Mozart, Don Giovanni Act I : Excerpt From Opening Scene ( 1787 )

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.

Orchestrally, it is scored for strings, timpani, bass drum, cymbals, two flutes, one piccolo, two oboes, one English horn, two clarinets, two bassoons, four French horns, two trumpets, three trombones, two harps, and one cimbasso. Musically, this opera is very directly vigorous. It sticks to the widely used concepts of arias, duets, finales, and choruses. His fine music often excused the glaring faults in character and plot lines.

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.

Mozart’s Requiem is “one of the most performed and studied pieces of music in history” (Stango, n.d.). The story behind the start of this piece begins with Count Franz von Walsegg, who commissioned a requiem mass for his wife Anna (who had passed away). Throughout his work on this piece, Mozart began to get so emotionally involved with the piece that he believed that he was writing a death mass for himself. Mozart died December 5, 1791, with only half of the Requiem finished (through Lacrimosa). Franz Xaver Süssmayr finished the Requiem based on Mozart’s specifications from notes and what he had already written. The completed work is dated 1792 by Süssmayr and was performed for the first time on January 2, 1793. Mozart’s intent for this

Don John has Borachio pose Margaret as Hero and gets Borachio to have sex with “Hero”. Don John takes Claudio to see “Hero” with another man, “Proof enough to misuse the prince, to vex Claudio, to undo Hero, and kill Leonato” (2:2). This makes Claudio and the Prince think Hero is not a virgin, which was a big deal back then. This leads to Claudio to accuse her of infidelity at the wedding which causes a huge scene. In act one scene three Don John is starting to feel unworthy ever since Claudio became his brothers number one man, “I cannot be said to be a flattering honest man, it must not be denied that I am a plain dealing villain”(1:3). Don John is planning on getting revenge on Claudio and getting back as Don Pedros number one man so he creates an evil plan to ruin Hero and Claudio's relationship. Don John blantly states that he is a villain... he does not sugar coat it. Don John tries but fails to get his plan to work in the end. At the end of the play, Don John flees Messina but eventually gets captured by armed men, which was for the

During a later part of Scene Two when the cast is dancing the movements match the music, they appeared to be doing the Waltz, so the music had abrupt changes. In Scene Three: Cadiz, the orchestra plays some sad and somber music at the beginning. As the scene progresses the music goes from dark and dismal to happy and cheerful. During one of the songs of Scene Four: Paris the Old Lady, Cunegonde and Candide were discussing a flight and the music being played by the orchestra matched the lyrics bringing the idea of a flight to life. The Old Lady has a mezzo soprano voice she executes all of her notes well in the song. At the end of scene three Candide, Cunegonde, and the Old Lady leave to go to a new place and in the song they sing there are rounds, which were well executed. It helped change the mood again which brightened up the audience.

Lucentio is a suitor to Bianca. In the beginning of the play, Lucenito is portrayed as the cliché “love at first sight” type of person. He must do everything in his power to get Bianca to wed

Donna Anna would have had a "waiting room" with a man servant or her lady in-waiting attending to her. It would have been highly unlikely that she, who had a fiancé, put herself in a position of having truly been violated. This is where Mozart is making the point of a woman having to put on social graces. Donna Anna shows her intelligence in her coming down in a fury and singing in the duet with Don Octavio "how she wants revenge". (Act I) It was not a physical affront, it was an affront to her intellectual dignity that he should be able to reach her inner sanctuary. In a more symbolic interpretation, perhaps Mozart was doubting Donna Anna as a bride or maybe the opposite. Mozart liked a strong, intelligent woman who set the rules. Donna Anna will not get married until Don Octavio revenges her father. He shows himself to be weaker than she is. This is usually the role of the man, but Mozart reverses the male role as a female role which is a theme he often

One of the problems clarinetists of the 21st century face when performing Mozart’s Clarinet Concerto, K. 622, is creating a performance that is memorable while keeping the authentic integrity of the work. Many clarinetists who perform this work are often concerned with how they should the approach and execute the concerto. Any musician who tackles any new work will approach it by researching historical information on the composer and work, do a musical analysis, and gathering recordings of other interpretations of the same work. This approach will not only allow the performer to be fully immersed in the piece but allow for the performer to create a memorable interpretation.

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).

One scene in particular lends itself to the comparison of Don Giovanni, Leporello, and The Commendator. Scene fifteen of Act two, places all three characters in close interaction with each other, making it easy to compare and find out how Mozart and his Librettist Lorenzo da Ponte

Le Nozze di Figaro is a timeless piece of work by W.A. Mozart that exemplifies the morals and boundaries for individuals in the time Mozart wrote it. This specific opera buffa explored three different themes—Noble Class vs. Servant Class, Jealousy vs. Love, and Vengeance vs. Forgiveness. While there are four different couples that show each of these themes throughout the show, there is one specific pairing that seemed to stand out among the others. Count Almaviva and his spouse, the Countess Rosina Almaviva demonstrated every part of these themes, with the exception of the servant class. In Wednesday night’s showing, not only did the characters themselves support these themes, but all the attributes such as the set, music and costumes contributed to the

Wolfgang Amadeus Mozart was probably the greatest genius in Western musical history. He was born in Salzberg, Austria on January 27, 1756. The son of Leopold Mozart and his wife Anna Maria Pertl. Leopold was a successful composer and violinist and assistant concertmaster at the Salzberg court.

Wolfgang Amadeus Mozart, the Austrian wunderkind, was an accomplished and magnificently gifted musician. He is attributed with the composition of 22 operas in his 35-year life, but his most successful theatre work was his last. Die Zauberflöte, completed in 1791, was written specifically for the Theater auf der Wieden in Vienna. The theatre housed a troupe of actors led by Emmanuel Schikaneder, a versatile actor and writer who crafted the libretto of Zauberflöte and portrayed Papageno at its premiere. Zauberflöte was written in the singspiel operatic style; the libretto is in the vernacular – German – language, spoken dialogue is interspersed with recitative and aria, and there is a folk-like strophic style in the music. Schikaneder had