Great masters believed that music is just an imitation of human singing. If so, any masterpiece fades before a regular lullaby. But when vocals come to the fore - this is the highest art. Here the genius of Mozart knows no equal.
The most famous operas by Wolfgang Mozart wrote at a time when the composer’s ability to fill music with his feelings was at its peak, and in Don Juan this art reached a climax.
Literary basis
It is not clear to the end where the plot of the fatal heartthrob came from in European folklore. For several centuries, the image of Don Juan wanders from one work to another. Such popularity suggests that the story of the seducer affects human experiences that do not depend on the era.
For the opera, Da Ponte reworked a previously published version of Don Juan (attributed to Bertati). Some characters were removed, due to which the rest turned out to be more expressive. The role of Donna Anna, which appeared in Bertati only at the beginning, was expanded. Researchers believe that Mozart made this role one of the main ones.
Image of don Juan
The plot on which Mozart wrote the music is rather traditional, he was well known to the then public. Here Don Juan is a scoundrel, guilty not only of seducing innocent women, but also of murder, a multitude of deceptions, through which he will lure the ladies into his networks.
On the other hand, throughout the whole action, the main character never captures any of the intended victims. Among the actors there is a woman deceived and abandoned by him (in the past). She relentlessly follows Don Juan, rescuing Cerlin, then calling upon her former lover to repent.
Thirst for life in Don Juan is huge, his spirit is not embarrassed by anything, sweeping away everything in its path. It is interesting to reveal the character of the character - in interaction with other heroes of the opera. It may even seem to the viewer that this is obtained by chance, but this is the intention of the authors.
Religious interpretation of the plot
The main thing is the thought of the wages of sin. Especially Catholicism condemns carnal sins, the body is considered the source of vice.
One should not underestimate the influence that religion has on society just a hundred years ago. What to say about the times in which Mozart lived. An open challenge to traditional values, the ease with which Don Juan shifts from one hobby to another, his audacity and arrogance - all this was considered a sin.
Only in recent decades, such behavior has been imposed on young people as a role model, even a certain heroism. But in the Christian religion this is not only condemned, but worthy of eternal torment. Not so much the "bad" behavior, as the reluctance to abandon it. It is his Don Juan demonstrates in the last act.
Female images
Donna Anna is an example of a strong woman captured by a thirst for revenge for the death of her father. Fighting for her honor, she becomes a real warrior. But then it seemed to forget that the villain was trying to seize her by force. Donna Anna only remembers the death of a parent. Strictly speaking, at that time such a murder was not considered worthy of trial, because two noblemen came together in an open duel.
Some authors have a version according to which Don Juan actually captured Donna Anna, but most researchers do not support her.
Zerlina is a country bride, simple but passionate. This is the closest character to the main character. Fascinated by sweet speeches, she is almost given to the seducer. Then he also easily forgets everything, being again near his fiancé, submissively expecting punishment from his hand.
Elvira is the abandoned passion of Don Juan, with whom he communicates before meeting with the Stone Guest. Elvira’s desperate attempt to save her lover remains fruitless. The parts of this character are full of strong emotions that require special performing talent.
The final
The appearance of the Commander, who as if mints his cues, standing still in the middle of the stage, looks really terrifying for the participants in the action. The servant is so distraught that he is trying to hide under the table. But his master boldly accepts the challenge. Although very soon he realizes that he has faced an overwhelming force, he does not retreat.
It is interesting how different producers approach the presentation of the whole opera in general and the finale in particular. Someone uses the stage effects to the maximum, enhancing the effect of music. But some directors leave the heroes without particularly magnificent costumes, use the minimum amount of scenery, giving first place to artists and the orchestra.
After the main character falls into the underworld, persecutors appear and realize that retribution has happened.
General characteristics of the opera
The dramatic component in this work is derived by the author to a new level. Mozart is far from moralizing or buffering. Despite the fact that the main character commits unsightly actions, it is simply impossible to remain indifferent to him.
Especially strong ensembles, which can be heard quite often. Although the three-hour opera requires considerable effort from the modern unprepared listener, it is connected, rather, not with the peculiarities of the operatic form, but with the intensity of the passions with which the music is “charged”.
P. Tchaikovsky considered Don Juan one of the best operas ever created in the world. This is how it remained to this day.
Watch Mozart's opera - Don Juan
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