Don Giovanni The Sextet

Scene one and the opening scene, is Don Giovanni is attempting to seduce a woman Donna Anna, while his servant Leporello is keeping watch outside, but complaining of his position as a servant, in F major which is his main key, using a march rhythm. The orchestral introduction is molto allegro; with sudden fortes. The strings remain constant, creating agitation but moves to violas and second violas marking the end of Andante, transforming into an open Allegro. (The Metropolitan Opera Guild, 2016) Leporello sings in a light staccato comic aria, bass sings in a rapid fire patter and in one note. Moving to the next interaction, are lyrical passages ornamented, as heard in the two trios, Donna Anna with Don Giovanni in the form ABB. Both are singing alternative and then imitative lines. (Hung, J.,

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.

1 & 2) The chorus arrives and gives us a concise version of the play we are about to read. The story commences in the Italian streets of Verona, where two upper class families have been feuding for as long as anyone remembers. The prologue indicates that further in the plot the two children of these contending families will eventually fall in love, however, to avoid bringing dishonor to their families, our forlorn lovers take their own lives, to finally bring an end to the everlasting feud between their rivaling families.

Towards the beginning of the play, Claudio’s hope to woe Hero deems successful due to Don Pedro’s courteous actions to do the tough work for him. She loves him as he loves her. Nothing seemed to go wrong with this happy couple until

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.

If the romance was following the protocols of courtly love, their death would be the main cause of their emotional suffering. The lovers welcome their ultimate destiny, as death is the only way the two can be together apart from their feuding families (Brodwin). One main idea of the play is in the way Romeo and Juliet’s fate presents itself as predetermined, similar to the religious belief of predestination. As Romeo meets Juliet she becomes “the means which permits Romeo to confront his fate [death] as a man with joy” (Brodwin). In the final act of the play, Romeo and Juliet convert the tragedy of their death, which would be the agony of courtly love, into intimacy and desire for “the infinite peace they could find only in death” (Brodwin).

This play takes place in Verona, Italy where two families who a feud of hatred. That hatred between the two families caused deaths including the “star-crossed lovers” referred as Romeo and Juliet throughout the play. There love was forbidden and unwanted by the two families who hate each other also known as the Capulets and the Montagues, but they ignore that and try to find a way to marry which leads to death to them and others also. THrough the duration of the play it is very interesting, full of action, entertaining which makes reading the play very fun and addicting to

This one sentence from the play helps the audience understand the dramatic irony within it, the sentence perfectly concludes the play. Concluding all the incidents in the plays the directors did an excellent job of leaving the audience into thinking what's going to happen next. The directors managed to leave the audience filled with curiosity as they continued to see what would happen in the next scene, for me that was the case. With the opening of each film, I was being tantalized as to what was going to happen next and what the causes of those events could be. If I would have never known the ending of Romeo and Juliet I would’ve never guessed that they would both commit suicide for the passionate love they had for each other.

The setting for Othello's final moments onstage is critical to how it is perceived by Othello, the other players onstage, and the audience. It lends credence to the nobility of the situation, and adds to Othello's misguided self-perception. The experience, in itself, is

Operatic dramas are usually serious, but there are several comic operas and funny scenes in tragic operas. The music is usually complicated and difficult to sing well. Only the most skillful

Because an opera ought to end happily, the “poetical justice” (120) or moral substance is lost completely and the work is reduced to “what the people want.” According to this reading, then, the Player’s remark implies that popular taste favors spectacle over

Comedy, in the Elizabethan era, often included themes of wit, mistaken identity, love, and tragedy, all tied up with a happy ending. These themes are prevalent in William Shakespeare’s Twelfth Night, a comical play that explores the pangs of unrequited love and the confusion of gender. Love is a powerful emotion that causes suffering, happiness, and disorder throughout the play. The play also demonstrates the blurred lines of gender identity, which ties into the modern day debate on sexuality and gender identity. The main characters in the play, Viola, Olivia, and Orsino are connected by a love triangle, each person pursuing an unrequited love. Suffering from love and the fluidity of gender are the prevalent themes explored throughout the play and intertwined with Viola, Olivia, and Orsino.

The Marriage of Figaro, or Le Nozze di Figaro as originally titled in Italian, is a light-hearted opera buffa in four acts with musical setting by Wolfgang Amadeus Mozart and libretto by Lorenzo Da Ponte. The libretto is based on La folle journée, ou le Mariage de Figaro (The Madcap Day, or the Marriage of Figaro), a comically titled stage play by Pierre Beaumarchais. Mozart’s opera is in fact part of a trilogy. The Marriage of Figaro continues the story of The Barber of Seville, another of Beaumarchais’ plays adapted for opera by Paisiello. Composed in 1786 and originally a reasonable success, The Marriage of Figaro’s acclaim has grown much greater and is celebrated and performed today around the world, so widely successful that it has even

Scott accomplished the crucial love-plight without a single word of dialogue, which is not very reasonable for opera. Happily ignoring Scott’s need to move the plot along, Donizetti gives lovers, Lucia and Edgardo, a dreamy love duet theme, which breathes the essence of bel canto romantic love.12 In addition, Lucia’s actions in the operatic mad scene, spur from this passage:

Two households, both alike in dignity, in fair Verona, where we lay our scene, from ancient grudge break to new mutiny, where civil blood makes civil hands unclean. From forth the fatal loins of these two foes, a pair of star-crossed lovers take their life; whose misadventure piteous overthrows. Do with their death bury their parents' strife. The fearful passage of their death-marked love, And the continuance of their parents' rage, Which, but their children's end, nought could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend.