Mozart: Don Giovanni

Skovhus:Monarcha:Pieczonka

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Cat No: 8557893

Release Date: 03 January 2006

Label: Naxos - Nxc / Naxos Classics

Packaging Type: Jewel Case

No of Units: 1

Barcode: 747313289325

Genres: Classical

Composer/Series: MOZART

Description
Wolfgang Amadeus Mozart (1756-1791)Il dissoluto punito ossia Don Giovanni (Highlights)Dramma giocoso in 2 ActsText by Lorenzo Da PonteDon Giovanni, an extremely licentious young gentleman - Bo SkovhusIl Commendatore - Janusz MonarchaDonna Anna, his daughter, betrothed to Don Ottavio - Adrianne PieczonkaDon Ottavio - Torsten KerlDonna Elvira, lady of Burgos, deserted by Don Giovanni - Regina SchorgLeporello, servant of Don Giovanni - Renato GirolamiMasetto, lover of Zerlina - Boaz DanielZerlina, a peasant girl - Ildiko RaimondiChorus: Peasants, Servants, Subterranean Chorus, MusiciansThe Scene is set in a City in SpainHungarian Radio Chorus (Chorus Master: Kalman Strausz)David Aronson (harpsichord), Gyorgy ?ëder (cello)Nicolaus Estherhazy SinfoniaMichael Halasz ------ In Vienna during the last ten years of his life Mozart was atlast able to turn his fuller attention to the composition of opera, a form forwhich his native Salzburg had offered less opportunity. In 1786 he had wonsuccess with Le nozze di Figaro, a collaboration with the Italian librettistLorenzo Da Ponte. In Prague the acclaim for the opera had been even greater andMozart and Da Ponte had been commissioned to provide a new opera for thefollowing winter season. Da Ponte found himself busy with three libretti at thesame time. For Martin y Soler he was busy with L'arbore di Diana (TheTree of Diana), an original work, for Antonio Salieri he was making an Italianadaptation of Tarare, based on Beaumarchais, which became Axus, r?¿ d'Ormus,and for Mozart Don Giovanni. As Da Ponte alleged to the Emperor, in hisown account of the matter, he would work in the morning for Martin, in thespirit of Petrarch, in the evening for Salieri, as Tasso, and at night, imagininghe was reading Dante's Inferno, for Mozart. Whatever the truth of this,he had an earlier pattern on which to model Don Giovanni, a recenttreatment of the subject that had been staged in Venice, and the story of DonGiovanni and the Stone Guest was, in any case, well known, from the play on thesubject by the Spanish dramatist Tirso de Molina in the early 17th century.In Prague in October Mozart had allowed ten days forrehearsals of the opera. Not surprisingly this proved far too optimistic andthe work was finally staged in Prague two weeks later, on 29 October 1787, toolate for the celebration of the marriage of Archduchess Maria Theresia andPrince Clemens of Saxony for which the commission had been intended. DonGiovanni, however, won immediate success in Prague and a performance wascommanded in Vienna for the following May. Here opinions were divided, withsome, including the Emperor in one recorded comment, judging the musicunsuitable for the voices or too difficult to sing. Da Ponte reported a moreconsidered opinion. The Emperor had told him that he had found the workparticularly fine but not perhaps to the taste of the Viennese, while Mozarthimself had been content to allow time to do its work and history to give thefinal v
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