Organization

Cantante

Barítono

Christopher Maltman

Don Giovanni

Bajo

Anatoli Kotscherga

El comendador

Soprano

Annette Dasch

Donna Anna

Tenor

Matthew Polenzani

Don Ottavio

Dorothea Röschmann

Donna Elvira

Erwin Schrott

Leporello

Ekaterina Siurina

Zerlina

Alex Esposito

Masetto

Director(a) orquestal

Bertrand de Billy

Director(a) de escena

Claus Guth

Diseñador(a) de vestuario/Figurinista

Christian Schmidt

Escenógrafo(a)

Christian Schmidleithner

Diseñador(a) de iluminación

Olaf Winter

Dramaturgia

Ronny Dietrich

Coreógrafo(a)

Ramses Sigl

Director(a) coral

Thomas Lang

Anatoly Kocherga

Svetlana Doneva

Pavol Breslik

Salzburger Festspiele

Wiener Staatsoper

italiano

Salzburgo

Austria

Haus für Mozart

"A thriller in real time as the fantasy of a moribund", wrote the Rondo magazine about this production from Claus Guth's Salzburg Mozart/Da Ponte cycle.

The magazine Opernwelt reported: "Guth said beforehand that he wanted to show a study about the human fear of death. He succeeds. Impressively and consistently. The forest is brilliant as a metaphor for the protagonists' wandering around. Don Giovanni also sees the forest for the trees. He's also wounded... That's no longer a hero who can easily wrap women around his finger. That's a fallen man in life. Someone who's afraid of the end. With everyone minute more."

Prague 1787: With a world premiere, Mozart wants to build on the huge success of the "Marriage of Figaro", which he reaped here the previous year. For the libretto, Mozart turned to the proven Figaro librettist Lorenzo Da Ponte. One chooses a well-known Spanish subject that was brought to the stage at the beginning of the year by the Italian composer Giuseppe Gazzaniga and his lyricist Giovanni Bertati in Venice: "Don Giovanni oder Der Steinerne Gast", the story of the egomaniacal seducer who denies morality, even invites death to him and is finally severely punished for his actions. Da Ponte and Mozart take over the course of action and expand it with completely new things.

The celebrated premiere took place in Prague at the end of October 1787. The press says: "Connoisseurs and musicians say that nothing like it has ever been performed in Prague. Herr Mozart conducted himself, and when he entered the orchestra he was cheered three times, which also happened when he left the orchestra." . But the work failed the following year with conservative Viennese audiences: "Don Giovanni" was only performed fifteen times during Mozart's lifetime.
Mozart and Da Ponte moved away from the operatic conventions of their time with numerous innovations: the title role is scored for a bass and not, as was usual, for a tenor part. Instead of the usual four acts, there are only two of unusual length. The arias and ensemble scenes become the starting and junction points of the action and are therefore no longer mere reflections of the preceding recitatives. But what is actually new about "Don Giovanni" is the ambiguity, which makes it impossible to classify the opera into one genre: tragedy and comedy, suffering and wit run through the entire work - the boundaries between serious and cheerful blur as well as the boundaries between the social classes. And who knows: maybe Mozart and his librettist Da Ponte will let Don Giovanni's descent into hell, of the representatives of the nobility, finally also drive the whole feudal age to hell. According to the "Figaro" this assumption is obvious.

Don Giovanni Mozart

alemán

inglés

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