Wolfgang Amadeus Mozart
LIVE IN HD
Yannick Nézet-Séguin conducts a star-studded cast led by baritone Peter Mattei as a magnetic Don Giovanni, alongside the Leporello of bass-baritone Gerald Finley, who takes over the title role later in the season. Soprano Ailyn Pérez, mezzo-soprano Isabel Leonard, and soprano Hera Hyesang Park make a superlative trio as Donna Anna, Donna Elvira, and Zerlina, and tenor Ben Bliss completes the principal cast as Don Ottavio. This live cinema transmission is part of the Met’s award-winning Live in HD series, bringing opera to more than 2,200 theaters in more than 70 countries worldwide
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Languages sung in Don Giovanni
Title languages displayed for Don Giovanni
Met Titles In
Timeline for the show, Don Giovanni
Estimated Run Time
3 hrs 16 mins
World premiere: National Theater (now Estates Theater), Prague, 1787. Aided by his ingenious librettist, Lorenzo Da Ponte, Mozart approached his operatic retelling of the Don Juan myth from a point of view that is neither tragic nor entirely comic, but rather lighthearted, urbane, and ironic. We follow the title character and his earthy comic sidekick, Leporello, through a series of encounters that begins with a fatal duel, moves back and forth between the humorous and the sentimental, and ends with the protagonist being dragged down to hell.
Wolfgang Amadeus Mozart (1756–1791) was the son of a Salzburg court musician who exhibited him as a musical prodigy throughout Europe. His achievements in opera, in terms of beauty, vocal challenge, and dramatic insight, remain unsurpassed. Librettist Lorenzo Da Ponte (1749–1838), who led an adventurous life in Venice and Vienna, also collaborated with Mozart on Le Nozze di Figaro and Così fan tutte. He later emigrated to America, where he served as the first professor of Italian at New York’s Columbia College (now University).
SET AND COSTUME DESIGNER
REVIVAL STAGE DIRECTOR
Wolfgang Amadeus Mozart
The city of Seville in southern Spain, which likely inspired Mozart’s setting for Don Giovanni, was already famous in his time as a mythical world of winding streets, hot-blooded young men, and exotically beautiful women sequestered behind latticed windows.
Mozart’s score for this opera teems with the elegance and grace that marks his entire output, which is already evident in the ravishing overture. This musical refinement is combined with extraordinary dramatic expression. Don Giovanni’s famous Champagne Aria is exhilarating but almost vulgar, while the ineffectual loveliness of the tenor Don Ottavio is depicted in the long, languid lines of the character’s two ravishing solos, “Dalla sua pace” and “Il mio tesoro.” Donna Anna’s nobility are well reflected in her major arias. The buffoonish (yet astute) Leporello is funny throughout the opera, but his Act I Catalog Aria is also a towering example of the melding of words and music.