The Don loves women and leaves them, without any care for social conventions. While Leporello's decision to not engage in transgressions with women may be class-based in some instances, even the Don's higher-born counterparts do not openly defy conventional sexual wisdom to the same degree as he does. The celebratory and openly joyous nature of the "Madamina" aria is a kind of celebration of sexuality members of the audience may wish to engage in, but do not. Despite the literal word-painting of the appearance of the blondes and brunettes, there is a stark contrast between the 'mind in the gutter' literal wordings of Leporello's leering commentary with the agile beauty of Mozart's music.
Elvira is silent throughout the aria, conveying her sense of resistance and disgust. The audience cannot completely side with her. Rather they stand betwixt and between Elvira and Leporello. They cannot wholly condemn the Don just yet, given how he enthusiastically seems to lust after all women, fat and thin, young and old, even though they may express some sympathy for Elvira. For the opera to 'work' and to keep the audience's interest and attention throughout its duration and the journey of Don Giovanni's life and death, the audience must sympathize with its title character to some degree.
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The key to his lust is easy -- voi sapete quell chef a (providing she wears a skirt). In other words, any female will do, as long as Giovanni can have the conquest. But this is too much for Leporello, and at the beginning of Act II he tells his master: No, no padrone, non-vo' restar (No master, I want to leave you.) Giovanni hands him a purse with
Mozart Arias Wolfgang Amadeus Mozart is universally considered to be a musical genius because he is so great in his work. During his short time on the earth because he died very young, he was responsible for the writing of some of the most beautiful works of music ever written. He wrote symphonies and stand alone pieces too. His work has been put to ballets and other plays and in
As mentioned earlier on, the new political dispensation that took off is 1994 opened the "gates of creative possibility" (Roos,2010) for the opera producers since they were therefore able to juxtapose the Western and African art scenes. This was fueled by the sense of renewed intellectual and artistic access that way created by the new political dispensation. According to Roos (2010), theoretically, the new political dispensation culminated into an
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