec Hyatt, and Jan Kristek. "Don Giovanni in Prague." Musical Times 128, no. 1738 (December 1987): 683. http://dx.doi.org/10.2307/964806.

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9

Stoneham, Marshall. "Casanova and 'Don Giovanni'." Musical Times 129, no. 1748 (October 1988): 531. http://dx.doi.org/10.2307/966691.

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10

Giovanni, Don, and Renate Schlesier. "Entretien avec Don Giovanni." Le Genre humain N�13, no. 2 (1985): 7. http://dx.doi.org/10.3917/lgh.013.0007.

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11

Burroughs, Bruce. "Don Giovanni, K. 527." Opera Quarterly 8, no. 3 (1991): 131–32. http://dx.doi.org/10.1093/oq/8.3.131.

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12

Schauer, John. "Don Giovanni, K. 527." Opera Quarterly 8, no. 3 (1991): 132–35. http://dx.doi.org/10.1093/oq/8.3.132.

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13

McKee, David. "Don Giovanni, K. 527." Opera Quarterly 8, no. 3 (1991): 135–36. http://dx.doi.org/10.1093/oq/8.3.135.

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14

McKee, David. "Don Giovanni, K. 527." Opera Quarterly 8, no. 3 (1991): 197–220. http://dx.doi.org/10.1093/oq/8.3.197.

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15

Sun Choi. "Don Giovanni/Don Juan/Don Guan rufen “Donna Anna!”." 러시아연구 20, no. 1 (May 2010): 105–38. http://dx.doi.org/10.22414/rusins.2010.20.1.105.

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16

Moindrot, Isabelle. "Don Giovanni, un divertissement tragique." Dix-huitième Siècle 29, no. 1 (1997): 527–41. http://dx.doi.org/10.3406/dhs.1997.2202.

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17

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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18

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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19

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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20

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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21

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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22

Roy D. Carlson. "Don Giovanni on Eccles Street." Texas Studies in Literature and Language 51, no. 4 (2009): 383–99. http://dx.doi.org/10.1353/tsl.0.0040.

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23

Rob Haskins. "Don Giovanni (review)." Notes 67, no. 1 (2010): 172–73. http://dx.doi.org/10.1353/not.2010.0015.

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24

Galas, Candelas. "Don Giovanni: Models and Reproductions." Ars Lyrica 15 (January 2006): 1–22. http://dx.doi.org/10.1484/j.jal.2.302702.

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25

Terrien, Samuel. "Don Giovanni: Seducer or Blasphemer?" Theology Today 45, no. 3 (October 1988): 326–34. http://dx.doi.org/10.1177/004057368804500309.

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26

Castañeda, Salvador García. "Piero Menarini.Quante volte, don Giovanni? II catalogo di Don Giovanni da Tirso al Romanticismo." Romance Quarterly 34, no. 1 (February 1987): 125–26. http://dx.doi.org/10.1080/08831157.1987.11000430.

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27

Herman, Jan. "Ouverture : Don Giovanni en sept récitals." Revue belge de philologie et d'histoire 76, no. 3 (1998): 649–66. http://dx.doi.org/10.3406/rbph.1998.4282.

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28

SCHENBECK, LAWRENCE. "Leporello, Don Giovanni, and the Picaresque." Opera Quarterly 11, no. 2 (1995): 3–16. http://dx.doi.org/10.1093/oq/11.2.3.

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29

SCHENBECK, LAWRENCE. "Leporello, Don Giovanni, and the Picaresque." Opera Quarterly 11, no. 4 (1995): 3–16. http://dx.doi.org/10.1093/oq/11.4.3.

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30

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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31

Collins, Jane. "Orosei, Sardinia: Museo Don Giovanni Guiso." Theatre and Performance Design 4, no. 1-2 (April 3, 2018): 149–63. http://dx.doi.org/10.1080/23322551.2018.1464842.

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32

Chung, Heewon. "Opera in Chopin’s Music: Chopin’s Don Giovanni." Journal of the Musicological Society of Korea 24, no. 1 (May 31, 2021): 81–104. http://dx.doi.org/10.16939/jmsk.2021.24.1.81.

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33

Paradis, Annie. "Don Giovanni ou la trajectoire du lièvre." L'Homme 36, no. 138 (1996): 65–85. http://dx.doi.org/10.3406/hom.1996.370074.

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34

Rice, John A. "The Vienna ‘Don Giovanni’- By Ian Woodfield." Journal for Eighteenth-Century Studies 35, no. 2 (May 24, 2012): 281. http://dx.doi.org/10.1111/j.1754-0208.2011.00396.x.

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35

Rumph, S. "The Sense of Touch in 'Don Giovanni'." Music and Letters 88, no. 4 (September 17, 2007): 561–88. http://dx.doi.org/10.1093/ml/gcm035.

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36

Denny, Thomas. "The Vienna Don Giovanni (review)." Notes 68, no. 3 (2012): 566–68. http://dx.doi.org/10.1353/not.2012.0015.

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37

Gigliucci, Roberto. "Don Giovanni, Faust and the western modernity." International Communication of Chinese Culture 3, no. 1 (March 2016): 87–93. http://dx.doi.org/10.1007/s40636-016-0052-3.

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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

Sirmons, J. ""These People": On Sebastian Baumgarten's Don Giovanni." Opera Quarterly 29, no. 3-4 (December 1, 2013): 368–76. http://dx.doi.org/10.1093/oq/kbu003.

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40

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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41

Atchley, K. ""Don Giovanni" and Other New Electronic Operatic Works." Leonardo Music Journal 1, no. 1 (1991): 77. http://dx.doi.org/10.2307/1513126.

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42

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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43

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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44

Will, R. "Zooming In, Gazing Back: Don Giovanni on Television." Opera Quarterly 27, no. 1 (March 1, 2011): 32–65. http://dx.doi.org/10.1093/oq/kbr006.

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45

Woodhouse, David. "The Dedication to Don Juan Re-Examined: Hazlitt—Wat Tyler—Don Giovanni." Byron Journal 45, no. 2 (December 2017): 141–54. http://dx.doi.org/10.3828/bj.2017.21.

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46

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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47

Camilletti, Fabio. "Don Rodrigo, Don Giovanni e l’oltraggio ai morti: percorsi purgatoriali ne I promessi sposi." Quaderni d'italianistica 41, no. 2 (June 11, 2021): 161–74. http://dx.doi.org/10.33137/q.i..v41i2.36776.

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A partire dalla descrizione di un tabernacolo dedicato alle anime purganti, che figura nel primo capitolo de I promessi sposi, traccio qui alcuni percorsi di lettura purgatoriale del romanzo. Contestualizzerò anzitutto gli eventi nella rinnovata devozione verso le anime in pena della Lombardia borromaica. Ricostruirò quindi i nessi che legano il purgatorio al tema leggendario di Don Giovanni, aprendo così nuove possibilità di lettura di quella figura ironicamente dongiovannea che è don Rodrigo. Infine mostrerò come, in antitesi a Rodrigo, sia Renzo a incarnare l’idea di una pietà verso i morti che ne acquieta e rende propizie le ombre.

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48

GANZ, A. "Don Giovanni Shavianized Man and Superman as Mozartean Commentary." Opera Quarterly 13, no. 1 (January 1, 1996): 21–28. http://dx.doi.org/10.1093/oq/13.1.21.

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49

Dessaux, Pierre-Antoine. "Clin d'?il. De don Patillo à Giovanni Panzani." Entreprises et histoire 44, no. 3 (2006): 113. http://dx.doi.org/10.3917/eh.044.0113.

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50

Brignoli, Laura. "Éric-Emmanuel Schmitt e il paradosso di Don Giovanni." Studi Francesi, no. 163 (LV | I) (May 1, 2011): 108–17. http://dx.doi.org/10.4000/studifrancesi.5835.

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