Name: Don Giovanni
Start: 2020-03-01T00:00:00.000Z
End: 2020-03-15T00:00:00.000Z
Location: Teatro Principal Antzokia

Artist

Admin

Singer

Bass

David Cervera

Commendatore

Conductor

Martin Mázik

Constantin Rouits

Stage director

Matteo Peirone

Gualtiero Ristori

Luis Miguel Lainz

Set designer

Alfredo Troisi

Costume designer

Orchestra

Orquesta de Opera 2001

Others

Coros de Opera 2001

Baritone

Luca Dall'Amico

Don Giovanni

Paolo Ruggiero

Thomas Weinhappel

Alberto Bianchi Lanzoni

Leporello

Nicola Ziccardi

Soprano

Yeonjoo Park

Donna Anna

Tenor

Haruo Kawakami

Don Ottavio

Francesco Marsiglia

Gianluca Failla

Masetto

Héloïse Koempgen

Donna Elvira

Viktoria Varga

Francesca Bruni

Zerlina

Mar Esteve i Rodrigo

Opéra de Massy

Opera 2001

Pianist

Miglena Slavova

Natalia Rise

ítalska

Oliver Embourne

Toledo

Spain

Auditorio El Greco

Pozuelo de Alarcón

Mira Teatro

Santurtzi

Serantes Kultur Aretoa

Carcassonne

France

Théâtre Jean Alary

Mérignac

Le Pin Galant

Zaragoza

Teatro Principal

Logroño

Teatro Bretón

Vitoria-Gasteiz

Teatro Principal Antzokia

Getxo

MUXIKEBARRI Centro de Cultura, Arte y Congresos

Versailles

Théâtre Montansier

Massy

Don Giovanni Mozart

Public

Private

spænska

franska

enska

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Off-Stage Artist

On-Stage Artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Countertenor

Contralto

Mezzo-soprano

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

Pienso que Mozart, y con él, Da Ponte, pueden ser considerados como los más geniales libretistas de la historia de la ópera, por haber dado una indicación precisa de cómo debía ser el mito de Don Giovanni, proveniente de las tradiciones literarias y teatrales, teniendo en cuenta la diferencia esencial entre la ilustración hecha por Tirso de Molina y la de Moliere, seguramente recargada por los primeros síntomas del ejercicio filosófico que envolverá  los personajes en la época romántica.

 Lo hicieron definiendo su trabajo como “ comedia dramática ”, etiqueta ambigua y contradictoria de la costumbre teatral napolitana – se necesita recordar que la compañía de Praga por la cual la ópera fue escrita en 1787 era enteramente italiana y se dedicaba a este repertorio – y le dieron un titulo que contenía una moral “El corrompido castigado” aunque el nombre del personaje fue luego añadido al titulo “ossia Il Don Giovanni”.

 La universalidad y la constante validez del mito han conducido al hecho de que las representaciones se interpreten  más allá del tiempo y del lugar original de la obra (“la acción se fija en una ciudad de España”, como lo indica el libreto) incluso con estructuras intelectualizadas  dictadas por ideas de “teatro de director”

 Creo que en tierras de España, sería legitimo presentar un Don Giovanni lo más esencial y parecido posible a sus orígenes literarios, que son los de Tirso de Molina y al dictado de sus creadores, Mozart y Da Ponte, que se acercaron más a éste, sobrepasando las antiguallas líricas que les precedían, despreciando el  modelo de Moliere.

Procuro poner de relieve lo que creo ser el símbolo principal de la obra, la estatua ecuestre del Comendador. En Salzburgo, bajo la fortaleza de Hohensalzburg, en el antiguo cementerio de San Pedro, queda todavía entre las tumbas, la estatua de un guerrero, no realmente imponente, pero la tradición cuenta que Mozart quedó impresionado y conservó este gran recuerdo hasta la realización de Don Giovanni. Hipótesis sugestiva, confirmada por cualquiera que escuche la música.

español

I think that Mozart - and Da Ponte along with him, can be considered as the most genious librettists in the history of opera - for having given a precise notion of how the myth of Don Giovanni should be, coming from literary and theatrical traditions - taking into account the essential difference between the illustration made by Tirso de Molina and the one from Moliere - surely recharged by the early signs of the philosophical exercise that envelops the characters into the Romantic era.

 They did it by defining their work as "dramedy" ambiguous and contradictory label from the Neapolitan theatrical custom - you need to remember that the company in Prague by which the opera was written in 1787 was entirely Italian and was devoted to this repertoire - and gave it a title containing the moral "the corrupt punished" even if the character's name was later added to the title "ossia Il Don Giovanni".

 The universality and constant validity of the myth have, at the very least, led to the fact that the representations have shifted beyond time and place ("the action is set in a city in Spain", as indicated in the script) but not to intellectual superstructures dictated by flagging ideas from the "director’s theatre".

 I thought that in the Spanish Land, it would be legitimate to present a Don Giovanni as essential and as close as possible to its literary origins, which are those of Tirso de Molina and to the dictate of its creators, Mozart and Da Ponte, who came closer to him, surpassing the lyric antiquities that preceded them, despising Moliere’s model.

 I try to highlight what I believe to be the main symbol of the play, the equestrian statue of the Commendatore. At Salzburg under the Hohensalzburg Fortress, at the ancient cemetery of San Pedro, the statue of a warrior can still be found among the tombs, not really impressive, but tradition has it that Mozart was impressed by it and retained a clear memory from it until his conducting of Don Giovanni. A suggestive hypothesis, confirmed by everyone who listens to its music.

English

Don Giovanni​ : Prométhée ou Lucifer​ ?

Nous aimons voir l’image du Don Giovanni comme celle d'un héros anarchiste qui fait voir aux hommes la possibilité d'une vie sans lois.​

Une sorte de Prométhée qui donne aux hommes la possibilité d'une liberté totale.

Ou peut-être un Lucifer qui, en apportant la lumière, éloigne l'homme de Dieu et de ses lois.

Mais ​ Prométhée (qui porte le feu) et Lucifer (qui porte la lumière)  ne sont-ils pas les deux faces d’une même pièce ?

Et Don Giovanni la représentation «​ humaine »​ de ce dualisme​ ?

La punition des Dieux va éliminer la «​ Figure​ mortelle​» , mais consacrera Don Giovanni au «​ Mythe​ ».

​

Dans notre spectacle les personnages apparaîtront comme des statues.​

Don Giovanni les libérera et il leur fera jouer son jeu​ : le jeu de la liberté totale.

​ Un jeu que les personnages  ne peuvent pas jouer.

Ils préféreront  retourner dans la coquille de sa propre statue.​

Si calme.

Si peu dérangeante.

​

Matteo Peirone et Gualtiero Ristori

français

Don Giovanni by Mozart, þri 03 mar 2020, Frá (2020/2020), Leikstýrt af Matteo Peirone, Gualtiero Ristori, Luis Miguel Lainz,, Hljómsveitarstjóri Martin Mázik, Constantin Rouits, Teatro Principal Antzokia, Vitoria-Gasteiz, Spain

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