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Prima opera nella storia della musica basata sul soggetto di Don Giovanni, L’empio punito di Alessandro Melani andò in scena il 17 febbraio 1669 nel Teatro Colonna di Roma. L’azione si svolge in una Grecia immaginaria e i personaggi hanno nomi che evocano la tradizione letteraria italiana. Il personaggio principale, Acrimante, si allontana molto dai protagonisti dei testi basati sullo stesso soggetto. L’empio punito manca inoltre di molti topoi drammaturgici della tradizione legata a Don Giovanni: i legami familiari, l’onore, la richiesta di pentimento. Il libretto contiene alcuni topoi molto comuni nella tradizione teatrale europea, assenti nei testi precedenti su questo soggetto: il sogno, il sonno, il finto veleno, il patto col diavolo. Il nucleo drammaturgico della vicenda (l’oltraggio al morto sotto forma d’invito a cena) ha rappresentato solo il punto di partenza. Il risultato è che il libertinaggio, il disprezzo della morte e delle regole dell’onore sono come prosciugati per dare più spazio alla ostentazione spettacolare, al potere dell’impatto figurativo e alla seduzione della musica., The first opera in the history of music based on the Don Giovanni’s subject, L’empio punito of Alessandro Melani was staged on February 17, 1669, in the Teatro Colonna in Rome. The setting is in an imaginary Greece and the characters have names that evoke the Italian literary tradition. The main character - Acrimante - departs very far from the analogous ones of the texts based on the same subject. L’empio punito also lacks many dramaturgical topoi of Don Giovanni’s tradition: family ties, honor, request for repentance. The libretto contains some topoi very common in the European theatrical tradition but missing in the previous texts on this subject: the dream, the sleeping, the false poison, the pact with the Devil. The dramaturgical core of the story (the disrespect to the dead in the form of a dinner invitation) represented the starting point, a reservoir from which to draw. The result is that libertinism, contempt for death, and the rules of honor are dried up, as it were, to give more space to spectacular ostentation, the power of figurative impact, and the charm of music.

Aquest article tracta de plantejar el tòpic «lletra i música» des d’un punt de vista crític-literari i no des de consideracions històriques i musicals. El propòsit és analitzar quin és i com es produeix el pas del llenguatge normal al del pentagrama, és a dir, el canvi de paraules als sons musicals i de llurs influències; en el sentit d’explorar, per exemple, el significat de les paraules de Beethoven, qui sostenia sobre la seva obertura Onomàstica, que estava «escrita amb sons». L’objectiu és, en darrer terme, entendre millor la importància crucial de l’òpera Don Giovanni en l’esdevenir mític de Don Juan, que en principi és un personatge literari., This article tries to pose the topic «lyrics and music» from a critical-literary point of view and not an historical-musical consideration. The purpose is analyze what is and how is produced the passage from a normal language to the stave, namely, since words to musical sounds and their mutual influences; in the sense of exploring, for example, the meaning of Beethoven’s words about his Name Day Overture, who affirmed they was «written in sounds». The ultimate aim is to understand better the crucial importance of the opera Don Giovanni in the mythical becoming of Don Juan, who is primarily a literary character., Este artículo trata de plantear el tópico «letra y música» desde un punto de vista crítico-literario y no desde consideraciones histórico-musicales. El propósito es analizar cuál es y cómo se produce el paso del lenguaje normal al del pentagrama, es decir, el cambio de las palabras a los sonidos musicales y sus mutuas influencias; en el sentido de explorar, por ejemplo, el significado de las palabras de Beethoven sobre su obertura Onomástica, quien afirmaba que estaba «escrita en sonidos». El objetivo es, en último término, entender mejor la importancia crucial de la ópera Don Giovanni en el devenir mítico de Don Juan, que es en principio un personaje literario.

Ce mémoire porte sur la réactualisation de l’opéra d’un point de vue féministe en s’appuyant sur l’exemple de la mise en scène de Don Giovanni (1787-1788) de Wolfgang Amadeus Mozart (1756-1791). Cette étude montre comment il est possible, en s’appuyant sur les outils de l’analyse musicale et littéraire, de créer une mise en scène qui respecte les principales caractéristiques du livret et de la partition – conservant ainsi ce que Jean-Jacques Nattiez appelle des « fidélités locales » – tout en permettant au public d’aujourd’hui de s’identifier à une œuvre composée il y a plus de deux siècles, et de s’y projeter. Pour ce faire, l’enjeu est de proposer une adaptation de l’opéra qui tient compte du contexte politique et social actuel, axé ici sur le féminisme. Prenant pour exemples les trois personnages féminins de Don Giovanni, le mémoire est construit sous la forme d’un triptyque, par ordre chronologique d’apparition des personnages : Donna Anna, Donna Elvira, Zerlina. Ainsi, il sera possible d’établir un point de vue s’apparentant au female gaze dans cet opéra, jusqu’ici majoritairement interprété par le biais du male gazing (regard masculin). Le premier chapitre propose donc l’analyse de deux airs phares du personnage de Donna Anna. Cherchant à l’abstraire de l’entité quasi fusionnelle qu’elle constitue avec son fiancé Don Ottavio, l’analyse harmonique et littéraire s’intéresse aux passages où Donna Anna est susceptible d’affirmer son indépendance. L’analyse de ces mêmes scènes dans deux mises en scènes récentes de l’œuvre vise ensuite à vérifier si les caractéristiques qui ressortent de cette analyse sont mises en valeur dans les productions. Enfin, dans un processus s’apparentant à la recherche-création, je propose pour les passages étudiés des avenues de mise en scène qui tiennent compte des analyses effectuées dans les premières parties du chapitre. Les deux autres personnages féminins sont abordés suivant le même procédé, cherchant d’un côté à dé-ridiculiser celui de Donna Elvira – trop souvent considérée comme « hystérique » – et, de l’autre, à rendre au personnage de Zerlina son côté stratège, habituellement camouflé dans les productions « traditionnelles » où la jeune femme n’est représentée que par son côté paysan., This thesis explores the feminist actualization of opera, using Wolfgang Amadeus Mozart’s (1756-1791) Don Giovanni (1787-1788) as a case study. This study shows how it is possible, by using musical and literary analytical tools, to create a performance that respects the main characteristics of the libretto and the score—thus preserving what Jean-Jacques Nattiez calls “local loyalties”—while allowing today’s audience to identify with a work composed over two centuries ago. To do so, I propose an adaptation of the opera that takes into account the current political and social context, focused here on feminism. Taking as examples the three female characters of Don Giovanni (Donna Anna, Donna Elvira, and Zerlina), the thesis is built as a triptych in which the characters are studied in the chronological order of their apparition. The approach is based on a female gaze point of view, contrasting with the male gazing interpretation which has been dominant in the operatic world until now. The first chapter analyses two major arias of Donna Anna. In order to free her from the almost fusional entity she forms with her fiancé Don Ottavio, the harmonic and literary analysis centers around passages where she is most likely to show independence. The analysis of these same scenes in two recent stagings of the work then aim to verify whether the characteristics that emerge from this analysis are highlighted in the productions. Finally, in a process of research-creation, I propose staging directions for the same passages that take into account the findings made throughout the chapter. The two other female characters are approached following the same process, seeking on the one hand to de-ridiculize the character of Donna Elvira—too often considered “hysterical” —and, on the other hand, to highlight Zerlina’s sense of strategy, which is usually downplayed in “traditional” productions in which the young woman is solely represented by her peasant character., Type de dépôt #1 (version complète)

Don Giovanni is one of the best-known works of Mozart’s production created a short distance from Mozart’s entry into Freemasonry. The vision of the East changes hand in hand with the growth of oriental knowledge, and Mozart does not remain a stranger, as evident from many aspects of Don Giovanni. The psychology of the characters is intertwined, for Kierkegaard, in the philosophy of narration that represents sensual genius; he justifies it, draws from it a demonic dimension of Don Giovanni while Goethe finds it in the creative thrust of the composer. This study wants to highlight how much Masonic morality is permeated in the work but also, and above all, an oriental dimension directed to the circular karmic vision of saṃsāra which is represented precisely by the desire of desire and which pushes the protagonist to never interrupt this flow of seduction. The non-interruption of this circularity will lead him to spiritual involution and to the world of the underworld., Il Don Giovanni è una delle opere più note della produzione mozartiana creata a poca distanza dall’ingresso di Mozart in massoneria. La visione dell’Oriente cambia di pari passo alla crescita della conoscenza orientale, a cui Mozart non rimane estraneo, come evidente da molti aspetti del Don Giovanni. La psicologia dei personaggi si intreccia, per Kierkegaard, nella filosofia della narrazione che rappresenta la genialità sensuale; la giustifica, ne trae una dimensione demoniaca di Don Giovanni mentre Goethe la ritrova nella spinta creatrice del compositore. Questo studio vuole mettere in luce quanto sia permeato della morale massonica nell’opera ma anche, e soprattutto, una dimensione orientale diretta alla visione karmica circolare del saṃsāra che è rappresentata proprio dal desiderio del desiderio e che spinge il protagonista a non interrompere mai questo fluire di seduzione. La non interruzione di questa circolarità lo condurrà all’involuzione spirituale ed al mondo degli inferi.

L’articolo discute le prospettive attuali della critica tematica e della mitocritica, analizzandone i rischi metodologici (il contenutismo e l’accumulo indiscriminato di materiali), e proponendo un modello di comparatistica transmediale, che potrebbe rivitalizzare l’approccio classico degli inter artes studies. L’analisi, che investe anche il concetto di modo come insieme di tratti formali e tematici, si conclude con un esempio concreto: un grande mito della modernità, Don Giovanni, strettamente connesso al tema della seduzione, ricco di implicazioni filosofiche e antropologiche.__The article focuses on the recent perspectives of thematic and myth criticism, by analyzing the methodological risks they have to face (the contentism and the indiscriminate accumulation of materials), and by proposing a model of transmedial comparativism which could revitalize the classic approach of inter artes studies. In the last part, the article, which also focuses on the idea of mode as a set of formal and thematic traits, discusses the example of Don Giovanni, a modern myth strictly connected with the theme of seduction and with a lot of philosophical and anthropological implications.

A partir de l’òpera de Mozart i Da Ponte, el mite de Don Giovanni es basteix per un tractament del personatge que el fa destacar diacrònica i sincrònicament respecte altres versions de dit mite i altres exemples de llibertins. Cal plantejar se si el seu poder simbòlic ens permet entendre, a partir del seu sentit genuí, algunes actituds en l’ús de les xarxes socials ofertes per l’actual tecnologia. Després d’escatir els trets singulars d’aquest mite recorrent a autors diversos, la seva interrelació amb la música i estudiar-ne la idoneïtat respecte altres casos, s’intenta traçar una genealogia del desig des de Kierkegaard fins a Marcuse, passant per la dialèctica hegeliana. L’evolució de la concepció i dels condicionaments del desig, de la seva funció estructural a la societat i la seva capacitat de transformació social, sempre aplicats i en diàleg amb Don Giovanni, ens permetrà avaluar què ha passat amb el desig i com se n’ha subvertit el sentit en l’actualitat. Si Don Giovanni i el concepte de desig que podria representar ja no són aplicables ara, cal reflexionar si tot i així podria tenir un paper prescriptiu per a ordir una alternativa a la nostra societat.

This paper examines the question of the relations between music and the written word. Interdisciplinary interpretations of selected fonety – a literary genre proposed by Barańczak in Pegaz Zdębiał – discuss translation twists, a form of translation based on listening to the music of Mozart and the libretto of Da Ponte. Barańczak’s quasi-translations, often semantically contrary to the original, maintain the discipline required of texts written to match music. The double effect gained in fonety [translation-parodies], musical-literary provenance and at the same time ubiquitous humour, allow the reader to understand how Barańczak interpreted musical masterpieces. Artykuł zatytułowany Kiedy ucho robi oko czyli o fonetach Stanisława Barańczaka podejmuje problematykę związków muzyki ze słowem. Interdyscyplinarne interpretacje wybranych fonetów – gatunku zaproponowanego przez Barańczaka w książce Pegaz zdębiał – przedstawiają tłumaczenia-przeinaczenia – praktykę translatorską polegającą na słuchaniu muzyki Mozarta i libretta Da Pontego. Quasi-tłumaczenia Barańczaka często pozostając w semantycznej sprzeczności z oryginałem, zachowują dyscyplinę wymaganą od tekstów pisanych do muzyki. Uzyskany w fonetach efekt podwójnej, muzyczno-literackiej przynależności, a zarazem wszechobecny humor pozwalają zrozumieć, w jaki sposób Barańczak słuchał arcydzieł.

The Original Portrayal of Mozart’s Don Giovanni offers an original reading of Mozart’s and Da Ponte’s opera Don Giovanni, using as a lens the portrayal of the title role by its creator, the baritone Luigi Bassi (1766–1825). Although Bassi was coached in the role by the composer himself, his portrayal has never been studied in depth before, and this book presents a large number of new sources (first- and second-hand accounts), which allows us to reconstruct his performance scene by scene. The book confronts Bassi’s portrayal with a study of the opera’s early German reception and performance history, demonstrating how Don Giovanni as we know it today was not only created by Mozart, Da Ponte and Luigi Bassi but also by the early German adapters, translators, critics and performers who turned the title character into the arrogant and violent villain we still encounter in most of today’s stage productions. Incorporating a discussion of the dramaturgical thinking of the late Enlightenment and the difficult moral problems that the opera raises, this is an important study for scholars and researchers from opera studies, theatre and performance studies, music history as well as conductors, directors and singers.

Don Giovanni o sia II convitato di pietra è un'opera in un atto di Giovanni Bertati, musicata da Giuseppe Gazzaniga, che precede di pochi mesi quella celeberrima di Da Ponte e Mozart. Essa è stata naturalmente studiata, soprattutto dai musicologi, come fonte principale del libretto di Da Ponte, ma più con applizazione al prestito di dettagli che non osservando le conseguenze strutturali derivanti dalla chiusura nel tempo ristretto e continuato di una vicenda che, al contrario, aveva per più di un secolo rappresentato la libertà della struttura e del tempo aperti che la drammaturgia spagnola opponeva al regime aristotelico della scena italiana e francese. Partendo da questo piccolo libretto, dunque, il contributo tenta una breve analisi riferita al trattamento spazio-temporale della notissima vicenda di Don Giovanni, dalla Spagna all'Italia alla Francia e dal teatro di parola all'opera. Don Giovanni or the Guest of Stone is an opera in one act by Giovanni Bertati, scored by Giuseppe Gazzaniga, which historically precedes the celebrated version by Da Ponte and Mozart by a few months. It has of course been studied, mainly by musicologists, as the principal source of the Da Ponte libretto, but more from the point of view of borrowed details than the structural consequences derived from its continual temporal restriction and closure of an event that had for a century, on the contrary, represented the freedom of open structure and time that Spanish dramaturgy opposed to the Aristotelian regime of the Italian and French theatre. Starting from this short libretto, the author attempts a brief analysis of the treatment of space-thunderstorm in the most famous scene of Don Giovanni, from Spain to Italy to France and from the theatre of words to the opera.

Teaching opera in prison presents challenges, such as limits imposed on printed and recorded material to study it, or the audio-visual technology in the classroom space, yet, no other experience can be so inspiring and rewarding for everybody involved. This essay focuses on teaching opera, in particular Mozart’s Don Giovanni, to imprisoned students in America. It addresses pedagogical challenges on how to teach opera in prison and advocates for the need to leave the ivory tower of academia and engage in social action. If opera is still perceived as an elitist art form, it is because it is artificially kept that way by being practiced, taught, studied, and promoted only among an exclusive sector of our population., Musica Docta, Vol 6 (2016)

Il mito letterario di don Giovanni, nato nella commedia, attorno all’Ottocento viene riformulato in direzione del tragico. Questa trasformazione inizia con la versione operistica di Mozart-Da Ponte e trova compimento nel racconto di Hoffmann, che proietta il nuovo tono tragico del finale mozartiano su tutto il mito. Scopo del contributo è porre in rilievo la presenza nel Don Juan di numerosi richiami intertestuali al Faust di Goethe, finora non pienamente rilevati dalla critica, attraverso i quali è possibile leggere tale trasformazione tragica come una dichiarata sintesi dei due miti, in cui don Giovanni assume il ruolo di Faust-Mefistofele e donna Anna quello di Gretchen, che culmina nel finale rispecchiamento nell'autore. Ma il valore del tragico è relativizzato in Hoffmann dall’ironica autocoscienza dell’artista romantico: confinato nel mondo fantastico dell’arte, esso è privo di senso nella prosaica società borghese., Between, Vol 7, No 14 (2017): Masks of the Tragic

The literary myth of don Juan, arose in the comedy, is reformulated in the direction of the tragic around 1800. The transformation begins with the Mozart-Da Ponte’s opera and finds fulfillment in Hoffmann’s tale, which projects the new tragic tone of the Mozartian finale on the whole myth. The purpose of the paper is to highlight the presence in the Don Juan of many intertextual references to Goethe’s Faust, not fully noticed by critics so far, through which it is possible to read such tragic rewritingas a declared synthesis of the two myths, where don Juan takes the role of Faust-Mephistopheles and donna Anna that of Gretchen. The rewriting of the myth culminates in the final mirroring of the narrator in Anna-Gretchen. But the value of the tragic is relativized in Hoffmann by the ironic self-consciousness of the romantic artist: confined to the fantastic world of art, it is meaningless in the prosaic reality of the bourgeois life., Il mito letterario di don Giovanni, sorto nella commedia, attorno al 1800 viene riformulato in direzione del tragico. La trasformazione inizia con la versione operistica di Mozart-Da Ponte e trova compimento nel racconto di Hoffmann, che proietta il nuovo tono tragico del finale mozartiano su tutto il mito. L’articolo intende porre in rilievo la presenza nel Don Juan di numerosi richiami intertestuali al Faust di Goethe, finora non pienamente rilevati dalla critica, attraverso i quali è possibile leggere tale riscrittura tragica come una dichiarata sintesi dei due miti, in cui don Giovanni assume il ruolo di Faust-Mefistofele e donna Anna quello di Gretchen. La riscrittura del mito culmina nel finale rispecchiamento del narratore in Anna-Gretchen. Ma il valore del tragico è relativizzato in Hoffmann dall’ironica autocoscienza dell’artista romantico: confinato nel mondo fantastico dell’arte, risulta privo di senso nella prosaica realtà della vita borghese.

The article examines the operatic aria as a «synthetic» genre phenomenon based on combination of verbal text and its musical accompaniment. Accordingly, during different periods of the opera art's development, the importance of «verbal» and «musical» components varied in some cases in favor of the precedent literary text, in other cases in favor of the musical framing. Either way, the precedent literary text inevitably plays an important role in the semantic and structural organization of the operatic aria. The article describes the examples of the incorporation of a literary text into the operatic aria, particularly on the examples of elegy and serenade. As an example of matching operatic aria as a serenade was given Don Giovanni's aria by W. A. Mozart. Also the author analyzed possibility of a complex intersection of the elements of different literary genres in a single aria. In this article Lensky's aria from P. I. Tchaikovsky's “Eugene Onegin” was analyzed as a variant of the complex interactions of the elegy and serenade within a single aria. В статье рассматривается оперная ария как синтетический жанровый феномен, базирующийся на сочетании словесного текста и его музыкального сопровождения. Соответственно, в разные периоды развития оперного искусства значимость словесного и музыкального в оперных ариях варьировалась в одних случаях в пользу прецедентного литературного текста, в других случаях в пользу музыкального обрамления. Так или иначе, важную роль в смысловой и структурной организации оперной арии неизбежно играет прецедентный по отношению к ней литературный текст. В статье рассмотрены примеры инкорпорации литературного текста в оперную арию, в частности на примерах элегии и серенады. В качестве образца совпадения оперной арии и серенады рассмотрена ария Дон Жуана из оперы В. А. Моцарта. Отдельно в статье проанализирована возможность сложного взаимопереплетения в рамках одной арии элементов разных литературных жанров: в данном случае на примере арии Ленского из оперы П. И. Чайковского «Евгений Онегин» был проанализирован вариант взаимодействия элегии и серенады.

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Since his 1630 inception as a character in a full-length play in Spain, Don Juan has occupied a place of textual prominence across multiple character permutations. He is portrayed as a loveable rake or a sinister evildoer. Generally, he is deceitful with all the characters that surround him. The relationship he has with his servant, however, is distinct. The servant is not only aware of the impression Don Juan intends to portray but also of the intentions lurking beneath the surface of his master’s carefully chosen words. While he does not always occupy a place of textual importance in the same way his master does, the servant’s interlinear readings are so key to our understanding of Don Juan that we would not be able to understand the trickster without his servant. These readings form paratexts that provide both summaries of Don Juan’s actions and commentaries on their ethical and societal implications. While there have been a number of studies on Don Juan Tenorio and even the occasional study on his relationship with his servant, this dissertation offers a unique perspective to studies of the servant by examining his purpose and paratextual journey in the major works of the Spanish, French, and Italian traditions. The dissertation argues that the servant’s paratextual role – with its supplementary and liminal functions – demonstrates the need that Don Juan has for his servant, a need that deepens with each step of the servant’s transformative journey. Simply put, the paratext is anything related to the text that does not constitute the text itself. It may consist of footnotes, titles, prefaces, and summaries. It may even extend to prequels, sequels, and author interviews. In a larger context, the paratext functions as a supplement to the text. The textual supplement is an elusive element by definition and can literally be anything associated with a text. The supplement helps to complete the text but at the same time points to the fact that the text is incomplete (the fact that it needed a supplement to complete it highlights this principle). As a result, it not only adds to the text but, in some cases, stands in the place of the text as well, substituting the message of the text with its own. Chapter 1 presents an overview to the texts studied and elucidates the meaning of the theoretical terms of the argument, especially the notion of supplementarity and liminality as they relate to the paratext. A notion largely informed by Derrida and his deconstructionist approach to literary texts, the paratext is both a supplemental and liminal device. It does not demarcate boundaries so much as borderlands – spaces in between – and it provides thresholds – spaces that delineate the borders between multiple interpretations. It appears to bring the reader closer to a revelation of the privileged reading of its text but, by its very existence, it also demonstrates the possibility of other readings. In so doing, it also hinders any attempt at a central, privileged interpretation. The liminal nature of the paratext, then, allows it to supplement absolute definition in every possible way. Chapter 2 focuses on Catalinón, the first of Don Juan’s servants. Catalinón appears in Tirso de Molina’s play, The Trickster of Seville, published in Barcelona, Spain in 1630. Catalinón is the model and point of departure for future depictions of Don Juan’s servants. As such, he provides the audience with two primary interpretations of his master. The first is a spectacle, that is, the one that the Don Juan wants the rest of the world to see and the second is a private one that only he knows. This second reading deals with the secrets as to how Don Juan tricks and seduces women. This chapter argues that Catalinón’s use of paratextual elements such as prefaces and notes provides a framework for Don Juan’s valet to move into a space of liminal transformation. Chapter 3 examines Sganarelle, the valet from Moliére’s Dom Juan ou le festin de pierre, published in Paris, France in 1682. If Catalinón’s purpose is to introduce contrasting readings, Sganarelle, the second servant featured in this work, further explores the implications of these conflicted interpretations. On the one hand, he is forced to offer the privileged interpretation – that Don Juan is an honorable man – and please his master but on the other he is compelled to warn others as to the truth of his master’s motives and past, thus fulfilling his role to society. As a result, he exemplifies the tensions between the discourses with which he is entrusted. This chapter argues that, in supplementing his master’s privileged reading, Sganarelle sets the stage for a liminal transformation – a transformation that will begin to take shape in Don Giovanni and will come to fruition in Don Juan Tenorio. Chapter 4 deals with Leporello, the servant of Don Giovanni in Mozart’s Don Giovanni, performed in Vienna, Austria in 1787 and published in Leipzig, Germany in 1801. The paratextual function of the servant begins to transform slightly in the character of Leporello. While his functions are similar in that he provides both the audience and the other characters with readings of his master, the servant takes on a more aggressive supplementary role when he actually supplants his master – taking action and standing in for Don Juan on more than one occasion. This chapter argues that Leporello’s transitional role enables him to begin the process of liminal transformation through his provision of alternative interpretations of his master’s actions and through his supplantation of Don Juan. Chapter 5 explores the character of Ciutti, the servant who features in José Zorrilla’s Don Juan Tenorio, published in Spain in 1844. Ciutti continues the tradition of the servant’s transformation as he moves beyond simply describing his master. He manipulates the story through his own performance, expanding his paratextual role from that of internal commentary to one of external participant. This chapter argues that Ciutti’s unique position as a participant in Don Juan’s ritual enables him to move beyond his traditional role as a servant and to fully negotiate the liminal space wherein he finds himself.

La ópera Don Giovanni K. 527 con música de Wolfgang Amadeus Mozart y libreto de Lorenzo Da Ponte suscita un gran interés a la vista de su ambigüedad. Los dos estrenos de la ópera (Praga, 1787; Viena, 1788), con finales completamente distintos, muestran una incertidumbre en su interpretación. El presente trabajo se propone practicar el análisis semiótico de una puesta en escena concreta estrenada en el Teatro Alla Scala de Milán el 7 de diciembre de 2011 con escenografía de Michel Levine, dirección escénica de Robert Carsen y con Daniel Barenboim al frente de la orquesta. Con las herramientas que nos ofrece la semiótica en colaboración con la hermenéutica de la obra artística nos será posible estudiar los signos en su historia efectual, señalando así las expresiones estéticas del horror en torno a dos ejes: 1) la transgresión de los límites y 2) la irrupción de la transcendencia en el espacio escénico en función de la estructura circular de la ópera. The opera Don Giovanni K. 527 composed by Wolfgang Amadeus Mozart on Lorenzo Da Ponte’s poems arises as an interesting object of study due to its ambiguity. The fact the first two releases of the opera (Prague, 1787; Viena, 1788) have two different endings support this ambiguity on the interpretation. This essay will analize the staging of the opera at Teatro alla Scala (Milano) on December the 7th 2011 with Michel Levine’s scenary, under Robert Carsen’s direction and with Daniel Barenboim conducting the orchestra within the approach of semiotics and hermeneutics of the work of art and considering the sign on its effectual history. Besides, this paper analyzes the representation of horror in Don Giovanni in two different ways: 1) as a transgression of limits and 2) as the breaking in of transcendence on stage due to the circular structure of the opera.

UID/EAT/00693/2013 SFRH/BPD/79759/2011 “Film opera” – whether defined as a sub-genre or simply as opera adapted to the screen – stands out as a multi-layered object of inquiry, in which the stakes of intermediality and intertextuality are inextricably bound up with each other. Indeed, the film adds another layer of complexity to the already dense web of “texts” that constitute all and every opera (from the immediate interaction between musical and textual notation to the mediation of all sorts of archi-, meta-, and para-textual elements). Drawing on Genette’s approach to transtextuality, I will bring the concept of hypertextuality to bear on film operas that reshape, in a more or less drastic way, a pre-existing opera. My aim is (1) to shed light on both the connection and distinction between intermediality and intertextuality, and (2) to discuss the extent to which the concept of hypertextuality (and the inquiry on intertextuality more generally) may broaden and enrich the debate on the encounter between opera and film. Against this background, I will focus on two film versions of Mozart’s Don Giovanni. Carefully pondered, Joseph Losey’s Don Giovanni (1979) and Kasper Holten’s Juan (2010) appear as re-readings of Mozart’s and Da Ponte’s masterpiece in which “class” and “gender” come to play a major role. This contrast – between the emphasis on “class” (Losey) and “gender” (Holten) – seems to tell us a big deal about the uses of opera in contemporaneity, as if these two historical moments (late 1970s and early 2010) were the erased text of a culturally and artistically saturated palimpsest. So seen, it is the present, rather than the past, that is hidden – but not as hidden as to become invisible – behind the cinematic re-writing of the opera. What can we learn about the very tension between these two “presents” by comparing them with their common “past”? And what does such deciphering tell us about the (changing) role of opera in late modernity? These are among the questions to be raised in the wake of a comparative analysis of Losey’s and Holten’s works that will nonetheless unfold with the above-mentioned questions in mind. authorsversion published

Cet article se penche sur le cas du livret d’opéra, texte littéraire qui est également la composante sonore d’une partition musicale et dont la traduction verbale pose, à ce titre, des problèmes particuliers. De nombreux traducteurs considèrent en effet qu’une « bonne » traduction lyrique est celle qui respecte le plus possible les sons de l’original, indépendamment des questions liées aux différents contextes sémantiques et dramaturgiques du texte traduit. L’article montre que, dans certains cas, c’est justement le son qui permet de faire sens.Après une brève présentation des principaux contextes théoriques, l’article examine et analyse les positions sur la question du poète et librettiste W.H. Auden, auteur notamment d’une version tout à fait atypique du Don Giovanni de Mozart. Sonorités, oralité et sensations seront au cœur de l’analyse de ces différents textes. This paper examines the special case of the operatic libretto, a literary text that is also the musical component of a score. In that respect, its translation into another language raises particular problems, many translators considering that a “good” operatic translation is supposed to remain as close as possible to the original sounds, no matter what the various semantic or dramaturgic contexts may be. The article shows that there are cases where it is precisely the sound that makes sense.After a short presentation of the main theoretical contexts, and taking into consideration the intricate relationship between sounds and sensations, the paper examines and analyses how the poet and occasional translator W.H. Auden dealt with the issue in his most a-typical translation of Mozart’s Don Giovanni.

En el siglo XX nacieron y se consolidaron las relaciones entre la ópera y los medios audiovisuales. En los estudios estéticos orientados al análisis de estas relaciones y sus efectos sociológicos, se reconoce la naturaleza audiovisual de la ópera, tradicionalmente entendida como un arte basado en la temporalidad narrativa cuyas notas esenciales bien pueden aplicarse al discurso audiovisual. Aplicando la perspectiva que ofrece el concepto de mediatización, que posibilita un estudio del tema desde la disciplina de las Ciencias de la Comunicación, se advierte que gracias a esa naturaleza audiovisual, durante más de 100 años la ópera ha sufrido un proceso lógico de audiovisualización para relacionarse con la sociedad, fuera de los escenarios. Aunque este fenómeno le ha posibilitado una difusión masiva, la relación con los medios ha parecido basarse en la función difusora que estos han ejercido sobre el arte, ya que los productos audiovisuales resultantes no han contemplado ni las lecturas, ni los lenguajes más propios de las lógicas mediáticas que hoy rigen las realidades sociales. Con la llegada de la era digital en siglo XXI, preocupadas por el cambio generacional que viven hoy los públicos asistentes al espectáculo presencial, las instituciones operísticas replantean sus relaciones con los medios, reconociendo ahora no solo el valor que tienen como herramientas de comunicación, sino su potencial valor educativo, tan necesario para que su arte pueda ser entendido por los nuevos públicos de una forma más real, actualizada y enriquecida. Para favorecer el diálogo con estas audiencias, la ópera lanza estrategias de comunicación a gran escala a través de los medios digitales. En este proceso, el nuevo reto que la ópera afronta es conseguir armonizar los usos que los públicos dan a los contenidos y a los medios, con los productos que puede ofrecerles para atraerles, educarles y fidelizarles. En el nuevo contexto teórico que ofrece la mirada de la mediatización, a través de un exhaustivo estudio teórico y un análisis empírico de una muestra de la oferta audiovisual del arte, este trabajo persigue ayudar a la ópera a adaptar sus procesos de comunicación audiovisual al nuevo contexto social, para que pueda lograr dialogar con las audiencias de una forma más eficaz y, con ello, ampliar sus públicos., In the twentieth century, the relationships between opera and visual media was born and consolidated. In the esthetic studies- the focus on the analysis of these relationships and its sociological effects- the visual nature of opera is recognized. Traditionally, the opera has been understood as an art, based on narrative temporality, whose essential notes may well apply to the audiovisual speech. Applying the concept of mediation, which allows studying the subject from the discipline of Communication Sciences, it’s warned, that thanks to the audiovisual nature, that for more than 100 years, the opera has experienced a logical process of audiovisual mediation in order to relate to society, out of the stages. Although this phenomenon has enabled a massive dissemination, the relationship with the media seems to be based on the diffusion function that the media have had on art- since audiovisual products have not considered readings, neither the most logical languages that nowadays govern social realities. With the advent of the digital age in the XXI century, opera organizations concerned about the generational change that the face-to-face orients’ spectacle experience today, have rethought their relations with the media; now recognizing, not only their value as tools of communication but its potential educational value, so necessary to this art, can be understood by new audiences, in a more real way, updated and enriched. To encourage dialogue with these audiences, the opera throws, on a large scale, communication strategies through digital media. In this process, the opera faces a new challenge: to harmonize the uses that the audiences give to the media content with the products they can offer to attract them, to educate them, and to build their loyalty. In the new theoretical framework that offers the sight of the media coverage, through a theoretical study and an empirical analysis of the art audiovisual technology, this paper aims to help the opera to adapt their processes to the new audiovisual media social context in order to achieve a more efficient dialogue with audiences, and thus renew their public.

Der antikisierende Gestus der Arie »Ah fuggi il traditor« aus Mozarts Don Giovanni wurde in der Musikkritik und der Musikgeschichtsschreibung seit dem 18. Jahrhundert wiederholt thematisiert. In dem vorliegenden Beitrag wird, in Anlehnung an die Vorarbeiten Staehelins und Revers’, nach einer Deutung des Mozart’schen kompositionstechnischen Vorgangs gesucht. Dabei werden auch neue satztechnische Argumente in Bezug auf den antikisierenden Gestus der Arie vorgetragen. Diese liegen vorwiegend in der rhythmisch-metrischen Konstellation sowie der Prasenz von historischen Satzmodellen. Der Gestus der Arie wird unter einem Blickwinkel interpretiert, der auch die Ebene der sozialen Einordnung intensiv mit einbezieht: Die Musik scheint in der Arie in einer konkreten dramaturgischen Situation auch im Dienste der Reprasentation sozialer Stellungen zu stehen. The pseudo-archaic style of the aria »Ah fuggi il traditor« from Mozart’s opera Don Giovanni has been repeatedly dealt with in musical criticism and musical historiography since the 18th-century. The present article is searching, following the preliminary studies of Staehelin and Revers, for an interpretation of the creative process Mozart was undergoing with respect to questions of compositional technique. New arguments are produced concerning the texture in reference to the pseudoarchaic style of the aria. These are predominantly based on the rhythmic-metrical constellation as well as on the presence of historical schemata. The style of the aria is being interpreted from a point of view that also gives much attention to the aspect of social classification. The music of the aria seems to help creating a dramatic situation reflecting social attitudes.

Aquest article proposa una aproximació a una estètica musical de Joan Maragall, partint de l’estudi de les fonts –la seva obra literària i els autors i pensadors que van influir en el seu pensament– i des de la contextualització del poeta en el seu període històric i artístic. Entenent que Joan Maragall és fill de la seva època –en el sentit més ampli de la paraula– es dedueixen els «temes» al voltant dels quals pivota la seva estètica musical, que encara no ha estat teoritzada, sinó simplement suggerida. El drama musical, la música pura, el nacionalisme, la relació entre la poesia (la paraula viva) i la música, i la música i l’espiritualitat, són els eixos sobre els quals se sosté un pensament que va més enllà dels límits de la teoria de l’art, i que s’endinsa en l’àmbit de l’ètica.

Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.

Il presente saggio esamina una delle declinazioni italiane del popolare mito nato in Spagna, quello di Don Giovanni, appunto. L'articolo è parte di una ricerca più vasta sulle interpretazioni otto-novecentesche del mito dongiovannesco nella letteratura italiana ed è incentrato sulla poesia del poeta abruzzese Romualdo Pàntini, amico di D'Annunzio e Pascoli e poeta di certa fama a suo tempo

International audience; Producteur exigeant disparu en 2003, Daniel Toscan du Plantier a œuvré dans le cinéma européen avec une volonté évidente d'apporter aux auteurs de cinéma une primauté et une résonance internationales. En novembre 2001, il était présent au festival Musique et Cinéma d'Auxerre pour présenter TOSCA de Benoît Jacquot. Extraits d'un long entretien au cours duquel il exprime ses plaisirs de cinéphiles, ses ambitions de producteurs, ses rencontres de cinéma.

L'articolo esamina la vicenda del mito di Don Giovanni nella prosa e nella poesia di Gabriele D'Annunzio. Pur avendola critica e l'agiografia dedicato moltissime pagine all'aspetto dongiovanesco del D'Annunzio persona-personaggio, mancano sondaggi in questa direzione della sua opera. Nel lavoro vengono esaminati romanzi (Piacere), poesie (Il sogno di Don Giovanni), novelle (La contessa d'Amalfi) e scritti giornalistici.

Evoluzione del tema di Don Giovanni da Tirso a Mozart attraverso la commedia dell'arte e Molière