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1217:" – "Beat, O beat me, handsome Masetto"), but just as she manages to persuade him of her innocence, Don Giovanni's voice from offstage startles and frightens her. Masetto hides, resolving to see for himself what Zerlina will do when Don Giovanni arrives. Zerlina tries to hide from Don Giovanni, but he finds her and attempts to continue the seduction, until he stumbles upon Masetto's hiding place. Confused but quickly recovering, Don Giovanni reproaches Masetto for leaving Zerlina alone, and returns her temporarily to him. Don Giovanni then leads both offstage to his ballroom. Three masked guests – the disguised Don Ottavio, Donna Anna, and Donna Elvira – enter the garden. From a balcony, Leporello invites them to his master's party. They accept the invitation and Leporello leaves the balcony. Alone, Don Ottavio and Donna Anna pray for protection, Donna Elvira for vengeance (Trio: "
1147:" – "Don't trust him, oh sad one"). As Don Giovanni leaves, Donna Anna suddenly recognizes him as her father's murderer and tells Don Ottavio the story of his intrusion, claiming that she was deceived at first because she was expecting a night visit from Don Ottavio himself, but managed to fight Don Giovanni off after discovering the impostor (long recitative exchange between Donna Anna and Don Ottavio). She repeats her demand that he avenge her and points out that he will be avenging himself as well (aria: "Or sai chi l'onore Rapire a me volse" – "Now you know who wanted to rob me of my honour"). In the Vienna version, Don Ottavio, not yet convinced (Donna Anna having only recognised Don Giovanni's voice, not seen his face), resolves to keep an eye on his friend ("
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of the statue interrupts and warns Don
Giovanni that his laughter will not last beyond sunrise. At the command of his master, Leporello reads the inscription upon the statue's base: "Here am I waiting for revenge against the scoundrel who killed me" ("Dell'empio che mi trasse al passo estremo qui attendo la vendetta"). The servant trembles, but Don Giovanni scornfully orders him to invite the statue to dinner, and threatens to kill him if he does not. Leporello makes several attempts to invite the statue to dinner, but is too frightened to complete the invitation (Duet: "O, statua gentilissima" – "Oh most noble statue"). Don Giovanni invites the statue to dinner himself. Much to his surprise, the statue nods its head and responds affirmatively.
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exchange cloak and hat with him. Donna Elvira comes to her window (Trio: "Ah taci, ingiusto core" – "Ah, be quiet unjust heart"). Seeing an opportunity for a game, Don
Giovanni hides and sends Leporello out in the open wearing Don Giovanni's cloak and hat. From his hiding place Don Giovanni sings a promise of repentance, expressing a desire to return to her and threatening to kill himself if she does not take him back, while Leporello poses as Don Giovanni and tries to keep from laughing. Donna Elvira, convinced, descends to the street. Leporello, continuing to pose as Don Giovanni, leads her away to keep her occupied while Don Giovanni
1530:) – likely a joke understandable for the original audience, as Felice Ponziani, who sang Leporello's part at the premiere, also sang Figaro's part (including "Non più andrai") earlier in Prague. (Finale "Già la mensa è preparata" – "Already the table is prepared"). Donna Elvira enters, saying that she no longer feels resentment against Don Giovanni, only pity for him. ("L'ultima prova dell'amor mio" – "The final proof of my love"). Don Giovanni, surprised, asks what she wants, and she begs him to change his life. Don Giovanni taunts her and then turns away, praising wine and women as the "support and glory of humankind" (
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1141:" – "Flee from the traitor!"). She leaves with Zerlina. Don Ottavio and Donna Anna enter, plotting vengeance on the still unknown murderer of Donna Anna's father. Donna Anna, unaware that she is speaking to her attacker, pleads for Don Giovanni's help. Don Giovanni, relieved that he is unrecognised, readily promises it, and asks who has disturbed her peace. Before she can answer, Donna Elvira returns and tells Donna Anna and Don Ottavio that Don Giovanni is a false-hearted seducer. Don Giovanni tries to convince Don Ottavio and Donna Anna that Donna Elvira is insane (Quartet: "
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Leporello and threaten to kill him. Donna Elvira tries to protect the man who she thinks is Don Giovanni, claiming him as her husband and begging the others to spare him. Leporello takes off Don Giovanni's cloak and reveals his true identity. He begs for mercy and, seeing an opportunity, runs off (Leporello aria: "Ah pietà signori miei" – "Ah, have mercy, my lords"). Don Ottavio is now convinced that Don Giovanni murdered Donna Anna's father (the deceased Commendatore). He swears vengeance ("
1536:). Hurt and angry, Donna Elvira gives up and leaves. Offstage, she screams in sudden terror. Don Giovanni orders Leporello to see what has upset her; when he does, he also cries out, and runs back into the room, stammering that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Don Giovanni opens it himself, revealing the statue of the Commendatore. With the rhythmic chords of the overture, now reharmonized with diabolic
971:" – "Do not hope, unless you kill me, that I shall ever let you run away!"). He breaks free and she runs off as the Commendatore enters the garden. The Commendatore blocks Don Giovanni's path and forces him to fight a duel. Don Giovanni kills the Commendatore with his sword and escapes with Leporello. Donna Anna, returning with her fiancé, Don Ottavio, is horrified to see her father lying dead in a pool of his own blood. She makes Don Ottavio swear vengeance against the unknown murderer. (Duet: "
1889:(whom Viardot may have persuaded not to go through with her plan to marry the composer). Viardot kept the manuscript in a shrine in her Paris home, where it was visited by many people. Tchaikovsky visited her when he was in Paris in June 1886, and said that when looking at the manuscript, he was "in the presence of divinity". So it is not surprising that the centenary of the opera in 1887 would inspire him to write something honouring Mozart. Instead of taking any themes from
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1978:(1822) is a peculiar reworking of Mozart's opera to adapt it to Rossinian fashion. It comprises new music by Carnicer on a new text (e.g. the first half of act 1), new music on Da Ponte's text (e.g. Leporello's aria) or on a mixture of both (e.g. the new trio for the scene in the cemetery); the whole collated with extensive quotations or entire sections borrowed directly from Mozart (e.g. Finale 1 and Finale 2, and even some music from
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965:" – "Night and day I slave away"). He is keeping watch while Don Giovanni is in the Commendatore's house attempting to seduce the Commendatore's daughter, Donna Anna. Don Giovanni enters the garden from inside the house, pursued by Donna Anna. Don Giovanni is masked and Donna Anna tries to hold him and to unmask him, shouting for help. (Trio: "
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accuses
Leporello of assaulting Zerlina himself, and threatens to kill him. The others are not fooled. Don Ottavio produces a pistol and points it at Don Giovanni, and the three guests unmask and declare that they know all. But despite being denounced and menaced from all sides, Don Giovanni remains calm and escapes – for the moment.
1556:). As mentioned above, productions for over a century – beginning with the original run in Prague – customarily omitted the final ensemble, but it frequently reappeared in the 20th century and productions of the opera now usually include it. The return to D major and the innocent simplicity of the last few bars conclude the opera.
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Leporello escapes again before she returns. This scene, marked by low comedy, is rarely performed today. Also in the Vienna production, Donna Elvira is still furious at Don
Giovanni for betraying her, but she also feels sorry for him. ("Mi tradì quell'alma ingrata" – "That ungrateful wretch betrayed me").
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Masetto's friends (Don
Giovanni aria: "Metà di voi qua vadano" – "Half of you go this way. the others, go that way"), Don Giovanni takes Masetto's weapons away, beats him up, and runs off, laughing. Zerlina arrives and consoles the bruised and battered Masetto ("Vedrai carino" – "You'll see, dear one").
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invitation to dinner. Don
Giovanni brazenly accepts, and shakes the statue's proffered hand, only to collapse as he is overcome by sudden chills. The statue offers him a final chance to repent as death draws near, but Don Giovanni adamantly refuses. The statue disappears and Don Giovanni cries out in
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Donna Anna, Don
Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for the villain. They find instead Leporello hiding under the table, shaken by the supernatural horror he has witnessed. He assures them that no one will ever see Don Giovanni again. The remaining characters announce their
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A marriage procession with
Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Don Giovanni is immediately attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realizing that Don Giovanni means to remain
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Don
Giovanni wanders into a graveyard. Leporello happens along and the two reunite. Leporello tells Don Giovanni of his brush with danger, and Don Giovanni laughingly taunts him, saying that he took advantage of his disguise as Leporello by trying to seduce one of Leporello's girlfriends. The voice
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As the merriment, featuring three separate chamber orchestras on stage, proceeds, Leporello distracts Masetto by dancing with him, while Don Giovanni leads Zerlina offstage to a private room and tries to assault her. When Zerlina screams for help, Don Giovanni drags Leporello onstage from the room,
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Before Don Giovanni can complete his seduction of the maid, Masetto and his friends arrive, looking for Don Giovanni in order to kill him. Don Giovanni poses as Leporello (whose clothes he is still wearing) and joins the posse, pretending that he also hates Don Giovanni. After cunningly dispersing
1044:" – "Ah, who could ever tell me"). Don Giovanni starts to flirt with her, but it turns out he is the former lover she is seeking. The two recognize each other and she reproaches him bitterly. He shoves Leporello forward, ordering him to tell Donna Elvira the truth about him, and then hurries away.
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Leporello informs Don Giovanni that all the guests of the peasant wedding are in Don Giovanni's house and that he distracted Masetto from his jealousy, but that Zerlina, returning with Donna Elvira, made a scene and spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to
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Although the same singer played both Masetto and the Commendatore roles in both the Prague and Vienna premieres, in modern-day productions, the roles are typically taken by different singers (unless limited by such things as finance or rehearsal time and space). The final scene's chorus of demons
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In the Vienna production of the opera, Zerlina follows Leporello and recaptures him. Threatening him with a razor, she ties him to a stool. He attempts to sweet-talk her out of hurting him. (Duet: "Per queste tue manine" – "For these hands of yours"). Zerlina goes to find Masetto and the others;
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Leporello abandons Donna Elvira. (Sextet: "Sola, sola in buio loco" – "All alone in this dark place"). As he tries to escape, he bumps into Don Ottavio and Donna Anna. Zerlina and Masetto also enter the scene. Everyone mistakes Leporello for Don Giovanni, whose clothes he is still wearing. They
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Leporello threatens to leave Don Giovanni, but his master calms him with a peace offering of money (Duet: "Eh via buffone" – "Go on, fool"). Wanting to seduce Donna Elvira's maid, and believing that she will trust him better if he appears in lower-class clothes, Don Giovanni orders Leporello to
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plans for the future: Donna Anna and Don Ottavio will marry when Donna Anna's year of mourning is over; Donna Elvira will withdraw from society for the rest of her life; Zerlina and Masetto will finally go home for dinner; and Leporello will go to the tavern to find a better master.
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478:, the final ensemble was only presented at the first performance in Prague, then never heard again during the original run. It does not appear in the Viennese libretto of 1788; thus the ending of the first performance in Vienna without the ensemble as depicted in the film
353:. The composer also specified occasional special musical effects. For the ballroom scene at the end of the first act, Mozart calls for two onstage ensembles to play separate dance music in synchronization with the pit orchestra, each of the three groups playing in its own
434:" (K. 540b, composed on 28 April). He also made some cuts in the Finale in order to make it shorter and more incisive, the most important of which is the section where Anna and Ottavio, Elvira, Zerlina and Masetto, Leporello reveal their plans for the future ("
2277:, p. 263, for a discussion of Da Ponte's vague specification, including a theory about why it is so vague that is based on suspiciously archaic cultural references incompatible with the modern city of Seville as it existed in Da Ponte's day.
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2069:(or "tricks" of seduction). Besides no precedent for rape, there is also no portrayal in the Don Juan literature before Da Ponte of impregnation or the contraction of venereal disease in spite of Don Juan's numberless sexual encounters.
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Don Ottavio pressures Donna Anna to marry him, but she thinks it is inappropriate so soon after her father's death. He accuses her of being cruel, and she assures him that she loves him, and is faithful ("Non mi dir" – "Tell me not").
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Leporello tells Donna Elvira that Don Giovanni is not worth her feelings for him. He is unfaithful to everyone; his conquests include 640 women and girls in Italy, 231 in Germany, 100 in France, 91 in Turkey, but in Spain, 1,003
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Don Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays music from popular (at the time) late-18th-century operas: "O quanto un sì bel giubilo" from
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Leporello tells Don Giovanni that he (Giovanni) is leading a rotten life; Don Giovanni reacts angrily. They hear a woman (Donna Elvira) singing of having been abandoned by her lover, on whom she is seeking revenge
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In the absence of an unambiguous indication in Da Ponte's libretto, it is reasonable to interpret this incident variously. However, in a discussion of the literary tradition available to Da Ponte as detailed in
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indicates that she intends to remove herself to a "retreat" instead of entering a convent (as the line is frequently mistranslated into English). Neither in eighteenth-century Italian nor modern Italian could
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The opera was commissioned after the success of Mozart's trip to Prague in January and February 1787. The subject may have been chosen because the sub-genre of Don Juan opera had originated in that city.
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Don Giovanni, a young, arrogant, and sexually promiscuous nobleman, abuses and outrages everyone else in the cast until he encounters something he cannot kill, beat up, dodge, or outwit.
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The opera's final ensemble was generally omitted until the early 20th century, a tradition that apparently began very early on. According to the 19th-century Bohemian memoirist
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accompanying the Commendatore ("Don Giovanni! A cenar teco m'invitasti" – "Don Giovanni! You invited me to dine with you"), the statue asks if Don Giovanni will now accept
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has resulted in extensive borrowings and arrangements of the original. The most famous and probably the most musically substantial is the operatic fantasy,
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pain and terror as he is surrounded by a chorus of demons, who carry him down to Hell. Leporello, watching from under the table, also cries out in fear.
1069:" – "I understand! Yes, my lord!") but is forced to leave. Don Giovanni and Zerlina are soon alone and he immediately begins his seductive arts (Duet: "
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This scene was added at the same time as the preceding Zerlina / Leporello duet, but is generally retained and sung directly after "Il mio tesoro".
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277:, which premiered in Venice early in 1787. In two aspects he copied Bertati: by opening with the Commendatore's murder and by avoiding mention of
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1922:(1981, with later adaptations and revisions) is constructed on a prominent 15-bar phrase in the accompaniment to Leporello's catalogue aria.
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The concluding ensemble delivers the moral of the opera – "Such is the end of the evildoer: the death of a sinner always reflects his life" (
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reported, "Connoisseurs and musicians say that Prague has never heard the like", and "the opera ... is extremely difficult to perform." The
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after the Commendatore's exit gives the singer time for a costume change before entering as Masetto for the sextet, though not much time.
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Chong, Nicholas Junkai (2011). "Music for the Last Supper: The Dramatic Significance of Mozart's Musical Quotations in the Tafelmusik of
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Kaminsky, Peter (1996). "How to Do things with Words and Music: Towards an Analysis of Selected ensembles in Mozart's Don Giovanni."
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is staged, it is always a problem to execute the serenade...it has become allowed almost everywhere...to play the mandoline part in
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in 1787. The theatre had opened four years earlier as the Comital Nostitz National Theatre (Gräflich Nostitzsches Nationaltheater).
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is regarded as one of the greatest operas of all time, and has proved a fruitful subject for commentary in its own right; critic
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parodied the opera (with explicit mention of the Mozart score for the finale scene between the Commendatore and Don Giovanni).
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of Vienna reported, "Herr Mozart conducted in person and was welcomed joyously and jubilantly by the numerous gathering."
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1972:
513:" and the whole accompanying scene involving Zerlina and Leporello from the Viennese version is almost never included.
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was substituted. Mozart recorded its completion, finally, on 28 October, the night before the premiere (29 October).
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Alfred Roller's Production Of Mozart's Don Giovanni – A Break in the Scenic Traditions of the Vienna Court Opera
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Leporello, Don Giovanni's servant, grumbles about his demanding master and daydreams about being free of him ("
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1868:'s "Ballade des gros dindons" (1889) finish each verse imitating the mandolin accompaniment of the Serenade.
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may be an accurate portrayal. Nonetheless, the final ensemble is almost invariably performed in full today.
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2119:(monastery). Rather, it has the connotation of a comfortable, secluded private dwelling in the countryside.
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1052:" – "My dear lady, this is the catalogue"). In a frequently cut recitative, Donna Elvira vows vengeance.
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is "a work without blemish, of uninterrupted perfection." The finale, in which Don Giovanni refuses to
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226:). It was premiered by the Prague Italian opera at the National Theater (of Bohemia), now called the
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notices how Mozart composed the opera while tortured by the memory of his imposing, deceased father
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in which he argues, writing under the pseudonym of his character "A", that "among all classic works
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2920:, London, R. Cocks, 1895). Translated by Windeyer Clark; J. P. Hutchinson. New York: Da Capo Press.
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412:. For this production, he wrote two new arias with corresponding recitatives – Don Ottavio's aria "
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Graveyard scene of act 2 (Prague, probably 1790s), the earliest known set-design for the opera
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quotes from the same aria in the duettino between Selim and Fiorilla following the former's
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Magic Flutes and Enchanted Forests: The Supernatural in Eighteenth-Century Musical Theater
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The theatre is referred to as the Teatro di Praga in the libretto for the 1787 premiere (
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organize a party and invite every girl he can find. (Don Giovanni's "Champagne Aria": "
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has described it as one of Mozart's "trio of masterpieces with librettos by Da Ponte".
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took a theme from the duet "O, statua gentilissima" for his set of piano variations.
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printed matter, as used for brochures, photo albums, computer printouts and other
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Mozart also supervised the Vienna premiere of the work, which took place on 7 May
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wrote piano variations on "Fin ch'han dal vino", Op. 2 (1816). The turkeys in
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Questo è il fin di chi fa mal, e de' perfidi la morte alla vita è sempre ugual
1374:
923:
821:
536:
487:
Modern productions sometimes include both the original aria for Don Ottavio, "
459:
446:" ("It must have been the ghost she met") directly to the moral of the story "
346:
2145:
But not in the dinner scene; here Carnicer borrows some different tunes from
4903:
2930:
1610:
1524:(1786). Leporello comments that he is all too familiar with the final tune (
1226:
366:
322:
197:
1706:, and uses the information to psychologically torture Mozart even further.
3278:
3058:
The Signifier and the Signified: Studies in the Operas of Mozart and Verdi
2555:
389:, and trombones (with cellos and basses playing from the string section).
4765:
4231:
3944:
3744:
1772:", Op. 70. This minuet was also used for sets of variations for piano by
1309:
1305:
932:
827:
770:
749:
572:
563:
362:
334:
189:
116:
31:
3184:
220:
elements (although the composer entered it into his catalogue simply as
4200:
3181:
Synopsis (4 languages), libretto (German, English, Italian), highlights
2474:
The mandoline is today (1843) so neglected that, in the theatres where
1904:. The baritone who sang the title role in the centenary performance of
1237:
in 1787. The mandolin music for the premiere performance was played by
946:
936:
779:
766:
753:
609:
386:
338:
330:
282:
278:
5071:
3045:
1735:
from the finale of act 1 ("Signor, guardate un poco"), transcribed by
288:
The opera was supposed to premiere on 14 October 1787 for Archduchess
17:
3100:
Schünemann, Georg and Soldan, Kurt (translated by Stanley Appelbaum)
2990:. Dover Publications, New York, 1985. (reviewed in G. S. "Untitled."
2565:
1840:(the duet between Don Giovanni and Zerlina) for piano and orchestra.
1732:
1650:
788:
645:
358:
1739:, also makes an incongruous appearance in the manuscript of Liszt's
466:"). These cuts are very seldom performed in theatres or recordings.
3037:
2254:
The first eighteenth-century Don Juan opera produced in Europe was
1885:, who was the teacher of Tchaikovsky's one-time unofficial fiancée
4755:
1595:
1423:
1415:
1385:
1225:
1021:
817:
796:
792:
741:
629:
396:
245:
181:
51:
1900:
1828:
wrote piano variations on Zerlina's other aria, "Batti, batti".
1331:" – "My treasure" – though in the Vienna version this was cut).
745:
4599:
3917:
3697:
3282:
2951:
Rhythmic Gesture in Mozart: Le nozze di Figaro and Don Giovanni
1848:
also wrote variations on the same theme. And Beethoven, in his
2934:(abridged, translated, and with an introduction and notes, by
1211:
Zerlina follows the jealous Masetto and tries to pacify him ("
2976:
Baker, Felicity (2021) (edited by Magnus Tessing Schneider).
2176:, pp. 302–303); for the current name of the theatre see
1449:
1336:
1270:
1175:
1078:
989:
848:
3913:
1312:. ("Deh, vieni alla finestra" – "Ah, come to the window").
721:
Chorus: peasants, servants, young ladies, musicians, demons
385:") are accompanied by a wind chorale of oboes, clarinets,
3001:
The Don Giovanni Moment: Essays on the Legacy of an Opera
2735:. New York, Washington: Praeger Publishers. ch. 7, p. 86.
1982:), though usually slightly reworked and re-orchestrated.
301:
The opera was rapturously received, as was often true of
2825:. Translated by Stewart Spencer. Yale University Press.
2585:(DVD). Hamburg: Deutsche Grammophon Gesellschaft. 2001.
1912:, the man Désirée Artôt married instead of Tchaikovsky.
1763:
Grand Fantaisie sur la serenade et le Minuet de Don Juan
1015:
Fernando Corena, Vienna Philharmonic, Josef Krips (1955)
504:
In quali eccessi, o Numi ... Mi tradì quell'alma ingrata
196:. Its subject is a centuries-old Spanish legend about a
3081:" Cambridge. (reviewed in Sternfeld, F. W. "Untitled."
2153:
and presumably some music of his own as third quotation
2005:, Mozart's sister-in-law, frequently sang in his works.
1812:
included a piano arrangement of "Vedrai carino" in his
1163:" – "Till they are tipsy"). They hasten to his palace.
968:
Non sperar, se non m'uccidi, Ch'io ti lasci fuggir mai!
881:"Notte e giorno faticar", "Non sperar, se non m'uccidi"
1654:
and the sea, "the three finest things God ever made."
1600:
Drawing for the coverpage of a libretto (19th century)
1428:
Don Giovanni confronting the stone guest; painting by
424:" (K. 540c, composed on 30 April for the soprano
5060:
1296:
Cesare Siepi, Vienna Philharmonic, Josef Krips (1955)
1128:
Cesare Siepi, Vienna Philharmonic, Josef Krips (1955)
3022:
Studia Musicologica Academiae Scientiarum Hungaricae
1486:(Leporello); Vienna Philharmonic, Josef Krips (1955)
5033:
4977:
4867:
4634:
4552:
4521:
4441:
4323:
4212:
3951:
3895:
3843:
3816:
3784:
3753:
3737:
3637:
3601:
3504:
3470:
3397:
3316:
1665:
In some Germanic and other languages, Leporello's "
122:
111:
103:
93:
81:
45:
2865:
2608:
2241:The background of the production is summarized in
1348:"In quali eccessi ... Mi tradì quell'alma ingrata"
977:" – "Ah, swear to avenge that blood if you can!")
974:Ah, vendicar, se il puoi, giura quel sangue ognor!
285:, Spain; Da Ponte simply writes "city in Spain").
3102:Don Giovanni: Complete orchestral and vocal score
3087:, vol. 65, no. 4 (October 1984) pp. 377–378)
2978:Don Giovanni's Reasons: Thoughts on a masterpiece
2953:Chicago. (reviewed in Platoff, John. "Untitled."
1929:also appear in a number of operas: Nicklausse of
1658:also wrote a short story derived from the opera,
1135:Donna Elvira arrives and thwarts the seduction ("
605:his daughter, promised in marriage to Don Ottavio
455:Resti dunque quel birbon fra Proserpina e Pluton!
1925:In addition to instrumental works, allusions to
1698:, a fictional biography of its composer. In it,
428:) – and the duet between Leporello and Zerlina "
421:In quali eccessi ... Mi tradì quell'alma ingrata
3092:The Original Portrayal of Mozart's Don Giovanni
2996:, vol 19, no. 2 (April 1938). pp. 216–218)
1396:A graveyard with the statue of the Commendatore
3020:: Musical Affinities and Dramatic Structure".
4611:
3929:
3709:
3294:
2104:Io men vado in un ritiro a finir la vita mia!
1940:
1855:
1785:
1755:
1531:
1525:
1420:Don Juan and the Commander or The Stone Guest
1218:
1212:
1158:
1148:
1142:
1136:
1064:
1063:behind with Zerlina, Masetto becomes angry ("
1039:
982:A public square outside Don Giovanni's palace
972:
966:
960:
940:
508:
502:
496:
488:
453:
447:
441:
435:
429:
419:
413:
380:
374:
167:
85:
8:
4222:The Trickster of Seville and the Stone Guest
2385:. University of Chicago Press. p. 332.
1813:
1799:
1767:
1761:
207:El burlador de Sevilla y convidado de piedra
3110:. "Some Features of the Autograph Score of
2689:has original text related to this article:
2639:
458:" ("So the wretch can stay down there with
292:’s visit, but it was not ready in time and
30:For the legendary fictional character, see
4618:
4604:
4596:
3936:
3922:
3914:
3716:
3702:
3694:
3467:
3301:
3287:
3279:
2959:, vol. 4, no. 4 (1986). pp. 535–538).
2764:Abstract: 19th Century Music, Mark Everist
1815:Kleiner Lehrgang durch die Musikgeschichte
945:sequence which leads into a light-hearted
820:(period performance practice often uses a
254:in Prague, venue of the world premiere of
169:Il dissoluto punito, ossia il Don Giovanni
87:Il dissoluto punito, ossia il Don Giovanni
62:
42:
3225:Roles, arias, libretto (Italian, English)
3174:International Music Score Library Project
2999:Goehr, Lydia; Herwitz, Daniel A. (2006).
2691:"Don Juan" (E. T. A. Hoffmann, in German)
2462:. Oxford: Clarendon Press. pp. 3–4.
1365:, Vienna Philharmonic, Josef Krips (1955)
1204:, Vienna Philharmonic, Josef Krips (1955)
1107:, Vienna Philharmonic, Josef Krips (1955)
507:" is usually retained as well. The duet "
401:Playbill for the 1788 Vienna premiere of
3230:San Diego OperaTalk! with Nick Reveles:
2751:Tchaikovsky: The Quest for the Inner Man
2417:
1818:, which was originally intended for his
1223:" – "May the just heavens protect us").
1073:" – "There we will entwine our hands").
524:
382:Ribaldo, audace, lascia a' morti la pace
5067:
2429:
2363:
2311:
2299:
2274:
2260:(Prague, 1730), and the second one was
2242:
2237:
2235:
2187:at the Prague National Theatre website.
2173:
2165:
2099:
2087:
2052:
1995:
4886:Der Hölle Rache kocht in meinem Herzen
3003:. Columbia Press University, New York.
2894:. Edina, Minnesota: Calumet Editions.
2651:
1784:(Op. 10, the latter for four hands). "
1372:
1168:A garden outside Don Giovanni's palace
1153:" – "On her peace my peace depends").
921:
568:a young, extremely licentious nobleman
4101:Don Juan, or If Don Juan Were a Woman
2441:
1692:for a pivotal plot point in his play
369:strings. In the same act, two of the
157:
27:1787 opera by Wolfgang Amadeus Mozart
7:
3094:. Abingdon and New York: Routledge.
2198:"The 20 Greatest Operas of All Time"
1854:, cites the beginning of the opera "
4170:Have You Ever Really Loved a Woman?
3853:Variations on "Là ci darem la mano"
2914:Mozart's Don Giovanni: A Commentary
2852:. L'Almanacco di Gherardo Casaglia
2482:on pizzicato violins or on guitars.
2350:, Serie II, Werkgruppe 5, Band 17,
1838:Variations on "Là ci darem la mano"
5128:Works based on the Don Juan legend
4646:Die Schuldigkeit des ersten Gebots
3090:Schneider, Magnus Tessing (2021).
2916:(from the third French edition of
2788:. The University Society. p.
2325:"OperaGlass at Opera.Stanford.Edu"
2136:, the music being quoted verbatim.
2059:'s early seventeenth-century play
1790:" also makes an appearance in the
1754:uses the same minuet, along with "
1160:Fin ch'han dal vino calda la testa
922:Problems playing these files? See
527:Roles, voice types, premiere casts
443:Ah, certo è l'ombra che l'incontrò
25:
5108:Operas by Wolfgang Amadeus Mozart
4895:Dies Bildnis ist bezaubernd schön
2733:The Interpretation of French Song
2615:. Yale University Press. p.
2517:Mandolin Music, Beethoven, Hummel
1511:Fra i due litiganti il terzo gode
376:Di rider finirai pria dell'aurora
5070:
4958:O zittre nicht, mein lieber Sohn
3678:
3677:
3538:Maria Anna Thekla Mozart (Bäsle)
2680:
1769:L'art du chant appliqué au piano
1741:Fantasy on Themes from Mozart's
1465:
1373:Problems playing this file? See
1352:
1286:
1191:
1118:
1094:
1005:
1001:"Madamina, il catalogo è questo"
885:
864:
3655:Beethoven–Haydn–Mozart Memorial
2868:Mozart: A Documentary Biography
2785:University Musical Encyclopedia
2667:The Letters of Gustave Flaubert
1939:sings a snatch of Leporello's "
1608:wrote a long essay in his book
1527:Questa poi la conosco purtroppo
1504:(1786), "Come un agnello" from
686:a peasant, in love with Zerlina
216:blending comedy, melodrama and
4931:Madamina, il catalogo è questo
4372:Madamina, il catalogo è questo
3793:Madamina, il catalogo è questo
3252:, production photos, synopsis
3198:Indiana University Bloomington
2928:(1992). Victor Eremita (ed.).
2568:at Columbia Academic Commons,
2111:be construed as a synonym for
1050:Madamina, il catalogo è questo
954:The garden of the Commendatore
1:
4996:Die Entführung aus dem Serail
4776:Die Entführung aus dem Serail
2872:. Stanford University Press.
2570:Columbia University Libraries
2020:Die Entführung aus dem Serail
1918:'s popular, short band piece
1801:Variations-Studie nach Mozart
1433:
1187:"Batti, batti, o bel Masetto"
1150:Dalla sua pace la mia dipende
939:cadence, followed by a short
449:Questo è il fin di chi fa mal
281:(for Bertati the setting was
36:Don Giovanni (disambiguation)
4949:O, wie will ich triumphieren
4011:The Private Life of Don Juan
3564:(paternal great-grandfather)
3407:Concert arias, songs, canons
3116:Israel Studies in Musicology
3060:. Springer. pp. 39–75.
2782:Louis Charles Elson (1912).
1717:The sustained popularity of
1461:"Don Giovanni, a cenar teco"
1430:Alexandre-Évariste Fragonard
1263:Outside Donna Elvira's house
470:Later performance traditions
3544:Franz Xaver Wolfgang Mozart
3526:Maria Anna Mozart (Nannerl)
3259:"The online opera guide to
2514:Braunstein, Joseph (1969).
2496:Schirmer piano-vocal score
2132:becomes Fiorilla's A major
2017:was the first Konstanze in
1774:Franz Xaver Wolfgang Mozart
1533:sostegno e gloria d'umanità
321:The score calls for double
5149:
4541:El estudiante de Salamanca
3079:W. A. Mozart: Don Giovanni
3054:viii (1973), 60–74 and in
2949:Allanbrook, W. J. (1983).
2840:Casaglia, Gherardo (2005).
1576:directed a filming of the
1563:
1282:"Deh, vieni alla finestra"
1214:Batti, batti o bel Masetto
437:Or che tutti, o mio tesoro
184:in two acts with music by
29:
5133:Operas adapted into films
4400:Réminiscences de Don Juan
4031:The Adventures of Mandrin
3860:Réminiscences de Don Juan
3673:
3650:Mozart in popular culture
3462:Relationship with G minor
2956:The Journal of Musicology
2520:(Media notes). New York:
2183:27 September 2011 at the
1941:
1856:
1786:
1756:
1724:Réminiscences de Don Juan
1219:
1213:
1159:
1149:
1143:
1137:
1065:
1040:
973:
967:
961:
935:begins with a thundering
874:Fulda Symphonic Orchestra
719:
648:abandoned by Don Giovanni
509:
503:
497:
489:
454:
448:
442:
440:"). In order to connect "
436:
430:
420:
414:
381:
375:
307:Prager Oberpostamtzeitung
178:Punished, or Don Giovanni
127:29 October 1787
61:
50:
3379:Appearance and character
3248:25 February 2018 at the
2286:Mozart's letter sent to
2035:was the first Figaro in
1908:in Prague that year was
1872:Pyotr Ilyich Tchaikovsky
1787:Deh, vieni alla finestra
1757:Deh, vieni alla finestra
1580:presentation in 1954. A
1220:Protegga il giusto cielo
733:The instrumentation is:
558:Conductor: W. A. Mozart
548:Conductor: W. A. Mozart
290:Maria Theresa of Austria
267:'s libretto is based on
242:Composition and premiere
5098:Italian-language operas
4628:Wolfgang Amadeus Mozart
4562:Don Giovanni in Sicilia
3867:Orchestral Suite No. 4
3725:Wolfgang Amadeus Mozart
3665:Mozart Monument, Vienna
3310:Wolfgang Amadeus Mozart
3273:: opera en quatre actes
3208:13 October 2012 at the
2130:e non voglio più servir
1910:Mariano Padilla y Ramos
1895:fourth orchestral suite
1604:The Danish philosopher
1442:Don Giovanni's chambers
1247:Don Giovanni's ballroom
582:Francesco Albertarelli
303:Mozart's work in Prague
186:Wolfgang Amadeus Mozart
166:; Vienna (1788) title:
159:[ˌdɔndʒoˈvanni]
5023:The Marriage of Figaro
4816:The Marriage of Figaro
4806:Der Schauspieldirektor
4686:Mitridate, re di Ponto
4021:Adventures of Don Juan
3558:(paternal grandfather)
2460:The Classical Mandolin
2262:Il convitato di pietra
2062:El burlador de Sevilla
1857:Notte e giorno faticar
1814:
1800:
1768:
1762:
1601:
1532:
1526:
1521:The Marriage of Figaro
1496:Vicente Martín y Soler
1454:
1437:
1421:
1391:
1341:
1275:
1242:
1180:
1144:Non ti fidar, o misera
1083:
1034:
1027:Ildebrando D'Arcangelo
994:
962:Notte e giorno faticar
941:
853:
667:Don Giovanni's servant
405:
259:
230:, on 29 October 1787.
200:as told by playwright
168:
155:Italian pronunciation:
86:
34:. For other uses, see
4746:Thamos, King of Egypt
4666:Bastien und Bastienne
4343:La pravità castigata
3203:Synopsis and libretto
3191:Piano/vocal score of
3056:Noske, Frits (1977).
2988:Mozart's Don Giovanni
2918:Le Don Juan de Mozart
2583:Mozart's Don Giovanni
2556:10.7916/cm.v0i92.5208
2458:Sparks, Paul (1995).
2288:Gottfried von Jacquin
2178:"The Estates Theatre"
1936:The Tales of Hoffmann
1860:" in variation 22.
1808:study after Mozart).
1679:continuous stationery
1669:" provided the name "
1599:
1514:(1782), and finally "
1453:
1427:
1419:
1389:
1340:
1274:
1233:in the title role of
1229:
1179:
1138:Ah, fuggi il traditor
1082:
1066:Ho capito! Signor, sì
1025:
993:
852:
551:Vienna premiere cast,
541:Prague premiere cast,
510:Per queste tue manine
431:Per queste tue manine
400:
337:(alto, tenor, bass),
311:Provincialnachrichten
249:
72:in the title role by
4877:Canzonetta sull'aria
4726:La finta giardiniera
4706:Il sogno di Scipione
4656:Apollo et Hyacinthus
4420:Margarita la tornera
4390:Don Giovanni Tenorio
3457:Compositional method
3437:Works for solo piano
2769:24 July 2011 at the
2747:Poznansky, Alexander
2257:La pravità castigata
2134:così pien di civiltà
2128:Leporello's F major
1986:Notes and references
1968:Don Giovanni Tenorio
1830:Johann Wilhelm Wilms
1622:wrote that Mozart's
1518:" from Mozart's own
274:Don Giovanni Tenorio
5123:Operas set in Spain
4922:Là ci darem la mano
4846:La clemenza di Tito
4471:Don Juan Triumphant
4363:Là ci darem la mano
4312:A Free Man of Color
3991:The Lucky Horseshoe
3877:Don Juan Triumphant
3800:Là ci darem la mano
3556:Johann Georg Mozart
3491:Neue Mozart-Ausgabe
3484:Alte Mozart-Ausgabe
3185:Opera in a nutshell
3148:Neue Mozart-Ausgabe
3084:Music & Letters
3008:Theory and Practice
2993:Music & Letters
2980:. Bern: Peter Lang.
2971:New York University
2938:). London: Penguin.
2862:Deutsch, Otto Erich
2664:Flaubert, Gustave.
2408:of the score at NMA
2366:, pp. 286–287.
2347:Neue Mozart-Ausgabe
2245:, pp. 131–168.
1851:Diabelli Variations
1821:Album for the Young
1713:and other composers
1632:George Bernard Shaw
1538:diminished sevenths
1071:Là ci darem la mano
1041:Ah, chi mi dice mai
908:Vienna Philharmonic
529:
393:Revision for Vienna
373:'s interventions ("
70:Francisco D'Andrade
4582:Mary and the Giant
4081:Don Juan in Sicily
3550:Karl Thomas Mozart
3265:, opera-inside.com
3221:, Italian, English
3162:diplomatic edition
3075:Rushton, Julian G.
2926:Kierkegaard, Søren
2888:Freeman, Daniel E.
2548:Current Musicology
2377:Buch, David Joseph
2290:, dated 15 October
2218:(19 August 2011).
2038:Le nozze di Figaro
2015:Caterina Cavalieri
1980:Le nozze di Figaro
1956:Il turco in Italia
1920:In Re Don Giovanni
1897:, which he called
1798:, under the title
1752:Sigismond Thalberg
1602:
1592:Cultural influence
1455:
1438:
1422:
1392:
1342:
1308:her maid with his
1276:
1243:
1181:
1084:
1035:
995:
854:
791:, second violins,
696:Francesco Bussani
659:Caterina Cavalieri
655:Katherina Micelli
637:Francesco Morella
598:Francesco Bussani
525:
426:Caterina Cavalieri
406:
295:Le nozze di Figaro
260:
5058:
5057:
4676:La finta semplice
4593:
4592:
4474:(fictional, 1910)
4464:(tone poem, 1888)
3911:
3910:
3880:(fictional, 1910)
3691:
3690:
3520:Anna Maria Mozart
3500:
3499:
3275:, French libretto
3187:Soundfiles (MIDI)
2984:Da Ponte, Lorenzo
2879:978-0-8047-0233-1
2707:Den Danske Ordbog
2605:Citron, Marcia J.
2469:978-0-19-517337-6
2392:978-0-226-07811-3
2033:Francesco Benucci
1737:Moritz Moszkowski
1675:concertina-folded
1656:E. T. A. Hoffmann
1618:stands highest."
1606:Søren Kierkegaard
1582:screen adaptation
1578:Salzburg Festival
1470:
1407:Donna Anna's room
1357:
1291:
1196:
1123:
1099:
1031:Salzburg Festival
1029:as Don Giovanni,
1010:
890:
869:
810:secco recitatives
726:
725:
710:Caterina Bondini
678:Francesco Benucci
634:Antonio Baglioni
365:, accompanied by
271:'s for the opera
204:in his 1630 play
146:
145:
16:(Redirected from
5140:
5075:
5074:
5066:
5051:
5044:
5026:
5017:
5008:
4999:
4990:
4970:
4961:
4952:
4943:
4934:
4925:
4916:
4907:
4898:
4889:
4880:
4860:
4850:
4840:
4830:
4820:
4810:
4800:
4790:
4780:
4770:
4760:
4750:
4740:
4730:
4720:
4710:
4700:
4690:
4680:
4670:
4660:
4650:
4620:
4613:
4606:
4597:
4586:
4576:
4566:
4545:
4535:
4514:
4505:
4495:
4485:
4475:
4465:
4455:
4434:
4424:
4414:
4404:
4394:
4382:
4375:
4366:
4357:
4347:
4337:
4316:
4306:
4302:Don Juan in Soho
4296:
4286:
4282:Man and Superman
4276:
4266:
4262:Don Juan Tenorio
4256:
4246:
4236:
4226:
4205:
4195:
4185:
4173:
4164:
4155:
4151:Don Juan DeMarco
4145:
4141:Don Juan in Hell
4135:
4131:Little Tragedies
4125:
4115:
4105:
4095:
4085:
4075:
4065:
4055:
4045:
4035:
4025:
4015:
4005:
3995:
3985:
3975:
3965:
3961:Don Juan Tenorio
3938:
3931:
3924:
3915:
3844:Variations &
3761:Lorenzo Da Ponte
3718:
3711:
3704:
3695:
3681:
3680:
3570:(brother-in-law)
3532:Constanze Mozart
3478:Köchel catalogue
3468:
3452:Violin concertos
3303:
3296:
3289:
3280:
3255:
3239:
3172:: Scores at the
3158:critical edition
3144:
3071:
3052:Theatre Research
3049:
2939:
2921:
2905:
2892:Mozart in Prague
2883:
2871:
2857:
2855:
2850:29 October 1787"
2849:
2836:
2801:
2800:
2798:
2796:
2779:
2773:
2761:
2755:
2754:
2743:
2737:
2736:
2725:
2719:
2718:
2716:
2714:
2703:"leporelloliste"
2699:
2693:
2684:
2678:
2672:
2671:
2661:
2655:
2654:, pp. v–vi.
2649:
2643:
2640:Kierkegaard 1992
2637:
2631:
2630:
2614:
2601:
2595:
2594:
2579:
2573:
2566:10.7916/D8VD6WJ4
2559:
2539:
2533:
2532:
2530:
2528:
2522:Nonesuch Records
2511:
2505:
2491:
2485:
2484:
2455:
2449:
2439:
2433:
2427:
2421:
2415:
2409:
2403:
2397:
2396:
2373:
2367:
2361:
2355:
2335:
2329:
2328:
2321:
2315:
2309:
2303:
2297:
2291:
2284:
2278:
2271:
2265:
2252:
2246:
2239:
2230:
2229:
2212:
2206:
2205:
2194:
2188:
2170:
2154:
2143:
2137:
2126:
2120:
2097:
2091:
2085:
2079:
2076:
2070:
2048:
2042:
2030:
2024:
2012:
2006:
2000:
1976:
1944:
1943:
1874:always regarded
1859:
1858:
1817:
1803:
1796:Ferruccio Busoni
1789:
1788:
1778:Fanny Hünerwadel
1771:
1765:
1759:
1758:
1642:Gustave Flaubert
1637:Man and Superman
1584:was directed by
1535:
1529:
1482:(Don Giovanni),
1478:(Commendatore),
1472:
1471:
1452:
1435:
1359:
1358:
1339:
1321:A dark courtyard
1293:
1292:
1273:
1222:
1221:
1216:
1215:
1198:
1197:
1178:
1162:
1161:
1152:
1151:
1146:
1145:
1140:
1139:
1125:
1124:
1114:"Champagne Aria"
1101:
1100:
1090:"Dalla sua pace"
1081:
1068:
1067:
1057:The open country
1043:
1042:
1012:
1011:
992:
976:
975:
970:
969:
964:
963:
944:
906:(Don Giovanni);
892:
891:
871:
870:
851:
674:Felice Ponziani
587:Il Commendatore
530:
528:
512:
511:
506:
505:
500:
499:
494:
493:
457:
456:
451:
450:
445:
444:
439:
438:
433:
432:
423:
422:
417:
416:
384:
383:
378:
377:
349:, and the usual
269:Giovanni Bertati
265:Lorenzo Da Ponte
194:Lorenzo Da Ponte
171:
161:
156:
134:
132:
98:Lorenzo Da Ponte
89:
66:
43:
21:
5148:
5147:
5143:
5142:
5141:
5139:
5138:
5137:
5083:
5082:
5081:
5069:
5061:
5059:
5054:
5047:
5042:Da Ponte operas
5040:
5029:
5020:
5014:The Magic Flute
5011:
5002:
4993:
4984:
4973:
4967:Se vuol ballare
4964:
4955:
4946:
4937:
4928:
4919:
4910:
4901:
4892:
4883:
4874:
4863:
4856:The Magic Flute
4853:
4843:
4833:
4823:
4813:
4803:
4796:Lo sposo deluso
4793:
4786:L'oca del Cairo
4783:
4773:
4763:
4753:
4743:
4733:
4723:
4713:
4703:
4696:Ascanio in Alba
4693:
4683:
4673:
4663:
4653:
4643:
4630:
4624:
4594:
4589:
4579:
4569:
4559:
4548:
4538:
4528:
4517:
4508:
4504:(musical, 2003)
4498:
4488:
4478:
4468:
4458:
4448:
4437:
4427:
4417:
4410:The Stone Guest
4407:
4397:
4387:
4378:
4369:
4360:
4350:
4340:
4330:
4319:
4309:
4299:
4289:
4279:
4269:
4259:
4252:The Stone Guest
4249:
4239:
4229:
4219:
4208:
4198:
4188:
4178:
4167:
4158:
4148:
4138:
4128:
4118:
4108:
4098:
4088:
4078:
4071:The Devil's Eye
4068:
4058:
4048:
4038:
4028:
4018:
4008:
3998:
3988:
3978:
3968:
3958:
3947:
3942:
3912:
3907:
3891:
3845:
3839:
3812:
3780:
3776:Teresa Saporiti
3766:Tirso de Molina
3749:
3733:
3722:
3692:
3687:
3669:
3633:
3614:Catholic Church
3597:
3594:(sister-in-law)
3588:(sister-in-law)
3582:(sister-in-law)
3576:(mother-in-law)
3496:
3466:
3432:Piano concertos
3393:
3312:
3307:
3253:
3250:Wayback Machine
3237:
3210:Wayback Machine
3142:
3140:critical report
3125:
3068:
3055:
3050:; reprinted in
3030:Akadémiai Kiadó
3012:
2946:
2944:Further reading
2936:Alastair Hannay
2924:
2910:Gounod, Charles
2908:
2902:
2886:
2880:
2860:
2853:
2847:
2839:
2833:
2813:
2805:
2804:
2794:
2792:
2781:
2780:
2776:
2771:Wayback Machine
2762:
2758:
2745:
2744:
2740:
2727:
2726:
2722:
2712:
2710:
2701:
2700:
2696:
2679:
2675:
2663:
2662:
2658:
2650:
2646:
2638:
2634:
2627:
2611:Opera on Screen
2603:
2602:
2598:
2581:
2580:
2576:
2541:
2540:
2536:
2526:
2524:
2513:
2512:
2508:
2492:
2488:
2470:
2457:
2456:
2452:
2440:
2436:
2428:
2424:
2416:
2412:
2404:
2400:
2393:
2375:
2374:
2370:
2362:
2358:
2336:
2332:
2323:
2322:
2318:
2310:
2306:
2298:
2294:
2285:
2281:
2272:
2268:
2264:(Prague, 1776).
2253:
2249:
2240:
2233:
2220:"Top 50 Operas"
2216:Maddocks, Fiona
2214:
2213:
2209:
2202:Classical Music
2196:
2195:
2191:
2185:Wayback Machine
2171:
2167:
2157:
2144:
2140:
2127:
2123:
2098:
2094:
2086:
2082:
2077:
2073:
2057:Tirso de Molina
2049:
2045:
2031:
2027:
2013:
2009:
2001:
1997:
1988:
1970:
1883:Pauline Viardot
1862:Cipriani Potter
1715:
1700:Antonio Salieri
1594:
1571:
1562:
1491:
1490:
1489:
1488:
1487:
1484:Fernando Corena
1473:
1466:
1463:
1456:
1450:
1380:
1379:
1371:
1369:
1368:
1367:
1366:
1363:Lisa Della Casa
1360:
1353:
1350:
1343:
1337:
1301:
1300:
1299:
1298:
1297:
1294:
1287:
1284:
1277:
1271:
1259:
1209:
1208:
1207:
1206:
1205:
1199:
1192:
1189:
1182:
1176:
1133:
1132:
1131:
1130:
1129:
1126:
1119:
1116:
1110:
1109:
1108:
1102:
1095:
1092:
1085:
1079:
1020:
1019:
1018:
1017:
1016:
1013:
1006:
1003:
996:
990:
929:
928:
920:
918:
917:
916:
915:
896:Fernando Corena
893:
886:
883:
877:
876:
875:
872:
865:
862:
855:
849:
844:
836:
731:
729:Instrumentation
693:Giuseppe Lolli
615:Teresa Saporiti
595:Giuseppe Lolli
557:
552:
547:
542:
526:
523:
472:
395:
319:
252:Estates Theatre
244:
228:Estates Theatre
202:Tirso de Molina
154:
142:
141:
138:Estates Theatre
135:
130:
128:
77:
39:
28:
23:
22:
15:
12:
11:
5:
5146:
5144:
5136:
5135:
5130:
5125:
5120:
5115:
5110:
5105:
5103:Drammi giocosi
5100:
5095:
5085:
5084:
5080:
5079:
5056:
5055:
5053:
5052:
5045:
5037:
5035:
5031:
5030:
5028:
5027:
5018:
5009:
5000:
4991:
4987:Così fan tutte
4981:
4979:
4975:
4974:
4972:
4971:
4962:
4953:
4944:
4940:Non più andrai
4935:
4926:
4917:
4908:
4899:
4890:
4881:
4871:
4869:
4865:
4864:
4862:
4861:
4851:
4841:
4836:Così fan tutte
4831:
4821:
4811:
4801:
4791:
4781:
4771:
4761:
4751:
4741:
4731:
4721:
4711:
4701:
4691:
4681:
4671:
4661:
4651:
4640:
4638:
4632:
4631:
4625:
4623:
4622:
4615:
4608:
4600:
4591:
4590:
4588:
4587:
4577:
4567:
4556:
4554:
4550:
4549:
4547:
4546:
4536:
4525:
4523:
4519:
4518:
4516:
4515:
4513:" (song, 2012)
4506:
4496:
4486:
4476:
4466:
4456:
4454:(ballet, 1761)
4445:
4443:
4439:
4438:
4436:
4435:
4425:
4415:
4405:
4395:
4385:
4384:
4383:
4376:
4367:
4348:
4338:
4333:L'empio punito
4327:
4325:
4321:
4320:
4318:
4317:
4307:
4297:
4287:
4277:
4267:
4257:
4247:
4237:
4227:
4216:
4214:
4210:
4209:
4207:
4206:
4196:
4191:Broken Flowers
4186:
4176:
4175:
4174:
4165:
4161:El Toro Relajo
4146:
4136:
4126:
4116:
4106:
4096:
4086:
4076:
4066:
4056:
4046:
4041:Crossed Swords
4036:
4026:
4016:
4006:
3996:
3986:
3976:
3966:
3955:
3953:
3949:
3948:
3943:
3941:
3940:
3933:
3926:
3918:
3909:
3908:
3906:
3905:
3899:
3897:
3893:
3892:
3890:
3889:
3881:
3873:
3864:
3856:
3849:
3847:
3841:
3840:
3838:
3837:
3829:
3820:
3818:
3814:
3813:
3811:
3810:
3803:
3796:
3788:
3786:
3782:
3781:
3779:
3778:
3773:
3768:
3763:
3757:
3755:
3751:
3750:
3748:
3747:
3741:
3739:
3735:
3734:
3723:
3721:
3720:
3713:
3706:
3698:
3689:
3688:
3686:
3685:
3674:
3671:
3670:
3668:
3667:
3662:
3657:
3652:
3647:
3641:
3639:
3635:
3634:
3632:
3631:
3626:
3621:
3616:
3611:
3605:
3603:
3599:
3598:
3596:
3595:
3589:
3583:
3577:
3571:
3565:
3559:
3553:
3547:
3541:
3540:(first cousin)
3535:
3529:
3523:
3517:
3514:Leopold Mozart
3510:
3508:
3502:
3501:
3498:
3497:
3495:
3494:
3487:
3480:
3474:
3472:
3465:
3464:
3459:
3454:
3449:
3444:
3439:
3434:
3429:
3424:
3419:
3417:Horn concertos
3414:
3409:
3403:
3401:
3395:
3394:
3392:
3391:
3386:
3381:
3376:
3371:
3366:
3361:
3356:
3351:
3346:
3341:
3336:
3331:
3326:
3320:
3318:
3314:
3313:
3308:
3306:
3305:
3298:
3291:
3283:
3277:
3276:
3266:
3256:
3235:
3227:
3222:
3216:
3200:
3188:
3182:
3176:
3165:
3151:
3128:
3124:
3123:External links
3121:
3120:
3119:
3105:
3098:
3088:
3072:
3067:978-9024719952
3066:
3038:10.2307/901357
3010:
3004:
2997:
2981:
2974:
2963:Baker, Even A.
2960:
2945:
2942:
2941:
2940:
2922:
2906:
2900:
2884:
2878:
2858:
2837:
2832:978-0300072235
2831:
2815:Abert, Hermann
2803:
2802:
2774:
2756:
2753:. p. 460.
2738:
2729:Bernac, Pierre
2720:
2694:
2673:
2656:
2644:
2642:, p. 135.
2632:
2625:
2596:
2574:
2534:
2506:
2486:
2468:
2450:
2434:
2432:, p. 313.
2422:
2410:
2398:
2391:
2368:
2356:
2354:(Kassel, 1968)
2338:Wolfgang Plath
2330:
2316:
2314:, p. 304.
2304:
2302:, p. 303.
2292:
2279:
2266:
2247:
2231:
2207:
2189:
2164:
2163:
2156:
2155:
2138:
2121:
2092:
2080:
2071:
2043:
2025:
2007:
1994:
1987:
1984:
1963:Ramón Carnicer
1942:Notte e giorno
1826:Muzio Clementi
1714:
1708:
1667:Catalogue Aria
1620:Charles Gounod
1593:
1590:
1564:Main article:
1561:
1558:
1543:
1516:Non più andrai
1506:Giuseppe Sarti
1474:
1464:
1459:
1458:
1457:
1448:
1447:
1446:
1445:
1444:
1410:
1409:
1399:
1398:
1370:
1361:
1351:
1346:
1345:
1344:
1335:
1334:
1333:
1324:
1323:
1295:
1285:
1280:
1279:
1278:
1269:
1268:
1267:
1266:
1265:
1258:
1255:
1250:
1249:
1200:
1190:
1185:
1184:
1183:
1174:
1173:
1172:
1171:
1170:
1127:
1117:
1112:
1111:
1103:
1093:
1088:
1087:
1086:
1077:
1076:
1075:
1060:
1059:
1014:
1004:
999:
998:
997:
988:
987:
986:
985:
984:
957:
956:
919:
902:(Donna Anna),
894:
884:
879:
878:
873:
863:
858:
857:
856:
847:
846:
845:
843:
840:
835:
832:
831:
830:
825:
806:Basso continuo
803:
782:
773:
756:
730:
727:
724:
723:
717:
716:
714:Luisa Mombelli
711:
708:
705:
698:
697:
694:
691:
688:
681:
680:
675:
672:
669:
662:
661:
656:
653:
650:
642:Donna Elvira,
639:
638:
635:
632:
627:
623:
622:
617:
612:
607:
600:
599:
596:
593:
588:
584:
583:
580:
575:
570:
560:
559:
549:
539:
534:
522:
519:
498:Dalla sua pace
471:
468:
415:Dalla sua pace
394:
391:
351:string section
343:basso continuo
318:
315:
243:
240:
236:Fiona Maddocks
213:dramma giocoso
188:to an Italian
144:
143:
136:
126:
124:
120:
119:
115:The legend of
113:
109:
108:
105:
101:
100:
95:
91:
90:
83:
79:
78:
67:
59:
58:
48:
47:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
5145:
5134:
5131:
5129:
5126:
5124:
5121:
5119:
5116:
5114:
5111:
5109:
5106:
5104:
5101:
5099:
5096:
5094:
5091:
5090:
5088:
5078:
5073:
5068:
5064:
5050:
5049:Derived works
5046:
5043:
5039:
5038:
5036:
5032:
5025:
5024:
5019:
5016:
5015:
5010:
5007:
5006:
5001:
4998:
4997:
4992:
4989:
4988:
4983:
4982:
4980:
4978:Discographies
4976:
4968:
4963:
4959:
4954:
4950:
4945:
4941:
4936:
4932:
4927:
4923:
4918:
4914:
4913:Il mio tesoro
4909:
4905:
4900:
4896:
4891:
4887:
4882:
4878:
4873:
4872:
4870:
4866:
4858:
4857:
4852:
4848:
4847:
4842:
4838:
4837:
4832:
4828:
4827:
4822:
4818:
4817:
4812:
4808:
4807:
4802:
4798:
4797:
4792:
4788:
4787:
4782:
4778:
4777:
4772:
4768:
4767:
4762:
4758:
4757:
4752:
4748:
4747:
4742:
4738:
4737:
4736:Il re pastore
4732:
4728:
4727:
4722:
4718:
4717:
4712:
4708:
4707:
4702:
4698:
4697:
4692:
4688:
4687:
4682:
4678:
4677:
4672:
4668:
4667:
4662:
4658:
4657:
4652:
4648:
4647:
4642:
4641:
4639:
4637:
4633:
4629:
4621:
4616:
4614:
4609:
4607:
4602:
4601:
4598:
4584:
4583:
4578:
4574:
4573:
4568:
4564:
4563:
4558:
4557:
4555:
4551:
4543:
4542:
4537:
4533:
4532:
4527:
4526:
4524:
4520:
4512:
4507:
4503:
4502:
4497:
4494:(album, 1986)
4493:
4492:
4487:
4484:(album, 1980)
4483:
4482:
4477:
4473:
4472:
4467:
4463:
4462:
4457:
4453:
4452:
4447:
4446:
4444:
4440:
4432:
4431:
4426:
4422:
4421:
4416:
4412:
4411:
4406:
4402:
4401:
4396:
4392:
4391:
4386:
4381:
4377:
4373:
4368:
4364:
4359:
4358:
4355:
4354:
4349:
4345:
4344:
4339:
4335:
4334:
4329:
4328:
4326:
4322:
4314:
4313:
4308:
4304:
4303:
4298:
4294:
4293:
4288:
4284:
4283:
4278:
4274:
4273:
4268:
4264:
4263:
4258:
4254:
4253:
4248:
4244:
4243:
4242:The Libertine
4238:
4234:
4233:
4228:
4224:
4223:
4218:
4217:
4215:
4211:
4203:
4202:
4197:
4193:
4192:
4187:
4183:
4182:
4177:
4171:
4166:
4162:
4157:
4156:
4153:
4152:
4147:
4143:
4142:
4137:
4133:
4132:
4127:
4123:
4122:
4117:
4113:
4112:
4107:
4103:
4102:
4097:
4093:
4092:
4087:
4083:
4082:
4077:
4073:
4072:
4067:
4063:
4062:
4057:
4053:
4052:
4047:
4043:
4042:
4037:
4033:
4032:
4027:
4023:
4022:
4017:
4013:
4012:
4007:
4003:
4002:
3997:
3993:
3992:
3987:
3983:
3982:
3977:
3973:
3972:
3967:
3963:
3962:
3957:
3956:
3954:
3950:
3946:
3939:
3934:
3932:
3927:
3925:
3920:
3919:
3916:
3904:
3901:
3900:
3898:
3894:
3887:
3886:
3882:
3879:
3878:
3874:
3871:
3870:
3865:
3862:
3861:
3857:
3854:
3851:
3850:
3848:
3842:
3835:
3834:
3830:
3827:
3826:
3822:
3821:
3819:
3815:
3808:
3807:Il mio tesoro
3804:
3801:
3797:
3794:
3790:
3789:
3787:
3783:
3777:
3774:
3772:
3769:
3767:
3764:
3762:
3759:
3758:
3756:
3752:
3746:
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3742:
3740:
3736:
3732:
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3726:
3719:
3714:
3712:
3707:
3705:
3700:
3699:
3696:
3684:
3676:
3675:
3672:
3666:
3663:
3661:
3660:Mozart effect
3658:
3656:
3653:
3651:
3648:
3646:
3643:
3642:
3640:
3636:
3630:
3627:
3625:
3622:
3620:
3617:
3615:
3612:
3610:
3607:
3606:
3604:
3600:
3593:
3590:
3587:
3586:Aloysia Weber
3584:
3581:
3580:Josepha Weber
3578:
3575:
3574:Cäcilia Weber
3572:
3569:
3566:
3563:
3560:
3557:
3554:
3551:
3548:
3545:
3542:
3539:
3536:
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3521:
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3509:
3507:
3503:
3493:
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3488:
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3475:
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3430:
3428:
3425:
3423:
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3415:
3413:
3410:
3408:
3405:
3404:
3402:
3400:
3396:
3390:
3387:
3385:
3382:
3380:
3377:
3375:
3372:
3370:
3367:
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3362:
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3357:
3355:
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3350:
3347:
3345:
3342:
3340:
3337:
3335:
3332:
3330:
3327:
3325:
3322:
3321:
3319:
3315:
3311:
3304:
3299:
3297:
3292:
3290:
3285:
3284:
3281:
3274:
3272:
3267:
3264:
3262:
3257:
3251:
3247:
3244:
3243:
3236:
3234:
3233:
3228:
3226:
3223:
3220:
3217:
3215:
3214:Naxos Records
3211:
3207:
3204:
3201:
3199:
3195:
3194:
3189:
3186:
3183:
3180:
3177:
3175:
3171:
3170:
3166:
3163:
3159:
3155:
3152:
3150:
3149:
3141:
3137:
3133:
3129:
3127:
3126:
3122:
3117:
3113:
3109:
3106:
3103:
3099:
3097:
3093:
3089:
3086:
3085:
3080:
3076:
3073:
3069:
3063:
3059:
3053:
3047:
3043:
3039:
3035:
3031:
3027:
3023:
3019:
3015:
3011:
3009:
3005:
3002:
2998:
2995:
2994:
2989:
2985:
2982:
2979:
2975:
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2968:
2964:
2961:
2958:
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2947:
2943:
2937:
2933:
2932:
2927:
2923:
2919:
2915:
2911:
2907:
2903:
2901:9781950743506
2897:
2893:
2889:
2885:
2881:
2875:
2870:
2869:
2863:
2859:
2851:
2845:
2838:
2834:
2828:
2824:
2820:
2816:
2812:
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2810:
2809:
2791:
2787:
2786:
2778:
2775:
2772:
2768:
2765:
2760:
2757:
2752:
2748:
2742:
2739:
2734:
2730:
2724:
2721:
2708:
2704:
2698:
2695:
2692:
2688:
2685: German
2683:
2677:
2674:
2669:
2668:
2660:
2657:
2653:
2648:
2645:
2641:
2636:
2633:
2628:
2626:0-300-08158-8
2622:
2618:
2613:
2612:
2606:
2600:
2597:
2592:
2588:
2584:
2578:
2575:
2571:
2567:
2563:
2557:
2553:
2549:
2545:
2538:
2535:
2523:
2519:
2518:
2510:
2507:
2503:
2499:
2495:
2490:
2487:
2483:
2481:
2477:
2471:
2465:
2461:
2454:
2451:
2447:
2443:
2438:
2435:
2431:
2426:
2423:
2419:
2418:Casaglia 2005
2414:
2411:
2407:
2402:
2399:
2394:
2388:
2384:
2383:
2378:
2372:
2369:
2365:
2360:
2357:
2353:
2349:
2348:
2343:
2342:Wolfgang Rehm
2339:
2334:
2331:
2326:
2320:
2317:
2313:
2308:
2305:
2301:
2296:
2293:
2289:
2283:
2280:
2276:
2270:
2267:
2263:
2259:
2258:
2251:
2248:
2244:
2238:
2236:
2232:
2227:
2226:
2221:
2217:
2211:
2208:
2203:
2199:
2193:
2190:
2186:
2182:
2179:
2175:
2169:
2166:
2162:
2161:
2152:
2148:
2147:Una cosa rara
2142:
2139:
2135:
2131:
2125:
2122:
2118:
2115:(convent) or
2114:
2110:
2105:
2101:
2096:
2093:
2089:
2084:
2081:
2075:
2072:
2068:
2064:
2063:
2058:
2054:
2047:
2044:
2040:
2039:
2034:
2029:
2026:
2022:
2021:
2016:
2011:
2008:
2004:
2003:Aloysia Weber
1999:
1996:
1993:
1992:
1985:
1983:
1981:
1977:
1974:
1969:
1964:
1960:
1958:
1957:
1952:
1948:
1938:
1937:
1932:
1928:
1923:
1921:
1917:
1916:Michael Nyman
1913:
1911:
1907:
1903:
1902:
1896:
1892:
1888:
1887:Désirée Artôt
1884:
1881:
1880:mezzo-soprano
1877:
1873:
1869:
1867:
1863:
1853:
1852:
1847:
1843:
1839:
1835:
1831:
1827:
1823:
1822:
1816:
1811:
1807:
1802:
1797:
1793:
1783:
1779:
1775:
1770:
1764:
1753:
1749:
1748:
1744:
1738:
1734:
1730:
1726:
1725:
1720:
1712:
1709:
1707:
1705:
1701:
1697:
1696:
1691:
1687:
1686:Peter Shaffer
1682:
1680:
1676:
1672:
1668:
1663:
1661:
1657:
1653:
1652:
1648:, along with
1647:
1643:
1639:
1638:
1633:
1629:
1625:
1621:
1617:
1613:
1612:
1611:Enten – Eller
1607:
1598:
1591:
1589:
1587:
1583:
1579:
1575:
1570:
1568:
1559:
1557:
1555:
1550:
1546:
1541:
1539:
1534:
1528:
1523:
1522:
1517:
1513:
1512:
1507:
1503:
1502:
1501:Una cosa rara
1497:
1485:
1481:
1477:
1462:
1443:
1440:
1439:
1431:
1426:
1418:
1414:
1408:
1405:
1404:
1403:
1397:
1394:
1393:
1388:
1384:
1378:
1376:
1364:
1349:
1332:
1330:
1329:Il mio tesoro
1322:
1319:
1318:
1317:
1313:
1311:
1307:
1283:
1264:
1261:
1260:
1256:
1254:
1248:
1245:
1244:
1240:
1239:J. B. Kucharz
1236:
1232:
1228:
1224:
1203:
1188:
1169:
1166:
1165:
1164:
1154:
1115:
1106:
1105:Anton Dermota
1091:
1074:
1072:
1058:
1055:
1054:
1053:
1051:
1045:
1032:
1028:
1024:
1002:
983:
980:
979:
978:
955:
952:
951:
950:
948:
943:
938:
934:
927:
925:
913:
909:
905:
901:
900:Suzanne Danco
898:(Leporello),
897:
882:
861:
841:
839:
833:
829:
826:
823:
819:
815:
811:
807:
804:
802:
801:double basses
798:
794:
790:
786:
783:
781:
777:
774:
772:
768:
764:
760:
757:
755:
751:
747:
743:
739:
736:
735:
734:
728:
722:
718:
715:
712:
709:
706:
704:
700:
699:
695:
692:
689:
687:
683:
682:
679:
676:
673:
670:
668:
664:
663:
660:
657:
654:
651:
649:
647:
641:
640:
636:
633:
631:
628:
625:
624:
621:
620:Aloysia Weber
618:
616:
613:
611:
608:
606:
602:
601:
597:
594:
592:
589:
586:
585:
581:
579:
576:
574:
571:
569:
565:
562:
561:
556:
550:
546:
540:
538:
535:
532:
531:
520:
518:
514:
501:". Elvira's "
492:
491:Il mio tesoro
485:
483:
482:
477:
469:
467:
465:
461:
427:
411:
404:
399:
392:
390:
388:
372:
368:
364:
360:
356:
352:
348:
344:
340:
336:
332:
328:
324:
316:
314:
312:
308:
304:
299:
297:
296:
291:
286:
284:
280:
276:
275:
270:
266:
257:
253:
248:
241:
239:
237:
233:
229:
225:
224:
219:
215:
214:
209:
208:
203:
199:
195:
191:
187:
183:
179:
177:
170:
165:
160:
152:
151:
139:
125:
121:
118:
114:
110:
106:
102:
99:
96:
92:
88:
84:
80:
75:
71:
65:
60:
57:
53:
49:
44:
41:
37:
33:
19:
5093:Don Giovanni
5022:
5013:
5005:Don Giovanni
5004:
4995:
4986:
4854:
4844:
4834:
4826:Don Giovanni
4825:
4824:
4814:
4804:
4794:
4784:
4774:
4764:
4754:
4744:
4734:
4724:
4714:
4704:
4694:
4684:
4674:
4664:
4654:
4644:
4580:
4572:Blue of Noon
4570:
4560:
4539:
4529:
4499:
4491:Don Giovanni
4489:
4481:John Gavanti
4479:
4469:
4459:
4449:
4428:
4418:
4408:
4398:
4388:
4353:Don Giovanni
4352:
4351:
4341:
4331:
4310:
4300:
4290:
4280:
4270:
4260:
4250:
4240:
4230:
4220:
4199:
4189:
4179:
4149:
4139:
4129:
4121:Don Giovanni
4119:
4109:
4099:
4089:
4079:
4069:
4059:
4049:
4039:
4029:
4019:
4009:
3999:
3989:
3979:
3969:
3959:
3885:John Gavanti
3883:
3875:
3868:
3858:
3833:Don Giovanni
3831:
3823:
3730:Don Giovanni
3729:
3728:
3645:Georg Nissen
3592:Sophie Weber
3568:Joseph Lange
3562:Franz Mozart
3489:
3482:
3384:Pet starling
3270:
3261:Don Giovanni
3260:
3242:Don Giovanni
3241:
3232:Don Giovanni
3231:
3193:Don Giovanni
3192:
3169:Don Giovanni
3168:
3146:
3132:Don Giovanni
3131:
3118:(1990), 7–26
3115:
3112:Don Giovanni
3111:
3101:
3091:
3082:
3078:
3057:
3051:
3025:
3021:
3018:Don Giovanni
3017:
3007:
3000:
2991:
2987:
2977:
2966:
2954:
2950:
2929:
2917:
2913:
2891:
2867:
2854:(in Italian)
2844:Don Giovanni
2843:
2823:W. A. Mozart
2822:
2807:
2806:
2793:. Retrieved
2784:
2777:
2759:
2750:
2741:
2732:
2723:
2711:. Retrieved
2706:
2697:
2676:
2665:
2659:
2647:
2635:
2610:
2599:
2582:
2577:
2550:(92): 7–52.
2547:
2544:Don Giovanni
2543:
2537:
2525:. Retrieved
2516:
2509:
2494:Don Giovanni
2493:
2489:
2480:Don Giovanni
2479:
2476:Don Giovanni
2475:
2473:
2459:
2453:
2437:
2430:Deutsch 1965
2425:
2413:
2401:
2381:
2371:
2364:Freeman 2021
2359:
2352:Don Giovanni
2351:
2345:
2333:
2319:
2312:Deutsch 1965
2307:
2300:Deutsch 1965
2295:
2282:
2275:Freeman 2021
2269:
2261:
2255:
2250:
2243:Freeman 2021
2225:The Guardian
2223:
2210:
2201:
2192:
2174:Deutsch 1965
2168:
2159:
2158:
2150:
2146:
2141:
2133:
2129:
2124:
2116:
2112:
2108:
2103:
2100:Freeman 2021
2095:
2088:Freeman 2021
2083:
2074:
2066:
2060:
2053:Freeman 2021
2046:
2036:
2028:
2018:
2010:
1998:
1990:
1989:
1979:
1966:
1961:
1954:
1953:in act 1 of
1950:
1934:
1927:Don Giovanni
1926:
1924:
1919:
1914:
1906:Don Giovanni
1905:
1898:
1891:Don Giovanni
1890:
1876:Don Giovanni
1875:
1870:
1849:
1819:
1792:Klavierübung
1747:Don Giovanni
1746:
1742:
1722:
1719:Don Giovanni
1718:
1716:
1711:Don Giovanni
1710:
1693:
1690:Don Giovanni
1689:
1683:
1664:
1649:
1646:Don Giovanni
1645:
1635:
1624:Don Giovanni
1623:
1616:Don Giovanni
1615:
1609:
1603:
1586:Joseph Losey
1574:Paul Czinner
1572:
1567:Don Giovanni
1566:
1553:
1551:
1547:
1519:
1509:
1499:
1492:
1480:Cesare Siepi
1441:
1411:
1406:
1400:
1395:
1381:
1325:
1320:
1314:
1302:
1262:
1251:
1246:
1235:Don Giovanni
1234:
1210:
1167:
1155:
1134:
1061:
1056:
1046:
1036:
981:
958:
953:
930:
904:Cesare Siepi
837:
732:
720:
702:
685:
666:
643:
626:Don Ottavio
604:
603:Donna Anna,
567:
564:Don Giovanni
515:
486:
479:
476:Wilhelm Kuhe
473:
407:
403:Don Giovanni
402:
371:Commendatore
320:
310:
306:
300:
293:
287:
272:
261:
256:Don Giovanni
255:
232:Don Giovanni
231:
221:
218:supernatural
211:
205:
173:
172:, literally
150:Don Giovanni
149:
148:
147:
68:Portrait of
56:W. A. Mozart
46:Don Giovanni
40:
5113:1787 operas
4716:Lucio Silla
4442:Other music
4380:Discography
3903:Discography
3846:adaptations
3771:Luigi Bassi
3619:Freemasonry
3344:Nationality
3324:Biographies
3254:(in German)
3238:(in German)
3179:Opera Guide
3143:(in German)
3108:Tyson, Alan
3096:OPEN ACCESS
3032:: 167–203.
2819:Cliff Eisen
2709:(in Danish)
2652:Gounod 1970
1971: [
1729:Franz Liszt
1684:Playwright
1569:discography
1231:Luigi Bassi
1202:Hilde Güden
912:Josef Krips
818:violoncello
814:harpsichord
665:Leporello,
578:Luigi Bassi
543:29 October
347:recitatives
223:opera buffa
82:Other title
74:Max Slevogt
5087:Categories
4626:Operas by
3869:Mozartiana
3754:Background
3738:Characters
3602:Influences
3447:Symphonies
3334:Grand tour
3329:Birthplace
3104:Dover 1974
3014:Noske, F R
2687:Wikisource
2591:1051553568
2502:079351231X
2444:, p.
2442:Abert 2007
2160:References
1824:, whereas
1782:János Fusz
1760:", in his
1673:list" for
1660:"Don Juan"
1560:Recordings
1476:Kurt Böhme
1375:media help
942:misterioso
924:media help
822:fortepiano
776:Percussion
644:a lady of
537:Voice type
460:Proserpina
210:. It is a
131:1787-10-29
94:Librettist
4904:Dove sono
3727:'s opera
3609:Beethoven
3354:Scatology
3349:Residence
3317:Biography
3016:(1970). "
2931:Either/Or
2151:Litiganti
2117:monastero
1965:'s opera
1931:Offenbach
1842:Beethoven
1806:Variation
1776:(Op. 2),
1671:Leporello
1634:, who in
1588:in 1979.
1306:serenades
949:allegro.
771:trombones
750:clarinets
738:Woodwinds
703:a peasant
701:Zerlina,
684:Masetto,
367:pizzicato
335:trombones
323:woodwinds
198:libertine
4766:Idomeneo
4531:Don Juan
4511:Don Juan
4501:Don Juan
4461:Don Juan
4451:Don Juan
4292:Don Juan
4272:Don Juan
4232:Dom Juan
4181:Don Juan
4111:Don Juan
4091:Don Juan
4061:Don Juan
4051:Don Juan
4001:Don Juan
3981:Don Juan
3971:Don Juan
3945:Don Juan
3825:Don Juan
3745:Don Juan
3683:Category
3528:(sister)
3522:(mother)
3516:(father)
3471:Editions
3359:Smallpox
3271:Don Juan
3246:Archived
3219:Libretto
3206:Archived
3154:Libretto
3077:(1981).
2965:(1993):
2912:(1970).
2890:(2021).
2864:(1965).
2817:(2007).
2767:Archived
2749:(1991).
2731:(1970).
2607:(2000).
2379:(2008).
2181:Archived
2113:convento
1951:cavatina
1866:Chabrier
1810:Schumann
1310:mandolin
933:overture
860:Overture
834:Synopsis
828:Mandolin
787:: first
769:, three
767:trumpets
754:bassoons
752:and two
707:soprano
652:soprano
573:baritone
387:bassoons
363:mandolin
345:for the
333:, three
331:trumpets
190:libretto
180:) is an
140:, Prague
123:Premiere
117:Don Juan
112:Based on
104:Language
32:Don Juan
5034:Related
4430:Flammen
4201:Don Jon
3896:Related
3638:Related
3629:Salieri
3442:Sonatas
3145:in the
3028:(1/4).
2821:(ed.).
2808:Sources
2795:5 April
2713:29 June
2504:, p. iv
1947:Rossini
1945:", and
1899:Mozarti
1704:Leopold
1695:Amadeus
1644:called
1436:1830–35
947:D major
937:D minor
789:violins
785:Strings
780:timpani
610:soprano
481:Amadeus
379:" and "
357:(a 3/4
339:timpani
317:Scoring
283:Villena
279:Seville
129: (
107:Italian
5118:Operas
5063:Portal
4859:(1791)
4849:(1791)
4839:(1790)
4829:(1787)
4819:(1786)
4809:(1786)
4799:(1784)
4789:(1783)
4779:(1782)
4769:(1781)
4759:(1780)
4749:(1779)
4739:(1775)
4729:(1775)
4719:(1772)
4709:(1772)
4699:(1771)
4689:(1770)
4679:(1769)
4669:(1768)
4659:(1767)
4649:(1767)
4636:Operas
4585:(1987)
4575:(1957)
4565:(1941)
4553:Novels
4544:(1840)
4534:(1821)
4433:(1932)
4423:(1909)
4413:(1872)
4403:(1841)
4393:(1787)
4356:(1787)
4346:(1730)
4336:(1669)
4324:Operas
4315:(2010)
4305:(2006)
4295:(1959)
4285:(1905)
4275:(1862)
4265:(1844)
4255:(1830)
4245:(1676)
4235:(1665)
4225:(1630)
4204:(2013)
4194:(2005)
4184:(1998)
4154:(1995)
4144:(1995)
4134:(1979)
4124:(1979)
4114:(1974)
4104:(1973)
4094:(1969)
4084:(1967)
4074:(1960)
4064:(1956)
4054:(1955)
4044:(1954)
4034:(1952)
4024:(1948)
4014:(1934)
4004:(1926)
3994:(1925)
3984:(1922)
3974:(1913)
3964:(1898)
3888:(1980)
3872:(1887)
3863:(1841)
3855:(1827)
3836:(1979)
3828:(1955)
3534:(wife)
3506:Family
3427:Operas
3422:Masses
3412:Dances
3374:Prague
3369:Berlin
3130:
3064:
3046:901357
3044:
2898:
2876:
2848:
2829:
2623:
2589:
2527:24 May
2500:
2466:
2406:Page 2
2389:
2109:ritiro
2067:burlas
1836:wrote
1834:Chopin
1750:, and
1743:Figaro
1733:minuet
1731:. The
1651:Hamlet
1628:repent
914:(1955)
797:cellos
793:violas
765:, two
761:: two
748:, two
744:, two
742:flutes
740:: two
646:Burgos
553:7 May
464:Pluto!
359:minuet
329:, two
325:, two
305:. The
164:K. 527
76:, 1912
18:K. 527
5077:Opera
4868:Arias
4756:Zaide
4522:Poems
4213:Plays
3952:Films
3817:Films
3785:Arias
3624:Haydn
3552:(son)
3546:(son)
3399:Music
3389:Death
3364:Italy
3212:from
3196:from
3136:Score
3042:JSTOR
2560:Also
1991:Notes
1975:]
1846:Danzi
1688:used
1257:Act 2
842:Act 1
824:only)
763:horns
759:Brass
746:oboes
690:bass
671:bass
630:tenor
533:Role
521:Roles
355:metre
327:horns
182:opera
52:Opera
3339:Name
3138:and
3062:ISBN
2896:ISBN
2874:ISBN
2827:ISBN
2797:2011
2715:2014
2621:ISBN
2587:OCLC
2529:2019
2498:ISBN
2464:ISBN
2446:1021
2387:ISBN
2340:and
2273:See
2149:and
1844:and
1780:and
1745:and
1033:2014
931:The
816:and
799:and
591:bass
555:1788
545:1787
462:and
410:1788
250:The
176:Rake
174:The
3114:",
3034:doi
2790:467
2617:203
2562:doi
2552:doi
2546:".
1933:'s
1901:ana
1794:of
1727:by
1542:his
1508:'s
1498:'s
812:of
808:in
192:by
54:by
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3160:,
3156:,
3134::
3040:.
3026:12
3024:.
2986:.
2969:.
2705:.
2619:.
2472:.
2344:,
2234:^
2222:.
2200:.
1973:es
1959:.
1681:.
1434:c.
1432:,
1048:("
1038:("
910:,
795:,
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341:,
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4605:v
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2420:.
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2327:.
2228:.
2204:.
2041:.
2023:.
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1377:.
1241:.
926:.
153:(
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20:)
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