Don Giovanni renews his flirtation and tries to take Zerlina aside but goes to the place Masetto is hiding, he recovers quickly and persuades Masetto that Zerlina was just missing him. Don Giovanni Later that evening when all the guests dance Don Giovanni continues his advances to Zerlina, he tries to drag her away, when her screams are heard Don Giovanni tried to blame Leporello but Don Ottavio, Donna Anna and Donna Elvira threaten Don Giovanni and reveal the truth. Before he can complete his seduction Masetto and his friends arrive searching for Don Giovanni intent on killing him. Don Giovanni still in disguise convinces the gang that he also hates Don Giovanni and joins in the hunt. The scene is a dark courtyard in front of an Inn, Masetto has been badly bruised and beaten when Zerlina finds him and asks what happened. Since recording this video I have done quite a lot of work on understanding and interpreting an aria not only through my vocal performance but also by using acting, gestures and working with a partner.

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In Mozart composed one of his most famous operas, Don Giovanni. This opera is about the notorious Don Giovanni: seducer, womanizer, and even murderer.

The popular opera Don Giovanni , especially the piece "Vedrai, carino," is beloved and considered an example of superior musicianship at work. In fact, Don Giovanni is considered a member of the canon for music. An obvious, and arguably legitimate, response would be that Mozart demonstrates extensive knowledge of musical theory as well as a true integration of artistry and creativity. Moreover, many would say that his music simply sounds good. On the surface, this might be an acceptable justification.

However, if one were to probe deeper into the nature of what musical artistry, good sound, and proper theory are so as to describe of what or whom the canon for music is comprised, the answer is far more ambiguous. The specific question of why Mozart is a member of the canon is highly philosophical. According to Arthur Danto art, museums, artists, schools, other art-related institutions provide the context for what he considers to be the "artworld. This is known as the institutional theory of art.

According to David Hume, every individual has his or her particular taste or preference. In other words, individuals like or dislike certain entities. For example, I really abhor sparkly pink bows while others adore such absurd hair ornaments. Hume would say that a matter of taste as pertaining to preference is about the individual endorsing or not endorsing a particular thing; therefore, there is no real disagreement between me and those who strangely enjoy oddities such as sparkly pink bows.

However, Hume states that there is an element of pleasantness as in direct association with the object that supersedes merely liking or disliking. Objects that are beautiful, he asserts, are those which cause pleasure and a subsequent recognition of beauty in all "normal" people under "normal" circumstances. What Hume is proposing is that since human beings are of the same species, bearing the same faculties for processing information—namely our brains—there are certain instances in which under normal conditions everyone would reach a consensus about an object of beauty.

Beauty is recognized as a universally-reached consensus about particular objects. It is important to note that Hume would include a level of understanding that comes with education as necessary for reaching such a consensus. To be clear, it is not the consensus itself that makes the work beautiful, rather, the consensus comes about as a result of a beautiful work.

A final possibility to explain why composers and songs are considered standards of great musicianship, i. In fact, he first began composing at the age of 5, thus earning the title of child prodigy. Terms of child prodigy and genius are widely understood as those who display precocious and high degrees of talent and ingenuity. Kant is slightly more specific. Firstly, Kant believed that art needs some rules as seen in the development of skill, but that prior rules do not determine art itself. True art is spurred on by expression through what he calls a spirit that learns but then bends or breaks the rules of art.

This spirit is innate. Kant states that such a spirit, if encouraged and developed, is what becomes genius.


Don Giovanni, K.527 (Mozart, Wolfgang Amadeus)

Donna Elvira comes to her window Trio: "Ah taci, ingiusto core" — "Ah, be quiet unjust heart". 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 is convinced and descends to the street. Leporello, continuing to pose as Don Giovanni, leads her away to keep her occupied while Don Giovanni serenades her maid with his mandolin. Before Don Giovanni can complete his seduction of the maid, Masetto and his friends arrive, looking for Don Giovanni in order to kill him.


Mozart’s Vedrai, Carino ( You’ll See, My Dear) – Track 2


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