Da Ponte referred to it as a " dramma giocoso" (drama with jokes). He called "Don Giovanni" an opera buffa, blending comedy, melodrama and supernatural elements. His was a singular modern sound loaded with engaging melody, advanced harmonies and lush orchestrations, an entirely new sound for the ears of late 18th century audiences, setting a new high bar for operatic composers to leap over for the next 150 years.Įxtraordinary was how superbly Mozart blended storytelling, character and music, into an unblemished whole cloth, unifying all theatrical forces together rather than just sailing arias over the center field fence. Though opera started ramping up at the turn of the 17th century, Mozart lifted it out of its Baroque underpinnings and arguably launched the Golden Age of Opera. The level of sophistication of Mozart's work remains remarkable. 16, at the Adrienne Arsht Center for Florida Grand Opera's 79th season. Don Juan has been the subject of several operas, plays and poems, "Don Giovanni" by Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte considered to be the most luminary account of the fictional baddest of boys.Īnd with the #metoo movement in swing, Mozart's masterwork made for a timely opener on Saturday, Nov. in partial fulfillment of the requirements for the degree of Masters of Arts in the of Romance Languages.Don Juan, known in Italian as Don Giovanni, has become the brand for any licentious libertine since the prototype Don Juan drama "El burlador de Sevilla" was created by Spanish writer Tirso de Molina in the early 17th century. In order to explore his theological perspective, the essay first briefly looks at the presiding debate of auxiliis in its historical context and then analyzes the dramatic functions of three distinct manifestations of supernatural forces in the plays: the demonic manipulation in El condenado por desconfiado, the ghostly apparition of Don Gonzalo in El burlador de Sevilla and divine messengers' attempt to win souls in both the plays aforementioned and Quien no cae no se levanta. This study demonstrates that the playwright utilizes these characters to illustrate his personal belief in man's free will. While several aspects of Tirso's theological perspective have been well researched, the supernatural characters and their theological implications have received practically no scholarly attention. This article seeks to reveal Tirso de Molina's view of auxiliis through analysis of three of his religious plays, El burlador de Sevilla (1630), El condenado por desconfiado (1635) and Quien no cae no se levanta (1636).Affiliation: College of Arts and Sciences, Department of Romance Studies.
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