Don Giovanni History

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Wolfgang Amadeus Mozart’s Don Giovanni HISTORY Premiere Prague, National Theatre: October 29, 1787, with the following cast: Leporello, Felice Ponziani; Donna Anna, Teresa Saporiti; Don Giovanni, Luigi Bassi; Commendatore/ Masetto, Giuseppe Lolli; Don Ottavio, Antonio Baglioni; Donna Elvira, Caterina Micelli; Zerlina, Caterina Bondini North American Premiere New York City, Park Theatre: November 7, 1817 (in English); March 23, 1826 (in Italian) Last Performed at Washington National Opera October-November 2007, in the Kennedy Center Opera House, directed by John Pascoe and conducted by Plácido Domingo and Israel Gursky, with the following cast: Leporello, Ildar Abdrazakov/Askar Abdrazakov; Donna Anna, Erin Wall; Don Giovanni, Erwin Schrott/Ildar Abdrazakov; Commendatore, Morris Robinson; Don Ottavio, Shawn Mathey/John Tessier; Donna Elvira, Anja Kampe; Zerlina, Amanda Squitieri; Masetto, Trevor Scheunemann /James Shaffran Wolfgang Amadeus Mozart’s Operas Apollo et Hyacinthus , May 13, 1767, University of Salzburg La Finta Semplice , May 1, 1769, Archbishop’s Court, Salzburg Bastien und Bastienne , 1768, Vienna Mitridate, Rè di Ponto , December 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba , October 17, 1771, Teatro Regio Ducal, Milan Il Sogno di Scipione , May 1, 1772, Archiepiscopal Residence, Salzburg Lucio Silla , December 26, 1772, Teatro Regio Ducal, Milan La Finta Giardiniera , January 13, 1775, Redoutensaal, München Il Rè Pastore , April 23, 1775, Archiepiscopal Residence, Salzburg Zaide , January 27, 1866, Frankfurt (incomplete) Idomeneo , January 29, 1871, Court Theatre, München Die Entführung aus dem Serail , July 16, 1872, Burgtheater, Wien L’Oca del Cairo , April 1860, Frankfurt (fragment) Lo Sposo Deluso , 1784 (fragment) Der Schauspieldirektor , February 7, 1786, Schönbrunn Palace, Wien Le Nozze di Figaro , May 1, 1786, Burgtheater, Wien Don Giovanni , October 29, 1787, Nationaltheater, Praha Così Fan Tutte , January 26, 1790, Burgtheater, Wien La Clemenza di Tito , September 6, 1791, Nationaltheater, Praha Die Zauberflöte , September 30, 1791, Theater auf der Wieden, Wien Washington National Opera www.dc-opera.org 202.295.2400 · 800.US.OPERA .

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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice.
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