Name: Don Giovanni
Start: 2022-04-06T00:00:00.000Z
End: 2022-04-06T00:00:00.000Z
Location: The National Theater Opera Belgrade

Organization

Singer

Soprano

Snežana Savičić Sekulić

Donna Anna

Stage director

Alberto Triola

Conductor

Marco Boemi

Set designer

Ticiano Santi

Costume designer

Katarina Grčić Nikolić

Mask design

Marko Kekic

Baritone

Vladimir Andrić

Don Giovanni

Miodrag D Jovanović

Bass

Aleksandar Manevski

Commendatore

Sveto Kastratović

Aleksandra Petrović

Gordana Tomić

Tenor

Marko Živković

Don Ottavio

Stevan Karanac

Ivanka Raković Krstonošić

Donna Elvira

Aleksandra Stamenković Garcia

Dragoljub Bajić

Leporello

Vuk Matić

Gavrilo Rabrenović

Masetto

Marko Pantelić

Sofija Pižurica

Zerlina

Nevena Matić

Dragana Tomić Roksandić

Assistant Conductor

Dijana Cvetković

Assistant Directors

Ana Grigorović

Libero Stelluti

Assistants of scenography

Miraš Vuksanović

Jasna Saramandić

National Theatre Belgrade

Others

National Theater in Belgrade

Ballet

National Theatre Belgrade Ballet

Orchestra

Belgrade National Theatre Orchestra

Belgrade

Serbia

The National Theater Opera Belgrade

Don Giovanni Mozart

Public

Private

Approved

Monday, October 29, 1787. After two delays, a new opera by the Viennese composer Wolfgang Amadeus Mozart, the celebrated author of "Figaro's Marriage", is finally being shown at the theater, which has been rented to a prominent Italian opera troupe in Prague. He and his librettist, court poet, abbot, Lorenzo da Ponte, this time chose a well-known and favorite story for the Prague audience about the fearless, insolent seducer, the legendary Spanish nobleman Don Juan. Prague, music and great fans of Italian opera, listen to Mozart's melodies: at balls, in pubs, from street performers, and that is why Mozart's entry into the orchestra is greeted with triple applause, which is otherwise intended only for rulers. Mozart has confidence in his singers and the audience, and he knows that a new work, bold and unusual, must win over connoisseurs. And he was not deceived because the success from play to play only grew, and the newspapers wrote that "it has never been like that before". The first to take the stage was the character of Don Juan, a brave conqueror of women, the Spanish monk Gabriel Teles, known under the pseudonym Tirso de Molina in the play "The Seducer from Seville". In 1665, Molière psychologically deepened this theme, under the name "Don Juan or the Stone Guest", which deviates significantly from the improvisations of Italian traveling troops. Carl Goldoni's treatment is one of the less successful and did not stay on stage for long. In Germany and Austria, various pieces about the legendary seducer are shown throughout the eighteenth century. From 1783 to 1821, the Vienna Theater in Leopoldstadt performed one comic adaptation of this work without interruption. Later, famous literary adaptations were given by Pushkin, Merimee, Grabe, Bernard Shaw and others, and Max Frisch wrote the play " Don Juan or the love of geomatry ”. "Don Juan" is sung for the first time "in Italian in Brno in 1734, then he is a hero in Gluck's ballet of the same name", and then a number of then successful composers create operas with this theme. According to experts, on copyright, the libretto of Mozart's opera is a very clever compilation of various, hitherto known arrangements of popular action.Mozart and Da Ponte certainly collaborated on the libretto, but the composer's demands and his direct participation in the processing of individual scenes cannot be established. composing in the spring, he worked intermittently until the end of the summer and went to Prague with an unfinished score not at the beginning of September, as it was considered until recently, but on October 1, to meet with his performers only on October 3! horom, with the aria of Mazet from the first act, the introductory duet of the second act, the canzonetto of Don Juan and the whole famous finale of the second act will be written only during the rehearsals! Today, even the tunes would not be announced during that time. The premiere, scheduled for October 14, as part of the stay in Prague of Archduchess Maria Theresa and her husband Prince Anton of Saxony, had to be postponed first to October 24 and then, due to the illness of one singer, finally set for October 29. The librettist Da Ponte will also arrive in Prague at the beginning of October, but he will stay only a few days, because rehearsals of the new Salieri opera were waiting for him in Vienna. By moving the premiere, another six days of rehearsals were given and Mozart rehearsed everything as he had imagined, and helped the Guardosonia a lot in directing, as evidenced by some anecdotes ... According to the practice at the time, no reviews were written, only Prague's "Postal Newspaper" It is noted that the long-awaited opera by Master Mozart was given on October 29, and that connoisseurs and musicians say that something like this has not been performed in Prague yet. "Mr. Mozart conducted himself. The opera is otherwise extremely difficult and everyone admires the extraordinary performance after such short preparations. Everyone, the stage and the orchestra, worked hard to reward Mozart with a good performance. An exceptional number of spectators testify to the general liking "...

English

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