Anyone remember my old opera thread

[duke o' york]

Sir, sirrah is a traditional contemptuous use of sir, but I am more than happy to let you off on this count, as I use it to refer to my friends. Please keep up the excellent education you are giving the proletariat (well, 'poly-wise) with this thread, as I really can't get enough of it. Great work.

[Boris Godunov]

I had no idea "sirrah" denoted contempt, I just thought it was "sir" said with an overdone southern accent.

[duke o' york]

Don't ask someone who majored (is this a verb?) in Shakespeare about 'sirrah', or about the south, because I've never been.

(Waiting for Sloww's invitation! )

[Boris Godunov]

Another interlude for amusement purposes, although not operatic:

[duke o' york]

They clapped the choir I assume, because the organist clearly had a stroke midway through....

[Elok]

Sirrah isn't intrinsically contemptuous, it's just an archaic form of address for one's social inferiors, e.g. servants. "Fetch my trunks from the carriage, sirrah," was perfectly polite. It's only when given to an implied social equal that it's rude.

[Boris Godunov]

Oy, spent 2 hours just on the first act of the Mozart. Won't be up tonight...

[Boris Godunov]

And now a Wagner interlude, just for variety's sake:



Hagen's watch from Götterdämmerung. A good old "villain plots nefariously" solo. Matti Salminen is one of the best Wagnerian basses off all time, being huge both in size and voice. And how awesome is it to get an ominous brass outburst just for sitting down?

[Nostromo]

[Boris Godunov]

Since Carmen has been done:

[Boris Godunov]

4. Don Giovanni

Don Giovanni (1787)

Opera in 2 acts by Wolfgang Amadeus Mozart (1756-1791)

If you were to get four opera buffs into the same room and ask them which is the best Mozart opera, you'd probably get four different answers. Opera fans seem to be almost evenly divided between the big four: The Marriage of Figaro, Cosi fan tutti, The Magic Flute and Don Giovanni. Ok, you might happen upon a few who would say La Clemenza di Tito or Idomeneo, but such people are idiots.

Personally, while I love all four of the Mozart greats, I always come back to Don Giovanni. It has an emotional power that surpasses the others. Mozart did something that had never been done before in opera, and rarely done as well since: he terrifies us. Of course, terror isn't the only feeling he instills, not by far. He dubbed the work a "dramma giocoso," meaning it combined both serious and comic material, as opposed to his previous works which were either purely comic or strictly serious. And the final scene with the statue is one of the most incredible things you'll see in any opera.

Dramatis Personae:

Don Giovanni, a Spanish nobleman.................. Baritone
Leporello, his manservant.............................. Bass
Donna Anna, a noblewoman........................... Soprano
Don Ottavio, her fiance................................. Tenor
Donna Elvira, a noblewoman from Burgos.......... Soprano
The Commendatore, father of Donna Anna........ Bass
Zerlina, a peasant girl................................... Soprano
Masetto, her fiance...................................... Bass

Chorus of peasants, party guests

Setting: Seville, Spain, 17th century

The Overture****. The powerful, ominous theme of The Commendatore booms out, instantly grabbing our attention. This is the first time an opera overture contained musical elements from the opera itself.



ACT I

Scene 1. Night outside the palace of The Commendatore. Leporello paces in the darkness, complaining iabout being left outside in the cold while his master is inside having all the fun (“Notte e giorno fatticar”**). Don Giovanni enters, wearing a mask, and is pursued by Donna Anna, who is calling for help. The Don has portrayed himself as Donna Anna's betrothed in order to get some action from her! A spirited trio ensues as the Don tries to escape, Donna Anna prevents him and Leporello cowers, muttering away to himself**.

The Commendatore enters, brandishing a sword. Unhand my daughter, he says, and defend yourself! Donna Anna runs inside as Don Giovanni advises the old man to beat it. I said en garde, says the Commendatore. Fine, says the Don, and draws his sword. They fight, and the Don runs the old man through. The Commendatore falls and sings that he is dying, while the Don expresses surprise at what he's done and Leporello registers horror. A solemn and profound moment***. Once the old man dies, the Don and Leporello exit.

Donna Anna returns to the scene, having fetched Don Ottavio, and makes the horrifying discovery of her dad's corpse. In a lyrical duet, they vow to not rest until they discover the identity of the murderer and bring him to justice (“Ah! vendicar, se il puoi”**).

Scene 2. Dawn on a city street. The Don and Leporello enter. Wait, says the Don, I smell a woman approaching. They hide. Enter Donna Elvira, who sings a big solo (“Ah! Qui mi dice mai”***). Oh, where is the man I loved? He said he loved me, but then he left me, and I am going to find him!

Poor dear, says the Don, I must “console” her. He steps out with comforting words...and recognizes Elvira, much to his dismay. Elvira is one of his past conquests, and the scoundrel she was singing about was he. She furiously demands to know how he could promise to marry her, but then leave her at the altar. Oh, I can explain, says the Don. Here...uh, Leporello will tell you! The Don thrusts Leporello forward and runs off.

Leporello tells Elvira she should forget about Don Giovanni, as she's not the only woman wronged by him. He launches into the celebrated, glorious Catalogue Aria (“Madamina! Il catalogo il questo”****). My lady, let me show the list he's had me keep of his sexual conquests. In Italy, 640. In France, 100, etc. Oh, and here in Spain, 1,003! Any woman who interests him will end up in his bed... as you well know, m'lady!



Scene 3. Daytime in the nearby countryside. A wedding party of peasants enters, celebrating Zerlina & Masetto's impending nuptials**. Don Giovanni and Leporello enter, and the Don tells Leporello to take Masetto and his friends to his palace and give them whatever they want--he'll stay and talk with Zerlina here for a bit. Uh, sir, says Masetto, I don't think that would be proper. Zerlina begs Masetto to leave and not cause trouble. The Don gets more succinct: do what I say, or you'll regret it. Masetto says oh yes, he's got it, and gets a brief solo to express as much (“Ho, capito!”**). He turns to Zerlina and cusses her out for betraying him. Leporello drags him and the others off.

Finally, we got rid of that bozo, says the Don to Zerlina. You deserve someone better than that. I'll marry you today, my dear, just give me your hand. And here we have perhaps the most famous of all operatic duets (“La ci darem la mano”****).



I'll make your dreams come true, he says. Zerlina resists, barely, saying what about her poor Masetto. Forget him, I'll actually change your life, replies the Don. They start to exit, hand-in-hand.

Stop, you lech! Donna Elvira suprises them, as she's been tailing the Don. Elvira clues Zerlina into his true intentions and whisks her away. The Don's luck gets worse, as here come Donna Anna & Don Ottavio. Oh, noble Don Giovanni, says Donna Anna, we ask for your friendship and help. The Don responds with gallantry, tenderly asking the source of her grief.

Elvira comes back. Villain! Betrayer! What the hell is she going on about, wonder Ottavio and Anna. Oh, don't mind her, she's mad, says the Don. They all engage in a marvelous, tense quartet (“Non ti fidar, o misera”***) The Don drives Elvira off, and tells the others that he will go look after her.

GASP says Donna Anna, I recognize that voice! In a dramatic section, she retells her father's murder and says she's certain that Don Giovanni is the man who killed him. She sings a terrific solo (“Or sai chi l'onore”***), asking Ottavio to swear to help avenge her dad and get Don Giovanni. She exits. Alone, Ottavio gets his own great number (“Dalla sua pace”***). He has his doubts about the Don being the killer, but he wants more than anything for Anna to be happy, because if she's happy, he's happy.

Scene 4. Inside the Don's palace. Don Giovanni says to Leporello, let's throw a big party! Invite all the people in the countryside! He sings the famous Champagne Aria (“Finch'han dal vino”****). It's a fast, short aria, but wonderful nonetheless.



Scene 5. Outside the Don's house. Masetto mopes while Zerlina tries to cajole him into forgiving her. In a lovely, gentle aria (“Batti, batti, o bel Masetto”***) she tells him he can be mad at her, hit her, whatever he wants so long as he forgives her. Masetto melts. Don Giovanni happens by as he's giving instructions to servants for the party. He sees Zerlina first and is about to put the moves on her, but catches sight of Masetto and thinks on his feet: hey you two! Come to my party tonight to celebrate your happiness! Well, okay, they say and follow the Don.

Enter Ottavio, Anna and Elvira, wearing masks. They sing another great trio (“Bisogna aver corragio”***) in anticipation of crashing the Don's party and bringing him to justice. Leporello sticks his head out from a window, sees the masked trio and invites them inside. The threesome sing a gorgeous little prayer*** before going in.

Scene 6. The lavish ballroom of the Don's palace. The finale for the first act gets *** as a whole, there's a lot that goes on, and the music builds with dramatic flair until the climax. Don Giovanni flirts with Zerlina, and instructs Leporello to distract Masetto. The servant drags a protesting Masetto out onto the main floor and comically dances with him. The Don starts to dance with Zerlina, edging her closer and closer to a door. He finally drags her through the door against her will. Leporello, having gotten Masetto tangled with the other dancers, follows the Don to try and prevent disaster.



A scream from Zerlina brings the party to a halt. She comes racing back in the room, crying. Don Giovanni enters with his sword drawn, dragging Leporello with him. Here's the villain, he says. I'll kill him now in retribution! Hold it, says Ottavio. The threesome unmasks and says the jig is up, Don, we know you're a murdering bastard. The scene closes with a huge ensemble for the entire cast as the Don fights his way out.

ACT II

Scene 1. Outside the house of Donna Elvira, at night. In a spirited duet, Leporello says he's going to leave his master, but Don Giovanni manages to persuade him to stick around with a bribe**. The Don then tells Leporello to exchange clothes with him, as he wishes to seduce one of Elvira's young maids in disguise. Elvira appears on the balcony and sings a graceful aria (“Ah taci, ingiusto core”***). The Don and Leporello join in, the nobleman telling his servant of the plan to trick Elvira into thinking Leporello is the Don, getting her out of the house so the Don can sex up the maid. The Don then calls out to Elvira, tells her that he now wants to be with her and asks her to come down. Elvira is delighted and does so, only to be whisked away by Leporello-dressed-as-Giovanni.

With Elvira gone, the Don sings a perfect serenade to romance the maid inside (“Deh vieni all finestra”****).



Come to the window, darling, to hear my song, and then come down and join me for a snog. He's interrupted as Masetto enters, leading a gang of peasants. Thinking the Don is actually Leporello, Masetto says they're going to hunt down the Don and kill him! The Don pretends to help and gives instructions to the men, which serve to send them all in different directions. Alone with Masetto, the Don beats the snot out of him and escapes. Zerlina enters, hearing Masetto's cries of pain. In a tender, coy aria (“Vedrai, carino”***) she soothes his aches.

Scene 2. A courtyard. Leporello-dressed-as-Giovanni and Elvira are there, with the former trying to extricate himself from the grip of the latter. Donna Anna & Don Ottavio enter, but they don't see the other pair due to the darkness. Just as Leporello is about to escape, in come Zerlina & Masetto, and there is a great sextet (“Ferma, briccone”***). Thinking he's the Don, Zerlina & Masetto confront Leporello, and Anna & Ottavio join in. Elvira steps in to defend the man who she considers her husband, only to have Leporello take off his hat and cloak and reveal his true identity. In a solo (“Ah pieta! Signori miei!”**) he begs for mercy from them, saying it's the wicked Don who makes him take part in his schemes. As he says this, he inches towards and exit and quickly makes his escape.

Don Ottavio tells the others that there can be no doubt that Giovanni is the man who murdered Anna's father. He sings his second lovely aria (“Il mio tesoro”****). It's another moment in which he swears to bring peace to his beloved and never rest until her father is avenged, and it's the best tenor aria in all of Mozart. He exits, and Donna Elvira gets yet another brilliant solo (“Mi tradi quell'alma ingrata”***). While she knows the Don has treated her like crap, she still loves him and hopes to save him.

Scene 3. A cemetary, still at night. The Don enters, having escaped from his pursuers. He's soon joined by Leporello, who is upset over his treatment that day. As the Don loudly jokes about his adventures, a booming, ethereal voice calls out (“Di rider finerai”**).



The voice says the Don's laughter will be silenced by dawn. After the Don and a spooked Leporello look for the source of the voice, they notice the nearby statue of the Commendatore. As a joke, the Don orders Leporello to invite it to dinner. (“O statua gentilissima”**). Leporello finally gets the nerve to invite the statue—and it nods its head in acceptance! The Don pushes Leporello aside to invite the statue himself. Yes, is the one-word response from the stonework. The Don and Leporello comment on the strangeness of the moment and exit.

Scene 4. Donna Anna's house. Ottavio says they'll soon get Giovanni, so she should marry him right away. How could I marry you while I'm still in grief? she says. She gets another noble aria (“Non mi dir”**) assuring Ottavio she doesn't mean to be cruel, but she has to focus on getting justice.

Scene 5. The dining room of the Don's palace. There's a spectacular spread of food and drink and the Don joyfully revels in the pleasures of the evening (“Gia la mensa preparata”**). There's a bit of comedy between himself and Leporello, who sneaks food and engages in other hijinks. Elvira crashes the party, begging the Don to change his ways and love her. In a trio, she pleads her case while the Don, amused, says she should just party it up with him while Leporello remarks how heartless his master is.

Elvira gives up and exits through the big doors and screams. What the hell was that? wonders the Don and sends Leporello to investigate. Leporello exits, screams and races back in, shutting the door in terror. Ah, sir, it's him... the man of stone! You're nuts, says the Don, but then there are loud knocks on the door. I'll get it myself, says the Don, as Leporello cowers under a table and the other guests quickly exit.

The doors fly open and in stomps the statute of the Commendatore, accompanied by the dark chords that opened the overture. The statue announces himself in booming tones (“Don Giovanni, a cenar teco”****).



You invited me to dine with you, it says, so I have come. While incredulous, the Don orders another place setting for his guest. No need, says the statue, I'm here for a much graver reason! Okay, says the Don, speak your mind. Since you invited me to dine with you, says the statue, it's only proper if I return the favor: will you come dine with me? Despite pleas from Leporello to decline, the Don says he is not a coward and agrees. When he accepts the offered hand of the statue, he cries out in pain—the hand is as cold as ice! Repent of your wickedness, says the statue, for this is your final hour! Get lost, says the Don, I regret nothing! Leporello implores his master to repent, the statue demands it of him, but the Don steadfastly refuses. You're out of time, says the statue. The Don is overcome by feelings of terror as a chorus of offstage demons chant of the torments that await him below. A fiery fissure opens up and the Don plumets to his damnation with a terrible scream, which is echoed by Leporello, who falls in a faint. One of the most amazing scenes ever put on stage.

Epilogue. The rest of the cast rush in, looking to exact justice on the Don. Leporello informs them they're too late, and recounts the visit from the statue. At last, says Ottavio, I can marry my beloved. Not quite, says the cocktease that is Anna: give me one more year to mourn. Elvira says she'll go to a convent, Zerlina & Masetto look forward to wedded bliss, and Leporello says he'll find a better master. All six sing the final sextet, moralizing on the fate of the Don (“Questo e il fin di chi fal mal”**). So ends all evil-doers, and the opera comes to its “happy” ending (NOTE: the epilogue is frequently omitted).

Recommended Recording:

DECCA: Josef Krips conducing the Vienna Philharmonic. Featuring Cesare Siepi, Fernando Corena, Hilde Gueden.

NEXT UP: Yet another opera set in Seville...

[duke o' york]

Is it by Rossini by any chance?

[Boris Godunov]

Is it by Rossini by any chance?

Maaaaaaaybe.

[Asher]

Are there any gay operas?

[Boris Godunov]

Are there any gay operas?

http://en.wikipedia.org/wiki/Death_in_Venice_(opera)