Name: Don Giovanni
Start: 2016-12-08T00:00:00.000Z
End: 2016-12-08T00:00:00.000Z
Location: Palco

Organization

Direzione d'orchestra

Pavel Smelkov

Valery Gergiev

Pianoforte

Aglaya Zinchenko

Cantante

Baritono

Vadim Kravets

Don Giovanni

Basso

Yevgeny Plekhanov

Leporello

Yuri Vlasov

Il Commendatore

Soprano

Albina Schagimuratova

Donna Anna

Tenore

Vsevolod Marilov

Don Ottavio

Elena Stikhina

Donna Elvira

Alina Mikhailik

Zerlina

Vadim Soloviev

Masetto

Primorsky Stage of the Mariinsky Theatre

italiano

Vladivostok

Russia

Big Hall

Public

russo

Approvato

Palco

Accordionist

Strumento

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Continuo

Contrabassist

Cornettist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianista

Recorder Player

Saxophonist

Suonatore di flauto

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinista

Violino Piccolo Player

Violista

Altro

Ballando

Chefdirigent Musiktheater

Chorus Director

Composizione

Coreografia

Coro

Costumi

Direzione del coro

Docente di canto

Drammaturgia

Emittente radiotelevisiva

Extra

Illustrator

Insegnante

Libretto

Luci

Maestro ripassatore

Off-Stage Artist

On-Stage Artist

Orchestra

Orchestra Operations

Parrucco

Photographer

Poet

Produzione esecutiva

Recitazione

Regia

Scenografia

Stage Manager

Suono

Traduzione

Trucco

Video

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Controtenore

Mezzosoprano

Basso-baritono

Alto

Mimi

Narrazione

Voce bianca

Don Giovanni or The Libertine Punished (Il dissoluto punito, ossia il Don Giovanni) is one of Mozart’s last operatic masterpieces and quite an unusual composition for its time. The composer defined its genre as “dramma giocoso” or “drama with jokes” - which, in essence, is a tragicomedy. This dialectics of Mozart’s genius was very subtly observed by Pushkin who expressed it in one of his little tragedies in the composer’s own words: I feel good, when all at once... A funereal vision, sudden gloom, or something… A whimsical mix of tragic and comic scenes, virtuoso splendour and ingenuous lyrics, the subtlest psychological insight and overt buffoonery - these are the features defining theatricality of Don Giovanni and Mozat’s flair for musical scene.

The opera libretto was written in 1787 by Lorenzo da Ponte, the Composer’s permanent librettist, for the National Theatre in Prague and was based on a medieval legend about a Sevillian nobleman who had gained his notoriety for his endless stream of amorous victories. There was another possible Don Giovanni’s prototype - the legendary Giacomo Casanova, who lived at the same time as Mozart and whose name, just like Don Giovanni’s, has become a common metaphor. Don Giovanni is not only the title character of the opera but also the driving force of its action. Don Giovanni’s zest for life, constant pursuit of new pleasures and denial of what had already been achieved endowed him with Faustian traits, turning him into a “new time hero”. Not without a reason Goethe admired the opera so much and believed that only Mozart was capable of translating his Faust into music in a congenial way.

While relying on traditional types of arias and ensembles, the composer fills them with incredibly rich image content. Each of the eight opera principal characters possesses individual intonation and its own musical image. All solo numbers of Don Giovanni - The Champagne Aria and Don Giovanni’s Serenade, Leporello’s List Aria (The Catalogue Aria), lyrical Zerlina’s solo, virtuoso but at the same time so different arias of Donna Elvira, Don Ottavio and Donna Anna, as well as the famous Seduction Duet (Là ci darem la mano - There we will give each other our hands) have long acquired a life of their own and are included in the treasury of vocal repertoire. The orchestra in the opera is also far from being a simple accompaniment to solo parts. Mozart masterfully and ingeniously uses it to enhance characteristics of opera personages and scenic situations.

Musical dramaturgy of Don Giovanni is so bright and valuable in itself that it does not require any additional visualization by means of set design. That is why, concert performance of the opera can give to the audience just as much as and maybe even more pleasure than a fully-staged performance.

Nadezhda Koulygina

English

Don Giovanni by Mozart, Da (2016/2016), Direttore d'orchestra Pavel Smelkov, Valery Gergiev, Palco, Vladivostok, Russia

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