Psychiatric Bulletin (1990), 14,417-421 The psychiatry ofopera Don Giovanni MARK J?NES, Registrar, Department ofPsychological Medicine, St Bartholomew's HospItal, London EC3 In the second ofthis occasional series, Mark Jones looks at his composer father, the move to Vienna came in Mozartand his 1788 masterpiece, DonGiovanni and inter­ 178~/81 and was accompanied by a blossoming ofhis views Tom Sutcliffe, opera critic ofThe Guard;m; about his portra~al genIus. It was here that the vital meeting with the views on this problematical work and its on the powerful poet and intellectual, Lorenzo da Ponte stage. ~rred in 1782, and so began probably the most In these articles different aspects of our under­ Important collaboration of librettist and composer standing ofhuman nature as illustrated in opera will to date. Interestingly, da Ponte was a political exile tx: looked ~t. ~he title ~The Psychiatry ofOpera' you from Italy and had come to Vienna in 1782 with a tnlght feel IS shghtly mIsleading when you look at the letter of recommendation to Salieri! Mozart was a content of the articles. Yet I only intend it to be Germancomposer anxious to write Italian opera in a a broad blanket description for what I hope will city already dominated by Paisiello, Salieri and be thought-provoking pieces encompassing both the Cimarosa. These composers had far more success in 'hard' and 'soft' aspects ofpsychiatry. It is after all a their day and on 'home ground' than Mozart. complex discipline which must now take account of Certainly he was viewed with suspicion and seen as sociological and philosophical thought. an outsider by the Court, and as unlikely to achieve Don Giovanni is a strange opera which, to a the status attributed to the real Italians. greate~ or lesser extent over the years, has perplexed Mozart was a man of the Enlightenment. Yet me. It IS also packed with fascinating characters, and until the death of the Hapsburg Empress Marie music of great insight. I think to understand the Theresa in November 1780, the expression of ideas conta~ned character of Don Giovanni, never mind the whole in the three great da Ponte operas (The opera, is a challenge equal to piecing together an Mamage of Figaro, Don Giovanni and Cosi fan understanding ofour most difficult patients. Tutte) would not have passed the censors. With the ascension of Joseph II to the Hapsburg throne, the powerofthecensors' office was curtailed, the Church Mozart and Vienna and feudal systems in Austria were fragmented and refon:ned, the new emperor became the champion of Mozart was a genius. Both admired and admonished t~e d~sadva~ta~ed. during his own lifetime, we no longerdoubt his extra­ Yet these were politically sensi­ tIve tImes; WIthin the decade the French Revolution ordinary abilities as a composer and dramatist. He is was to rock Europe. Mozart must have known ofthe for some the greatest man ofmusic to have ever lived· Fre~ch scand~ surrounding Beaumarchais' play what is certain is that he created music of entirel; Le ~anage .de FIgaro, which it was felt would ignite new richness and depth. He challenged the late 18th Insurrection among the poor. Yet he felt it would be, century Viennese public with musical and dramatic as an opera, a sure-fire hit, which indeed it was. The concepts that won him acclaim but also found him first performance took place on 1 May 1786; its fame enemies. Notable among the latter was court com­ soon spread and Mozart was acclaimed: poser Antonio Salieri, who, if Mozart's father, Leopold, is to be believed, said of the first perform­ ance of The Marriage of Figaro, that it would be geniu~ remarkable ifit succeeds, " ... for I know that extra­ Mozart: andmadman? ordinary cabals have been mounted against him. Mystery surrounds the death of Mozart; still more Salieri with his followers have set heaven andearthin shrouds his bungled funeral in an unmarked grave motion again to defeat him ..."(Mozart Brie; m outside Vienna. It would seem from the records of 536). ' "-.I, , those who attended him during his last illness, and Although Mozart spent many productive years in what we know about his early life, that he died his home town ofSalzburg under the watchful eye of from chronic renal failure caused by recurrent 417 418 Jones streptococcal throat infections. His body was so CHARACTERS swollen with oedema that putrification set in rapidly, Bass: The Commendatore despite the chill ofwinter, and so no time was lost in Soprano: Donna Anna, his daughter burying him. Between the success of Figaro and his Tenor: Don Ottavio, her fiance untimely death at the age of35 on 5 December 1791, Baritone: Don Giovanni, a nobleman Mozart was to produce his most perfect compo­ Bass: Leporello, his servant sitions but it was a time marked by bouts of Soprano: Donna Elvira, a lady ofBurgos, depression. It has been suggested, by DrPeter Davies deserted by Don Giovanni (Musical Times, March 1987, 123-126), among Soprano: Zerlina, a peasant girl, betrothed others, that Mozart had a leaning towards manic­ to Masetto depressive illness. Certainly, many works from the Baritone: Masetto, a peasant Vienna period, especially after 1785, reached a depth of soul-searching not paralleled by contemporary The cataclysmic D minor chords which open the works of other noteable composers. Out of some overture (see musical example inset) instantly injects 13 works cited by the Mozart authority, H. C. a tension which anticipates the banquet at which the Robbins Landon, during the six years from 1785­ statue appears. It also signals that the opera, despite 91 the 24th piano concerto in C minor (1786) and its drama giocosa billing (Le. with comic elements), the symphony No. 40 in G minor will be familiar to means serious business. many. These two works stand astride the epoch­ making Don Giovanni of 1787, the year of further serious illness to Mozart, the departure of friends DON GIOVANNI back to England, and the deaths not only of two close friends (Count August Hatzfeld and Dr Overture ,~ A. Mozart Sigmund Barisani), but also the devastating loss of Andante .-:::: _ Q. his father on 28 May. ~:Il: iF· iI / • Don Giovanni: origins and revisions • The overture runs into the first number which finds Don Giovanni was based loosely on the Don Juan Leporello outside the house of Donna Anna, in legend and took note of the popular opera II Seville, waiting for the Don who is inside, we assume Convitato di Pietra by the then well-known com­ seducing her. Don Giovanni runs from the house poser Gazzaniga, premiered in Venice at the begin­ pursued by Donna Anna. The Commendatore finds ning of 1787. An opera had been commissioned from the Don struggling with his daughter, fights with him Mozart for a royal occasion, but in the event The and is killed. Giovanni makes light of the murder, Marriage ofFigaro was given instead, DonGiovanni before Anna with Ottavio return to find the corpse. eventually being premiered on 29 October. Its suc­ Ottavio comforts her and swears vengeance on the cess has been almost entirely posthumous; as it did assassin. not find favour in Prague at its first airing Mozart The Don and Leporello come across Donna made cuts and revisions in order that it might be Elvira, as yet unrecognised by them, but a former more acceptable to the Viennese. Significantly, the victim ofthe Don's. She has loved and lost, then been final sextet which comes after Don Giovanni's deserted and betrayed, griefconsumes her but she is descent into hell was omitted in the Vienna version ready to forgive. She finds herself being consoled by as was Ottavio's Second Act aria; additions included Don Giovanni who suddenly recognises her and Elvira's aria "Mi tradi", which only added fuel to makes a fast exit, leaving Leporello to explain why the fire for those who thought the structure of the the Don left her. He shows Elvira the 'Madamina' second act in particular too loose and dramatically catalogue ofhis master's conquests, 2065 to date. She incoherent. is speechless. At the village wedding of Zerlina and Masetto, near the Don's palace, Giovanni arrives and Synopsis attempts to seduce Zerlina, but is foiled by the timely Any synopsis ofan opera cannot dojustice to the fine interruption of Elvira. The first act ends with the detail of the work, particularly because music is so recognition by Anna ofGiovanni's voice as the man integral to our understanding ofwhat is happening. who entered her bedroom, and she, Ottavio and Nevertheless, a brief overview of Don Giovanni is Elvira go in search ofGiovanni to accuse him ofthe given below to enable readers unfamiliar with it to Commendatore's murder. They find him holding a grasp the dramatic essentials, and the relationships Ball at his palace for the wedding. He sings the ofthe characters to each other. champagne aria before attempting the more violent The psychiatry ofopera 419 seduction of Zerlina. The three maskers hurl their events and each of them sings in turn of their plans accusations at the Don who is attempting to suppress for the future. the screams of Zerlina in an anteroom. He appears and makes his escape. Act II. Leporello disguised as the Don makes Mark Jones discusses Don Giovanni advances to Elvira while she sits on her balcony with Tom Sutcliffe lamenting the loss ofGiovanni. She is lured into the I recently talked to Tom Sutcliffe, opera critic at The garden and away from the house so that Giovanni Guardian, about his view of Don Giovanni.