Don Giovanni Mood

Shakespeare brings us back to the sisters in act II scene 1. This is a

This song sets the mood as it is an acoustic love song. The song changes when the loves first make physical contact in the elevator and becomes more intense which increases the passion between the two lovers. This music continues throughout the rest of the scene. Before Maria and Tony meet the other characters are dancing at the disco, the music is jazzy and upbeat, this is also set in a major key. When the lovers meet the music changes as the characters fade out.

In Act 3 scene I, we see dramatic irony right from the start when the

Don Giovanni is a one-of-a-kind character, yet so predictable living a certain lifestyle, almost to the point of being mysterious. It is the enlightenment era however, where a lot of impossibilities were being explored, and presented to the public in different forms, including this opera, Don Giovanni. Although Don Giovanni seems like a total embodiment of immorality, he nevertheless carries some admirable principles, sparkling the enlightenment idea through the story of Don Giovanni.

This theme of appearance versus reality is common throughout the play in the number of times deception is used among the characters. Deceit, and misinterpretation of the events causes tension among Claudio and Don Pedro (Act 3 Scene iv). After Claudio fell in love with Leonato's daughter Hero, Don Pedro woos the young lady for him. As Don Pedro does this jealousy arises in Claudio thinking his love is being taken away by the Prince.

Characters in this play have experience love in different ways; starting with Claudio that falls in love with Hero from the first time he sees her, and decided to get married. “In mine eye she is the sweetest lady that ever I looked on,” (1,1,168) it would seem that the love Claudio has for Hero is a result of first attraction on looks, however, Claudio’s character seems to be immature and inexperienced. Later in the play, when Claudio is suspicious of her, he instantly forgets the love he had for her, and that love turned to a full of hatred. On the other hand, Hero’s willingness to forgive Claudio is just as disturbing as Claudio’s rejection of her. She does not fight for her pride after what Claudio did to her but instead marries him willingly. “And when I lived, I was your other wife, And when you loved, you were my other husband,” (62, 5, 4) this line shows how forgiving and innocent Hero is as a character.

The theme of appearance versus reality in acts one and two is repeated to show the true motives of different characters. Since most of the characters in acts one and two are corrupt, they rely on fraud to get what they want. The first impression of characters in acts one and two is being true to their intentions, honest, and pure, nevertheless, the reader knows that things are not as they seem. These lies

Act III, Scene I is seen to be the ‘turning point’ from comedy to tragedy in the play. Tragedy is used furthermore to expand on true human experience as Shakespeare uses family rivalry and warfare as well as fate and fortune to contribute to the effect.

His wife would forgive him for his philander with servant girls but not with "educated or artistic"(Stafford 119) (Paumgartner, Mozart, 273). As this showed the sexual freedom of the 18th century Italy, it was quite common to have extra marital affairs for both men and women. Discretion was the only rule that was demanded by the upper society to which Don Giovanni never adhered. Donna Elvira had a love-hate relationship with him. He would not have been able to access her rooms.

Produced by Wolfgang Amadeus Mozart in 1787, Don Giovanni is regarded as one the best operas ever made. The piece is based on the legend of Don Juan, an illusory libertine and seducer of women (Kerns, 2010). At first, Mozart’s opera seems more like a story of the romantic adventures of a dissolute nobleman and his disgrace. However, there is much more to Don Giovanni than just a series of events and serious laughs, just as the protagonist is much more than a notorious, single-minded, and unprincipled seducer. Closer examination of the piece reveals its core themes of social classes and divisions as depicted by Leporello’s complaints about his servitude to his employer in the first scene (Mozart, Fisher, & Ponte, 2007). The play also touches on vital human traits and principles, including loyalty, faithfulness, and sincerity. More importantly, Don Giovanni centers on the ambiguity intrinsic to human relations, the intricate connection between life and death, and the interminable tension between love and the risk of its extermination.

Don Giovanni is an operatic character that plays a womanizer during the 17th century. This was a play first performed in 1789, a successful creation of Mozart and DaPonte. During the play, Don Giovanni represents a sociopath that is lead by his incredible weakness for women. This weakness leads him into darkness, complete with seduction, and murder. Since the beginning, many people have seen Don Giovanni as a hero but many others have considered him a villain. The actions of Don Giovanni are not completely heroic neither are they totally villainous. But is noticeable that throughout the play he is more a hero than a villain.

Don John's malevolent plan to ruin Claudio and Hero's wedding was to take effect the night before they were to wed. The malicious Don John constructed, or rather misconstructed, the scheme that insinuated Claudio's belief in Hero's faithlessness. It is Don John who reports to Claudio and Don Pedro that Hero is having an affair, and he who stage-manages an elaborate charade featuring his own henchman Borachio and an unwitting stand-in for Hero to lend credence to this fiction. Perhaps the most significant thing to be noted in connection with this deception is that the spectator does not witness the crucial scene in which Claudio overhears the counterfeit exchanges between Margaret and Borachio that persuade him of Hero's guilt. We learn of this episode only at second hand, when Borachio boasts of his exploit (Lucking).

Lucentio is discovered by affection for Bianca at first perception, says that "he will die if he cannot win her heart", and thusly puts into movement a sentimental and capricious arrangement to do as such. Though cherish in the play is frequently moderated by monetary and entertaining concerns, Lucentio is cleared up in a dream of dignified affection that does exclude the useful contemplations of men like Petruchio. All through a great part of the play, then, Lucentio and Bianca's relationship seems, by all accounts, to be invigorating and unadulterated in contrast with the relationship amongst Petruchio and Katherine. Petruchio's choice to depends on his self-declared yearning to win a fortune, while Lucentio's depends on sentimental affection.

Act III Scene V - This is a very important scene. Select and comment on

Don Giovanni is an opera performed by Mozart where the main character Don Giovanni murders a man, seduces women, and in the end receives his awaiting fate. The sextet, which is when the remaining of the characters sing, takes place at the finale of the opera. “Everybody else runs onstage…and there is a quick lively finale, where each character announces what he or she will do next—find a new master, join a convent, get married. That, they sing, is the end for those who do evil.” (Pg. 199).