Opera in two acts by Mozart, text by First performance at the National Theatre, , October 28, 1787 THE PATRICIA & RODES HART PRODUCTION October 6 & 8, 2016 Andrew Jackson Hall, Tennessee Performing Arts Center Directed by John Hoomes • Conducted by Dean Williamson Featuring the Nashville CAST & CHARACTERS The Commendatore Peter Volpe* Donna Anna, his daughter Karen Slack* Don Ottavio, her betrothed Yi Li* Don Giovanni, a young nobleman David Adam Moore* Leporello, his servant Donovan Singletary* Donna Elvira, a lady of Alyson Cambridge* Zerlina, a country girl Laura Krumm* Masetto, betrothed to Zerlina Jose Rubio*

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Study Guide Contributors Anna Young, Education Director Cara Schneider, Creative Director THE STORY

ACT I ACT II

At night, outside the Commendatore’s palace, Leporello Under Elvira’s balcony, Leporello exchanges cloaks with his grumbles about his duties as servant to Don Giovanni, a master to allow Giovanni to woo Elvira’s maid in disguise. dissolute nobleman. Soon the masked Don appears, pur - Leporello leads Elvira off. When Masetto passes with a sued by Donna Anna, the Commendatore’s daughter, whom band of armed peasants bent on punishing Giovanni, he has tried to seduce. The Commendatore himself answers Giovanni gives them false directions. After the armed peas - Anna’s cries. Don Giovanni kills him in a duel and then ants exit, Giovanni takes great pleasure in beating up escapes. Anna now returns with her fiancé, Don Ottavio. Masetto. Zerlina arrives and tenderly consoles her husband. Finding her father dead, she demands that Ottavio swear In a passageway, Elvira and Leporello are surprised by vengeance on the assassin. Anna, Ottavio, Zerlina, and Masetto who, mistaking servant At dawn, Giovanni flirts with a high-strung traveler out - for master, threaten Leporello. Frightened, he unmasks and side a tavern. She turns out to be Donna Elvira, a woman escapes. When Anna departs, Ottavio affirms his confi - he once seduced who is now on his trail. Giovanni escapes dence in their love. while Leporello distracts Elvira by reciting his master’s long Elvira, frustrated at her continued betrayal by Giovanni, list of female conquests. voices her rage. Peasants arrive, celebrating the nuptials of their friends Leporello catches up with his master in a cemetery Zerlina and Masetto. When Giovanni joins in, he pursues where a voice warns Giovanni of his doom. They find a the bride, angering the groom, who is removed by statue of the Commendatore, which the Don demands Leporello. Alone with Zerlina, the Don applies his charm, Leporello invite to dinner. When the servant reluctantly but Elvira interrupts and protectively whisks the girl away. stammers an invitation, the statue accepts. Giovanni greets Donna Anna, now in mourning, and In her home, the mourning Anna puts off Ottavio’s Ottavio. When Elvira returns to denounce him as a seducer, offer of marriage until her father is avenged. Giovanni quickly declares Elvira mad and leads her off. Leporello is serving Giovanni’s dinner when Elvira rush - Anna, having recognized his voice, realizes Don Giovanni es in, begging the Don, whom she still loves, to reform. He was her attacker. contemptuously throws her out. At the door, her screams Outside the palace, Zerlina begs Masetto to forgive her announce the Commendatore’s statue. Giovanni boldly flirting. Masetto hides when the Don appears, emerging refuses warnings to repent, even in the face of death. from the shadows as Giovanni corners Zerlina. The three Giovanni is dragged to hell. enter the palace together. Elvira, Anna, and Ottavio arrive in dominoes and masks and are invited to the wedding feast by Leporello. EPILOGUE During the festivities, Leporello entices Masetto into the dance as Giovanni drags Zerlina into a side room. When As day breaks over the city, Elvira, Anna, Ottavio, Zerlina, Zerlina’s cries for help put him on the spot, Giovanni tries Masetto and Leporello gather to plan their futures and state to blame Leporello, but no one is convinced. Elvira, Anna the moral: “Such is the fate of the evildoer: the death of the and Ottavio unmask and confront Giovanni. Giovanni sinner always reflects his life.” escapes. LISTEN FOR THIS!

Act I “Ah! Fuggi il traditor!” Act II Donna Elivira witnesses the flirtations and “Madamina, il catalogo” near of Zerlina by Govanni and “Deh vieni all finestra” Also known as the “,” is appaled! She warns Zerlina of “the trai - While disguised as his servant Leporello, Leporello tries to deter Donna Eliva from tor” telling her not to make the same mis - Don Giovanni Donna Elvira’s her infatuation of Don Giovanni. He gives take she made of trusting and loving Don maid. the noblewoman a detailed account of Giovanni. Giovanni’s numerous lovers. He describes “Vedrai, carino” these conquests as ladies of every size, “Finch’han dal vino” Zerlina consoles Masetto after he is beaten. shape, vocation and age. In the last line of Don Giovanni sings of his favorite pur - She tells him the healing balm he needs for the aria, Leporello says, “If she wears a suits: parities, wine, women and song in his wounds can be found in her love. skirt, you know what he does.” what is also known as the “Champagne Aria.” “Non mi dir” “Là ci darem la mano” Donna Anna struggles with her emotion Don Giovanni seduces Zerlina during this “Batti, batti, o bel Masetto” during this famous aria. After arguing iconic duet. He uses his station and charm Zerlina coquettishly tells Masetto to beat with her betrothed, Don Ottavio, she is to persuade her to run away with him, her after her supposed infidelity with Don torn between loving him and finding even though she is to marry Masetto the Giovanni. She urges him to make peace vengeance for her father. next day! The and line and asks for his forgiveness. pair together in lovely harmony at the end of the piece illustrating that Giovanni’s persuasion has worked and the two are in agreement.

Nashville Opera’s DON GIOVANNI , 2007, features sets by Kris Stone. RECOMMENDED RECORDINGS & VIDEO

Warner Classics, 1959 (CD) Opus Arte, 2004 (DVD) Conductor: Conductor: , Elisabeth Schwartzkopf, , , Edita Gruberova, Ann Murray, Claudio Desderi Orchestra and Chorus of Teatro all Scala Deutsche Grammophon, 2005 (DVD) Decca, 1959 (CD) Conductor: James Levine Conductor: , Renee Fleming, , Solveig , , , Kringelborn Wiener Philharmoniker Orchestra

Deutsche Grammophon, 1978 (CD) Deutsche Grammophon, 1954 (DVD) Conductor: Karl Böhm Conductor: Wilhelm Furtwängler , , Anna Tomowa-Sintow, Edith Cesare Siepi, Lisa della Casa, Elisabeth Grümmer, Walter Berry Mathis Wiener Philharmoniker Wiener Philharmoniker

Nashville Opera’s Don Giovanni features baritone David Adam Moore in the title role. Here he appears in a staged production of Schubert’s Winterreise by his NYC-based multimedia consortium, GLMMR ABOUT THE COMPOSER

Name: Wolfgang Mozart (1756-1791) Dates: 1756 –1791

LIFE AND CAREER Mozart was born in , Austria to an illustrious, musical fam - ily. Both his father, Leopold, and older sister, Nannerl, proved to be accomplished musicians. At the age of three, Mozart learned to play the clavier; an instrument similar to the modern-day piano. By the time he was four years old, he had composed his first clavier concer - to; writing music before he was able to write words.

So adept at music, he taught himself to play the by the age of five. Recognizing the genius of both children, father Leopold along with sister Nannerl, embarked on a professional tour of Europe, revealing to the world his two young prodigies. The played hugely successful concerts before royalty and aristocracy all over the continent; Marie Antoinette being one of many famous It is fascinating to acknowledge the trouble Mozart experienced dignitaries for which the children played. Mozart composed his finding steady work. Augsburg, Mannheim, Paris and Munich all first symphony during this time and by the age of 12, he had written proved to contain little opportunity for steady employment, and his first opera. the family fell into great debt, even pawning valuables to keep sol - vent. At much disapproval from his father, Mozart refused to The success of the concert tour provided Mozart and his family return to Salzburg and work again for the Prince Colloredo’s court. with many gifts for their performances, but little money. Due to Due to his genius and voracious appetite for composition, the primitive travel conditions and the difficulty of their schedules, all young composer began to write music at will and without the ram - three suffered near fatal illnesses. Often the family had to wait for ifications of belonging to a court. reimbursements from benefactors and invitations from nobility. Unfortunately, poor money handling skills would plaque Mozart Mozart began his new life in and studied the works of his entire life. Johann Sebastian Bach, and George Frederick Handel. He befriend - ed Joseph Haydn, the inspiration of his six string quartets, and to In 1769, Mozart and his father traveled to and were immersed whom all were dedicated. Mutual admiration was obvious, as in , culture, and style. While in , the young Haydn once wrote to Mozart’s father, “I tell you before God, and as Mozart attended two performances of Gregorio Allegri’s Miserere, an honest man, your son is the greatest composer known to me by at the famed Sistine Chapel. Soon after, he produced the first unau - person and repute, he has taste and what is more the greatest skill in thorized copy of this, the Vatican’s closely guarded property, by composition.” transcribing it from memory. Also in Vienna, Mozart fell in love with and later married opera Three trips to Italy and many commissions unfortunately did not singer Constanze Weber. The couple had a total of six children, but award the young Mozart a position in the Italian court orchestra, as only two survived infancy; Karl and Franz. In 1785, Mozart began hoped. However, during the final trip to Italy, Mozart composed to focus on operatic writing and collaboration began with librettist the Exultate jubilate, one of his most beloved and performed pieces Lorenzo da Ponte. The Don Giovanni, Così fan tutte, and today. Le nozze di Figaro were fully realized.

Father and son moved to Salzburg where Mozart secured a position Unfortunately, Mozart squandered the money that he earned, forc - as a court musician under the rule of Prince-Archbishop ing him to work day and night, writing as much as he could. At the Hieronymus Colloredo. The oppressive nature of a court musician age of 35, Mozart fell ill and sadly, died a pauper. In his short life, he caused Mozart to become unhappy and look for opportunity else - composed more than 700 works including symphonies, concerti, where. He left the court in 1777. sonatas, masses, art song and 23 operas. His last, and arguably most popular opera is The Magic . Le nozze di Figaro • 1786 OTHER OPERAS Don Giovanni • 1787 Così fan tutte • 1790 BY MOZART Der Stein der Weisen • 1790 • 1791 Die Zauberflöte • 1791 Die Schuidigkeit des ersten Gebots • 1767 • 1767 • 1768 • 1768 CULTURAL INFLUENCE Mitridate, re di Ponto • 1770 • 1771 • 1772 The duet, “Sull’aria,” from Mozart’s opera, Le nozze di Figaro, • 1772 was featured in the 1994 movie Shawshank Redemption and • 1774 starred actors Morgan Freeman and Tim Robbins. Il re pastor • 1775 Thamos, König in Ägypten • 1773, 1779 Mozart’s compositional perfection and genius influenced count - • 1779 less musicians throughout the centuries. , re di Creta • 1780-1781 Die Entführung aus dem Serail • 1782 The movie Amadeus (1984) depicts the extraordinary life of L’oca del Cairo • 1784 Mozart and features scenes from his operas including Don Lo sposo deluso • 1784 Giovanni. Critically acclaimed, it received 43 awards including Best • 1786 Picture as well as four Golden Globes.

ABOUT THE LIBRETTIST

LORENZO DA PONTE Vienna, home of Mozart. Here, the two describes them as “a picaresque adventure famously collaborated on Don Giovanni, story.” (1749-1838) Così fan tutte, and Le nozze di Figaro; After settling in New York, he is credit - started his life in the Jewish Ghetto of the arguably Mozart’s most important works. ed to have brought the music of Giacomo Republic of Venice. Known for his work as All of Da Ponte’s libretti are adaptations of Rossini as well as other important Italian librettist to multiple operas by Wolfgang pre-existing plots, as was the norm of the operas of the day. Promoting his own Amadeus Mozart, Da Ponte lived a colorful day. important work, the first American pro - and extraordinary life. He worked as a After leaving Vienna, and because he duction of Don Giovanni premiered in 1825 librettist, poet, scholar, educator, and was forbidden to go back to Venice, Da at Columbia College where he served on Roman Catholic priest. His long life of 90 Ponte made plans to move to Paris. faculty. years took him from Italy to England to the Interestingly, he acquired a kind of “letter A great educator, he taught the Greek where he left quite an impres - of recommendation” written for Marie Classics to 2500 students in America during sion. Antoinette by her brother, in the hopes of his lifetime. Here, he also deposited 26,000 Lorenzo da Ponte was named after the allowing his admission into France. Italian language books to libraries and bishop who baptized him. His early life However, due to the strained political cli - bookstores. began in Venice, Italy, where he gained the mate along with the arrest of the king and In 1833 he founded the first opera house reputation of a rogue and womanizer. The queen, he decided to start anew in London. in New York; the New York Opera parties and masquerades of the lively city With second companion, Nancy Grahl, and Company. This opera house is thought of often lead to debauchery and sordid affairs. their four illegitimate children, he carved as the predecessor of the New York Da Ponte, a Roman Catholic Priest, par - out a living as a grocer and language profes - Metropolitan Opera. Upon reflection, a took in every activity. He was banished for sor of Italian. After going bankrupt, Da great deal of the early artistic advancement fifteen years from Venice where he fathered Ponte and his family moved to the United of the United States can be credited to two children with a woman out of wedlock, States in 1805. By 1807, he began writing his Lorenzo da Ponte. and was discovered to be living in a brothel. memoirs which were published in 1828. The next chapter of his life took him to The writer of the preface, Charles Rosen, MOZART TRIVIA

The for Don Giovanni was written so late, it is said that the ink was still drying on the page as the first notes were played by the orchestra during its premiere!

Mozart was a member of the Freemasons, a secret organization. His opera has many hidden symbols meaningful to its members.

Mozart died at the age of 35 and was buried in a pauper’s grave. No one is sure of the exact location.

Legend has it, Mozart wrote the famous aria “Come scoglio” for an operatic soprano he didn’t like. It is said that she would move her head during large leaps in the vocal line and because she looked silly doing this, Mozart wrote the difficult aria with lots of large leaps.

Mozart performed for Marie Antoinette when he was a child. It is said that the cheeky six-year-old asked for her hand in marriage!

Mozart and Joseph Haydn were friends; they even played in string quartets together.

Mozart wrote over 700 works.

It is said that Mozart wrote the character of the Commendatore, from his opera Don Giovanni, in the judgmental image of his own father.

Da Ponte originally started the of Così fan tutte for composer Salieri. He finished the work for Mozart.

Elibeth Caballero as Donna Elvira and Eduardo Chama as Leporello in Nashville Opera’s DON GIOVANNI , 2008.

NASHVILLEOPERA.ORG OPERA ETIQUETTE

ALWAYS BE EARLY! Please arrive early to ensure you are able to find your seat before the performance begins and before the orchestra tunes. If you are late, you may miss the overture or even the first act!

OPERA IS FOR ALL AGES TO ENJOY! Opera is full of emotion, passion, human conflict, and discovery. Nashville Opera usually presents operas in their original language and projects supertitles above the stage so the audience can understand every word.

WHAT TO WEAR Many people think of a night at the opera as a glamorous event and an excuse to bring out the fancy attire. But, it is also acceptable to dress comfortably. For dress rehearsals, the casual attire that students wear to school is perfectly acceptable. A light sweater, jacket, or wrap is suggested because the theater is air-conditioned.

USE THE RESTROOM Once in the theater it is courteous to remain seated and involved in the production until intermission. Please do not leave the theater unless there is an emergency.

PLEASE BE COURTEOUS... to everyone in the audience and on stage. Opera is a live performance, so any talking, cell-phone use (including texting) or other noise/light disruption takes away from everyone’s experience at the opera. Remember that unlike many staged performances, opera singers do not use microphones. This makes it essential to wait until intermission to unwrap gum/candy, talk to your neighbor or use electronic devices that may distract others. Be sure to turn off cell phone and pagers.

APPLAUSE WELCOME! There are several times during a performance when it is appropriate to applaud the performers. The first opportunity to applaud takes place when the conduc - tor takes the podium at the very beginning of the performance and when he/she returns to the podium following intermission(s). It is also acceptable to applaud after an overture or aria in the middle of a performance. Applaud when the per - formance moves you. You may show your appreciation to the performers by shouting “Bravo!” for a male performer, “Brava!” for a female performer, or “Bravi!” for an ensemble. At the conclusion of the performance, singers who performed principal roles in the opera will take their “curtain call.” It is appro - priate to continue applauding until all singers have stepped forward to accept their applause. Sometimes, audience members are so impressed with the overall performance of the opera, they will stand and applaud the entire ensemble. This is called a “standing ovation.”

NO PHOTOS OR REC ORDINGS PERMITTED A SOUND ANATOMY OF OPERA

There are many different kinds of songs in opera. Performers may sing alone, in couples (duets), trios, or larger groups, and there are also moments when no one sings at all—and each composer develops his or her own preferred combinations of these options.

THE OVERTURE An opera usually begins with an orchestral piece of music called the overture, which functions as an introduction to the opera. Lasting anywhere from five to twenty-five minutes, these opera usually contain important themes from the rest of the production. Before 1800, house lights were not dimmed while the overture played, and audience members continued to talk, drink, and even play cards! This ceased in the 1900’s as the overture became a more integral part of an operatic performance. At the end of the overture, the curtain rises and the story of the opera unfolds through a series of scenes. These scenes are organized into acts.

ARIAS An aria is a solo moment for an opera singer and is usually accompanied by the orchestra. Italian for “air” or song, an aria stops the plot momentarily, giving each character the opportunity to express their innermost thoughts and feelings. These pieces also provide an oppor - tunity for the singer to demonstrate their vocal and artistic skill. Mozart, Verdi and Puccini were able to achieve a remarkable balance between memorable melodies that perfectly suit the human voice while still reflecting the drama of the text.

RECITATIVES , a type of singing unique to opera, help propel the action forward. They can be accompanied either by a full orchestra, or, as is often the case with opera written before 1800, by or keyboard instrument. Often introducing an aria, the text is delivered quickly and encompasses a very limited melodic range. It has no recognizable melody and the rhythms follow those of the spoken word.

ENSEMBLE (“TOGETHER”) Ensemble singing deals with two or more voices of different range performing together. These include duets, trios, quartets, quintets, and sometimes sextets. The composer blends the voices depending on the dramatic requirements of the plot. For instance, a love duet may begin with each performer singing different music at different times, then gradually unifying into harmony. Conversely, the music of a duet may depict conflict. used this technique in : if you listen to the duets sung by Carmen and Don José, you might notice that their musical lines are never completely blended, and this foreshadows their tragic ends.

CHORUS Most operas include music sung by a large group of singers (sometimes more than 40) called a chorus. The chorus often appears in a crowd scene and can provide a stunning contrast to solo or ensemble singing. In one opera by , the chorus is played by a single male and a single female, as in the tradition of ancient Greek theatre.

ORCHESTRAL MUSIC The orchestra accompanies the singing and introduces the opera with the overture. Musical and emotional themes often appear in orches - tral introductions and conclusions to arias, recitatives, and choruses. In many cases, the orchestra plays such an important role, the gravity of its existence is that of a leading character. ON OPERATIC VOICES

Every voice is unique and no singer gets to choose the category in which they sing but must work with the vocal attributes with which they were born. Composers usually assign a to a character based on his/her personality or age. Read these descriptions for examples.

BARITONE Women Men This is the middle male voice and is close to a French horn in range and tone color. The SOPRANO COUNTER- baritone usually plays villainous roles or father-figures. In Don Giovanni, the role of This is the highest female voice and has a This is the highest male voice, which was Don Giovanni and Masetto are sung by a range similar to a violin. In opera, the mainly used in very early opera and orato - baritone. The range is from the G an octave soprano most often plays the young girl or rio. The voice of a countertenor sounds and a half below middle C to the G above. the heroine (sometimes called the prima very much like a mezzo-soprano’s voice and donna), since a high bright voice tradition - they often sing the same repertoire. Like ally suggests femininity, virtue, and inno - the contralto, true countertenors are very -BARITONE cence. The normal range of a soprano is rare. There are no counter- in Don This is the lowest male voice and is similar from middle C through two octaves above Giovanni. to a or in range and middle C, sometimes with extra top notes. color. Low voices usually suggest age and Most women are . The roles of TENOR wisdom in serious opera. In Don Donna Anna, Donna Elvira, and Zerlina Giovanni, the roles of Leporello and the This is usually the highest male voice in an are sung by sopranos. Commendatore are sung by bass-. opera. It is similar to a in range, The range spans from roughly the F above tone, color, and acoustical ring. The tenor middle C to the F an octave and a fourth MEZZO-SOPRANO typically plays the hero or the love interest. below. Also called a mezzo, this is the middle The role of Don Ottavio is sung by a tenor. female voice with a range similar to an His voice ranges from the C below middle . A mezzo’s sound is often darker and C to the above. warmer than a soprano’s. In opera, com - posers generally use a mezzo to portray older women, villainesses, seductive hero - ines, and sometimes even young boys. Nashville Opera’s Mezzo-sopranos also often serve as the DON GIOVANNI, 2008 friend or sidekick to the soprano. The mezzo-soprano’s normal range is from the A below middle C to the A two octaves above it. Zerlina and Donna Elvira are sometimes cast with mezzo-sopranos given that the range of these roles lends itself to both voice types.

CONTRALTO This is the lowest female voice and has a voice similar in range to a . Contraltos usually sing the roles of older females or special character parts such as witches and old gypsies. The range is two octaves from F below middle C to the top line of the treble clef. A true contralto is very rare—some believe they don’t exist at all! There is no featured contralto in Don Giovanni. THE ARTISTS

Don Giovanni Leporello Donna Anna Donna Elvira Don Ottavio Zerlina DAVID DONOVAN KAREN ALYSON YI LAURA ADAM SINGLETARY* SLACK* CAMBRIDGE* LI* KRUMM* MOORE* bass-baritone soprano soprano tenor mezzo-soprno baritone Metropolitan Opera Arizona Opera Metropolitan Opera San Francisco Metropolitan Opera Lyric Opera Opera Opera Teatro alla Scala Opera Philadelphia Washington National of Chicago, Indianapolis Opera Lyric Opera Covent Garden Fort Worth Opera Opera Washington Washington of Chicago Knoxville Opera Michigan Opera National Opera National Opera Dallas Opera Lyric Opera Theatre Los Angeles Opera Cincinnati Opera Fresno Grand of Chicago Sacramento Opera Deutsche Oper Opera Berlin

Masetto Commendatore Accompanist & Stage Director Conductor JOSE PETER Chorusmaster JOHN DEAN RUBIO* VOLPE* AMY TATE HOOMES WILLIAMSON Nashville Opera baritone bass WILLIAMS Nashville Opera Music Nashville Opera CEO & Artistic Director, 2015 –present Tacoma Opera Metropolitan Opera Accompanist, Director Nashville Opera: Portland Opera Lyric Opera 1998 –present 1995 –present Cincinnati Opera of Chicago Romeo and Juliet Nashville Opera: Nashville Opera: Ashville Lyric Opera San Francisco Opera Samson and Delilah Elmer Gantry Elmer Gantry Florida Grand The Girl of the Romeo and Juliet Samson and Delilah Opera Golden West Don Giovanni The Fall of the Washington The Difficulty of House National Opera Crossing a Field of Usher Cinderella Andrea Chénier Andrea Chénier The Man Who The Girl of the The Girl of the Mistook His Wife Golden West Golden West for a Hat The Difficulty of The Difficulty of The Barber of Crossing a Field Crossing a Field Hydrogen Jukebox The Man Who The Man Who Arizona Opera Mistook His Wife Mistook Opera Idaho for a Hat His Wife for a Hat Des Moines Metro Hydrogen Jukebox Opera Florentine Opera Skagit Opera * Nashville Opera Debut Opera New Jersey Opera Carolina Arizona Opera NASHVILLEOPERA.ORG