The Original Portrayal of Mozart’s Don Giovanni
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Becsült beszerzési idő: A Prosperónál jelenleg nincsen raktáron, de a kiadónál igen. Beszerzés kb. 3-5 hét..
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A termék adatai:
- Kiadás sorszáma 1
- Kiadó Routledge
- Megjelenés dátuma 2021. november 16.
- ISBN 9780367243203
- Kötéstípus Keménykötés
- Terjedelem260 oldal
- Méret 234x156 mm
- Súly 489 g
- Nyelv angol
- Illusztrációk 16 Illustrations, black & white; 16 Halftones, black & white 213
Kategóriák
Rövid leírás:
The Original Portrayal of Mozart’s Don Giovanni offers an original reading of Mozart’s and Da Ponte’s opera Don Giovanni, using as a lens the portrayal of the title role by its creator, the baritone Luigi Bassi (1766-1825).
TöbbHosszú leírás:
The Original Portrayal of Mozart’s Don Giovanni offers an original reading of Mozart’s and Da Ponte’s opera Don Giovanni, using as a lens the portrayal of the title role by its creator, the baritone Luigi Bassi (1766–1825).
Although Bassi was coached in the role by the composer himself, his portrayal has never been studied in depth before, and this book presents a large number of new sources (first- and second-hand accounts), which allows us to reconstruct his performance scene by scene. The book confronts Bassi’s portrayal with a study of the opera’s early German reception and performance history, demonstrating how Don Giovanni as we know it today was not only created by Mozart, Da Ponte and Luigi Bassi but also by the early German adapters, translators, critics and performers who turned the title character into the arrogant and violent villain we still encounter in most of today’s stage productions.
Incorporating discussion of dramaturgical thinking of the late Enlightenment and the difficult moral problems that the opera raises, this is an important study for scholars and researchers from opera studies, theatre and performance studies, music history as well as conductors, directors and singers.
This was just the book I needed when staging Don Giovanni. Magnus Tessing Schneider has done a fantastic job documenting the preparations that led to the first performance of this most controversial of operas, in Prague in 1787. Building on facts, he dares oppose the false tradition that emerged after the deaths of Mozart and Da Ponte, and which portrays the title character as simply ‘a bad man who ends up in hell’. As I read this inspiring book, I understood why Giovanni is rather like Carmen, that other rebellious spirit who is also killed and with whom we also sympathize. Might we do so because they are free in a way that we are not? Presenting us with the enigma, the book leaves it to us to find the answer.
- Andrei Șerban, stage director
This is an important book. It is important as a radical historical reinterpretation of an iconic work of art, but also as a defiant challenge to certain tendencies in today’s intellectual climate. […]
Tessing Schneider’s historical examination is driven by a revisionist agenda but leans on a patient and systematic argumentation based on a large and diverse source material. It never becomes programmatic but is characterised by a combination of rigorous source criticism and inventive analytical observations. By means of this method, the author reaches a new and enthralling understanding of one of the most scrutinised works in the history of opera. He has presented us with a Don Giovanni who is even more interesting, complex, and thought-provoking than has commonly been assumed.
Moreover, this study is important because of what it reveals about a certain contemporary inclination: an impulse towards simplification and unambiguity in the interpretation of fictional stories and characters, and towards the instrumentalisation of historical works of art to suit present ideological agendas."
Lars Berglund, Swedish Journal of Music Research
Több
Tartalomjegyzék:
Introduction
Rewriting the myth of Don Juan
The demonising of Don Giovanni: A historical overview
Chapter 1: Luigi Bassi as Don Giovanni
The singer and his role
Intention and experience: Prescriptive and descriptive sources
The performer as a phenomenon
Grace and gallantry: Bassi’s portrayal
Performance traditions: Italians and Germans
Chapter 2: The opening scene
Chapter 3: Don Giovanni and the three women
Donna Elvira’s entrance aria
The duettino
The quartet and Donna Anna’s narration
Chapter 4: The party episode
The champagne aria
The garden scene
The ballroom scene
Chapter 5: The disguise episode
The first duet with Leporello
The trio
The canzonetta
The disguise aria
Chapter 6: The graveyard scene
Chapter 7: The second finale
The supper
The last encounter with Donna Elvira
Don Giovanni and the stone guest
The final scene
Postscript: In defence of the operatic work
Bibliography
Több