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66-564: (Redirected from Dona Ana ) Not to be confused with Donna Anna , one of the two main female characters in Wolfgang Amadeus Mozart 's opera Don Giovanni . Doña Ana may refer to: Doña Ana County, New Mexico Doña Ana, New Mexico , a city in the above county Dona Ana Bridge in Mozambique See also [ edit ] Don (honorific) , for information on

132-498: A duel. Don Giovanni kills the Commendatore with his sword and escapes with Leporello. Donna Anna, returning with her fiancé, Don Ottavio, is horrified to see her father lying dead in a pool of his own blood. She makes Don Ottavio swear vengeance against the unknown murderer. (Duet: " Ah, vendicar, se il puoi, giura quel sangue ognor! " – "Ah, swear to avenge that blood if you can!") Leporello tells Don Giovanni that he (Giovanni)

198-504: A new text (e.g. the first half of act 1), new music on Da Ponte's text (e.g. Leporello's aria) or on a mixture of both (e.g. the new trio for the scene in the cemetery); the whole collated with extensive quotations or entire sections borrowed directly from Mozart (e.g. Finale 1 and Finale 2, and even some music from Le nozze di Figaro ), though usually slightly reworked and re-orchestrated. Notes References Sources Maria Theresa of Austria (1767%E2%80%931827) Maria Theresa

264-527: A number of operas: Nicklausse of Offenbach 's The Tales of Hoffmann sings a snatch of Leporello's " Notte e giorno ", and Rossini quotes from the same aria in the duettino between Selim and Fiorilla following the former's cavatina in act 1 of Il turco in Italia . Ramón Carnicer 's opera Don Giovanni Tenorio  [ es ] (1822) is a peculiar reworking of Mozart's opera to adapt it to Rossinian fashion. It comprises new music by Carnicer on

330-432: A peace offering of money (Duet: "Eh via buffone" – "Go on, fool"). Wanting to seduce Donna Elvira's maid, and believing that she will trust him better if he appears in lower-class clothes, Don Giovanni orders Leporello to exchange cloak and hat with him. Donna Elvira comes to her window (Trio: "Ah taci, ingiusto core" – "Ah, be quiet unjust heart"). Seeing an opportunity for a game, Don Giovanni hides and sends Leporello out in

396-410: A short misterioso sequence which leads into a light-hearted D major allegro. Leporello, Don Giovanni's servant, grumbles about his demanding master and daydreams about being free of him (" Notte e giorno faticar " – "Night and day I slave away"). He is keeping watch while Don Giovanni is in the Commendatore's house attempting to seduce the Commendatore's daughter, Donna Anna. Don Giovanni enters

462-667: A somewhat different upbringing than was usual for royal children at the time: they were actually raised by their parents rather than a retinue of servants, were largely kept apart from any ceremonial court life and were taught to live simply and modestly. On 8 September 1787, Maria Theresa was married to Prince Anthony of Saxony by proxy in Florence; the couple later married in person in Dresden on 18 October 1787. Anthony had previously been married to Maria Carolina of Savoy , who died of smallpox in 1782. Mozart 's opera Don Giovanni

528-620: A theme from the duet "O, statua gentilissima" for his set of piano variations. Chopin wrote Variations on "Là ci darem la mano" (the duet between Don Giovanni and Zerlina) for piano and orchestra. Beethoven and Danzi also wrote variations on the same theme. And Beethoven, in his Diabelli Variations , cites the beginning of the opera " Notte e giorno faticar " in variation 22. Cipriani Potter wrote piano variations on "Fin ch'han dal vino", Op. 2 (1816). The turkeys in Chabrier 's "Ballade des gros dindons" (1889) finish each verse imitating

594-548: Is a centuries-old Spanish legend about a libertine as told by playwright Tirso de Molina in his 1630 play El burlador de Sevilla y convidado de piedra . It is a dramma giocoso blending comedy, melodrama and supernatural elements (although the composer entered it into his catalogue simply as opera buffa ). It was premiered by the Prague Italian opera at the National Theatre (of Bohemia), now called

660-481: Is a false-hearted seducer. Don Giovanni tries to convince Don Ottavio and Donna Anna that Donna Elvira is insane (Quartet: " Non ti fidar, o misera " – "Don't trust him, oh sad one"). As Don Giovanni leaves, Donna Anna suddenly recognises him as her father's murderer and tells Don Ottavio the story of his intrusion, claiming that she was deceived at first because she was expecting a night visit from Don Ottavio himself, but managed to fight Don Giovanni off after discovering

726-722: Is all too familiar with the final tune ( Questa poi la conosco purtroppo ) – likely a joke understandable for the original audience, as Felice Ponziani, who sang Leporello's part at the premiere, also sang Figaro's part (including "Non più andrai") earlier in Prague. (Finale "Già la mensa è preparata" – "Already the table is prepared"). Donna Elvira enters, saying that she no longer feels resentment against Don Giovanni, only pity for him. ("L'ultima prova dell'amor mio" – "The final proof of my love"). Don Giovanni, surprised, asks what she wants, and she begs him to change his life. Don Giovanni taunts her and then turns away, praising wine and women as

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792-451: Is different from Wikidata All article disambiguation pages All disambiguation pages Donna Anna Don Giovanni ( Italian pronunciation: [ˌdɔn dʒoˈvanni] ; K. 527 ; Vienna (1788) title: Il dissoluto punito, ossia il Don Giovanni , literally The Rake Punished, or Don Giovanni ) is an opera in two acts with music by Wolfgang Amadeus Mozart to an Italian libretto by Lorenzo Da Ponte . Its subject

858-521: Is faithful ("Non mi dir" – "Tell me not"). Don Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays music from popular (at the time) late-18th-century operas: "O quanto un sì bel giubilo" from Vicente Martín y Soler 's Una cosa rara (1786), "Come un agnello" from Giuseppe Sarti 's Fra i due litiganti il terzo gode (1782), and finally " Non più andrai " from Mozart's own The Marriage of Figaro (1786). Leporello comments that he

924-503: Is immediately attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realising that Don Giovanni means to remain behind with Zerlina, Masetto becomes angry (" Ho capito! Signor, sì " – "I understand! Yes, my lord!") but is forced to leave. Don Giovanni and Zerlina are soon alone and he immediately begins his seductive arts (Duet: " Là ci darem la mano " – "There we will entwine our hands"). Donna Elvira arrives and thwarts

990-444: Is leading a rotten life; Don Giovanni reacts angrily. They hear a woman (Donna Elvira) singing of having been abandoned by her lover, on whom she is seeking revenge (" Ah, chi mi dice mai " – "Ah, who could ever tell me"). Don Giovanni starts to flirt with her, but it turns out he is the former lover she is seeking. The two recognise each other and she reproaches him bitterly. He shoves Leporello forward, ordering him to tell Donna Elvira

1056-533: Is now convinced that Don Giovanni murdered Donna Anna's father (the deceased Commendatore). He swears vengeance (" Il mio tesoro " – "My treasure" – though in the Vienna version this was cut). In the Vienna production of the opera, Zerlina follows Leporello and recaptures him. Threatening him with a razor, she ties him to a stool. He attempts to sweet-talk her out of hurting him. (Duet: "Per queste tue manine" – "For these hands of yours"). Zerlina goes to find Masetto and

1122-422: Is overcome by sudden chills. The statue offers him a final chance to repent as death draws near, but Don Giovanni adamantly refuses. The statue disappears and Don Giovanni cries out in pain and terror as he is surrounded by a chorus of demons, who carry him down to Hell. Leporello, watching from under the table, also cries out in fear. Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for

1188-544: Is usually retained as well. The duet " Per queste tue manine " and the whole accompanying scene involving Zerlina and Leporello from the Viennese version is almost never included. Although the same singer played both Masetto and the Commendatore roles in both the Prague and Vienna premieres, in modern-day productions, the roles are typically taken by different singers (unless limited by such things as finance or rehearsal time and space). The final scene's chorus of demons after

1254-558: The Estates Theatre , on 29 October 1787. Don Giovanni is regarded as one of the greatest operas of all time, and has proved a fruitful subject for commentary in its own right; critic Fiona Maddocks has described it as one of Mozart's "trio of masterpieces with librettos by Da Ponte". The opera was commissioned after the success of Mozart's trip to Prague in January and February 1787. The subject may have been chosen because

1320-466: The "support and glory of humankind" ( sostegno e gloria d'umanità ). Hurt and angry, Donna Elvira gives up and leaves. Offstage, she screams in sudden terror. Don Giovanni orders Leporello to see what has upset her; when he does, he also cries out, and runs back into the room, stammering that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Don Giovanni opens it himself, revealing

1386-504: The 20th century and productions of the opera now usually include it. The return to D major and the innocent simplicity of the last few bars conclude the opera. Paul Czinner directed a filming of the Salzburg Festival presentation in 1954. A screen adaptation was directed by Joseph Losey in 1979. The Danish philosopher Søren Kierkegaard wrote a long essay in his book Enten – Eller in which he argues, writing under

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1452-421: The Commendatore's exit gives the singer time for a costume change before entering as Masetto for the sextet, though not much time. The instrumentation is: Don Giovanni, a young, arrogant, and sexually promiscuous nobleman, abuses and outrages everyone else in the cast until he encounters something he cannot kill, beat up, dodge, or outwit. The overture begins with a thundering D minor cadence, followed by

1518-420: The ballroom scene at the end of the first act, Mozart calls for two onstage ensembles to play separate dance music in synchronization with the pit orchestra, each of the three groups playing in its own metre (a 3/4 minuet , a 2/4 contradanse and a fast 3/8 peasant dance), accompanying the dancing of the principal characters. In act 2, Giovanni is seen to play the mandolin , accompanied by pizzicato strings. In

1584-686: The composer). Viardot kept the manuscript in a shrine in her Paris home, where it was visited by many people. Tchaikovsky visited her when he was in Paris in June 1886, and said that when looking at the manuscript, he was "in the presence of divinity". So it is not surprising that the centenary of the opera in 1887 would inspire him to write something honouring Mozart. Instead of taking any themes from Don Giovanni , however, he took four lesser known works by Mozart and arranged them into his fourth orchestral suite , which he called Mozarti ana . The baritone who sang

1650-480: The ensemble as depicted in the film Amadeus may be an accurate portrayal. Nonetheless, the final ensemble is almost invariably performed in full today. Modern productions sometimes include both the original aria for Don Ottavio, " Il mio tesoro ", and its replacement from the first production in Vienna that was crafted to suit the capabilities of the tenor Francesco Morella, " Dalla sua pace ". Elvira's " In quali eccessi, o Numi ... Mi tradì quell'alma ingrata "

1716-522: The future (" Or che tutti, o mio tesoro "). In order to connect " Ah, certo è l'ombra che l'incontrò " ("It must have been the ghost she met") directly to the moral of the story " Questo è il fin di chi fa mal " ("This is the end which befalls to evildoers"), Mozart composed a different version of " Resti dunque quel birbon fra Proserpina e Pluton! " ("So the wretch can stay down there with Proserpina and Pluto! "). These cuts are very seldom performed in theatres or recordings. The opera's final ensemble

1782-432: The garden from inside the house, pursued by Donna Anna. Don Giovanni is masked and Donna Anna tries to hold him and to unmask him, shouting for help. (Trio: " Non sperar, se non m'uccidi, Ch'io ti lasci fuggir mai! " – "Do not hope, unless you kill me, that I shall ever let you run away!"). He breaks free and she runs off as the Commendatore enters the garden. The Commendatore blocks Don Giovanni's path and forces him to fight

1848-515: The guests of the peasant wedding are in Don Giovanni's house and that he distracted Masetto from his jealousy, but that Zerlina, returning with Donna Elvira, made a scene and spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organise a party and invite every girl he can find. (Don Giovanni's "Champagne Aria": " Fin ch'han dal vino calda la testa " – "Till they are tipsy"). They hasten to his palace. Zerlina follows

1914-555: The impostor (long recitative exchange between Donna Anna and Don Ottavio). She repeats her demand that he avenge her and points out that he will be avenging himself as well (aria: "Or sai chi l'onore Rapire a me volse" – "Now you know who wanted to rob me of my honour"). In the Vienna version, Don Ottavio, not yet convinced (Donna Anna having only recognised Don Giovanni's voice, not seen his face), resolves to keep an eye on his friend (" Dalla sua pace la mia dipende " – "On her peace my peace depends"). Leporello informs Don Giovanni that all

1980-456: The information to psychologically torture Mozart even further. The sustained popularity of Don Giovanni has resulted in extensive borrowings and arrangements of the original. The most famous and probably the most musically substantial is the operatic fantasy, Réminiscences de Don Juan by Franz Liszt . The minuet from the finale of act 1 ("Signor, guardate un poco"), transcribed by Moritz Moszkowski , also makes an incongruous appearance in

2046-497: The invitation and Leporello leaves the balcony. Alone, Don Ottavio and Donna Anna pray for protection, Donna Elvira for vengeance (Trio: " Protegga il giusto cielo " – "May the just heavens protect us"). As the merriment, featuring three separate chamber orchestras on stage, proceeds, Leporello distracts Masetto by dancing with him, while Don Giovanni leads Zerlina offstage to a private room and tries to assault her. When Zerlina screams for help, Don Giovanni drags Leporello onstage from

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2112-412: The jealous Masetto and tries to pacify him (" Batti, batti o bel Masetto " – "Beat, O beat me, handsome Masetto"), but just as she manages to persuade him of her innocence, Don Giovanni's voice from offstage startles and frightens her. Masetto hides, resolving to see for himself what Zerlina will do when Don Giovanni arrives. Zerlina tries to hide from Don Giovanni, but he finds her and attempts to continue

2178-619: The latter for four hands). " Deh, vieni alla finestra " also makes an appearance in the Klavierübung of Ferruccio Busoni , under the title Variations-Studie nach Mozart ( Variation study after Mozart). Schumann included a piano arrangement of "Vedrai carino" in his Kleiner Lehrgang durch die Musikgeschichte , which was originally intended for his Album for the Young , whereas Muzio Clementi wrote piano variations on Zerlina's other aria, "Batti, batti". Johann Wilhelm Wilms took

2244-478: The like", and "the opera ... is extremely difficult to perform." The Provincialnachrichten of Vienna reported, "Herr Mozart conducted in person and was welcomed joyously and jubilantly by the numerous gathering." The score calls for double woodwinds , two horns , two trumpets , three trombones (alto, tenor, bass), timpani , basso continuo for the recitatives , and the usual string section . The composer also specified occasional special musical effects. For

2310-508: The mandolin accompaniment of the Serenade. Pyotr Ilyich Tchaikovsky always regarded Don Giovanni – and its composer – with awe. In 1855, Mozart's original manuscript had been purchased in London by the mezzo-soprano Pauline Viardot , who was the teacher of Tchaikovsky's one-time unofficial fiancée Désirée Artôt (whom Viardot may have persuaded not to go through with her plan to marry

2376-523: The manuscript of Liszt's Fantasy on Themes from Mozart's Figaro and Don Giovanni , and Sigismond Thalberg uses the same minuet, along with " Deh, vieni alla finestra ", in his Grand Fantaisie sur la serenade et le Minuet de Don Juan , Op. 42. Thalberg also included a piano arrangement of "Il mio tesoro" in his L'art du chant appliqué au piano ", Op. 70. This minuet was also used for sets of variations for piano by Franz Xaver Wolfgang Mozart (Op. 2), Fanny Hünerwadel and János Fusz (Op. 10,

2442-443: The name " Leporello list" for concertina-folded printed matter, as used for brochures, photo albums, computer printouts and other continuous stationery . Playwright Peter Shaffer used Don Giovanni for a pivotal plot point in his play Amadeus , a fictional biography of its composer. In it, Antonio Salieri notices how Mozart composed the opera while tortured by the memory of his imposing, deceased father Leopold , and uses

2508-519: The open wearing Don Giovanni's cloak and hat. From his hiding place Don Giovanni sings a promise of repentance, expressing a desire to return to her and threatening to kill himself if she does not take him back, while Leporello poses as Don Giovanni and tries to keep from laughing. Donna Elvira, convinced, descends to the street. Leporello, continuing to pose as Don Giovanni, leads her away to keep her occupied while Don Giovanni serenades her maid with his mandolin . ("Deh, vieni alla finestra" – "Ah, come to

2574-571: The opera (with explicit mention of the Mozart score for the finale scene between the Commendatore and Don Giovanni). Gustave Flaubert called Don Giovanni , along with Hamlet and the sea, "the three finest things God ever made." E. T. A. Hoffmann also wrote a short story derived from the opera, "Don Juan" , in which the narrator meets Donna Anna and describes Don Juan as an aesthetic hero rebelling against God and society. In some Germanic and other languages, Leporello's " Catalogue Aria " provided

2640-414: The others, go that way"), Don Giovanni takes Masetto's weapons away, beats him up, and runs off, laughing. Zerlina arrives and consoles the bruised and battered Masetto ("Vedrai carino" – "You'll see, dear one"). Leporello abandons Donna Elvira. (Sextet: "Sola, sola in buio loco" – "All alone in this dark place"). As he tries to escape, he bumps into Don Ottavio and Donna Anna. Zerlina and Masetto also enter

2706-618: The others; Leporello escapes again before she returns. This scene, marked by low comedy, is rarely performed today. Also in the Vienna production, Donna Elvira is still furious at Don Giovanni for betraying her, but she also feels sorry for him. ("Mi tradì quell'alma ingrata" – "That ungrateful wretch betrayed me"). Don Giovanni wanders into a graveyard. Leporello arrives and the two reunite. Leporello tells Don Giovanni of his brush with danger, and Don Giovanni laughingly taunts him, saying that he took advantage of his disguise as Leporello by trying to seduce one of Leporello's girlfriends. The voice of

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2772-454: The pseudonym of his character "A", that "among all classic works Don Giovanni stands highest." Charles Gounod wrote that Mozart's Don Giovanni is "a work without blemish, of uninterrupted perfection." The finale, in which Don Giovanni refuses to repent , has been a captivating philosophical and artistic topic for many writers including George Bernard Shaw , who in Man and Superman parodied

2838-617: The responsibility of raising the former's children, something they are said to have done very strictly. Maria Theresa assisted her father, by then Holy Roman Emperor, to arrange the meeting between Austria , Prussia and the French émigrées in Saxony , which resulted in the Declaration of Pillnitz 25 August 1791. In 1806, she and her family fled Saxony for Prague during the war against Napoleon I . They were able to return in 1813. She

2904-420: The room, accuses Leporello of assaulting Zerlina himself, and threatens to kill him. The others are not fooled. Don Ottavio produces a pistol and points it at Don Giovanni, and the three guests unmask and declare that they know all. But despite being denounced and menaced from all sides, Don Giovanni remains calm and escapes – for the moment. Leporello threatens to leave Don Giovanni, but his master calms him with

2970-593: The same act, two of the Commendatore 's interventions (" Di rider finirai pria dell'aurora " and " Ribaldo, audace, lascia a' morti la pace ") are accompanied by a wind chorale of oboes, clarinets, bassoons , and trombones (with cellos and basses playing from the string section). Mozart also supervised the Vienna premiere of the work, which took place on 7 May 1788 . For this production, he wrote two new arias with corresponding recitatives – Don Ottavio's aria " Dalla sua pace " (K. 540a, composed on 24 April for

3036-487: The scene. Everyone mistakes Leporello for Don Giovanni, whose clothes he is still wearing. They surround Leporello and threaten to kill him. Donna Elvira tries to protect the man who she thinks is Don Giovanni, claiming him as her husband and begging the others to spare him. Leporello takes off Don Giovanni's cloak and reveals his true identity. He begs for mercy and, seeing an opportunity, runs off (Leporello aria: "Ah pietà signori miei" – "Ah, have mercy, my lords"). Don Ottavio

3102-498: The seduction (" Ah, fuggi il traditor " – "Flee from the traitor!"). She leaves with Zerlina. Don Ottavio and Donna Anna enter, plotting vengeance on the still unknown murderer of Donna Anna's father. Donna Anna, unaware that she is speaking to her attacker, pleads for Don Giovanni's help. Don Giovanni, relieved that he is unrecognised, readily promises it, and asks who has disturbed her peace. Before she can answer, Donna Elvira returns and tells Donna Anna and Don Ottavio that Don Giovanni

3168-416: The seduction, until he stumbles upon Masetto's hiding place. Confused but quickly recovering, Don Giovanni reproaches Masetto for leaving Zerlina alone, and returns her temporarily to him. Don Giovanni then leads both offstage to his ballroom. Three masked guests – the disguised Don Ottavio, Donna Anna, and Donna Elvira – enter the garden. From a balcony, Leporello invites them to his master's party. They accept

3234-495: The statue interrupts and warns Don Giovanni that his laughter will not last beyond sunrise. At the command of his master, Leporello reads the inscription upon the statue's base: "Here am I waiting for revenge against the scoundrel who killed me" ("Dell'empio che mi trasse al passo estremo qui attendo la vendetta"). The servant trembles, but Don Giovanni scornfully orders him to invite the statue to dinner, and threatens to kill him if he does not. Leporello makes several attempts to invite

3300-422: The statue of the Commendatore. With the rhythmic chords of the overture, now reharmonized with diabolic diminished sevenths accompanying the Commendatore ("Don Giovanni! A cenar teco m'invitasti" – "Don Giovanni! You invited me to dine with you"), the statue asks if Don Giovanni will now accept his invitation to dinner. Don Giovanni brazenly accepts, and shakes the statue's proffered hand, only to collapse as he

3366-448: The statue to dinner, but is too frightened to complete the invitation (Duet: "O, statua gentilissima" – "Oh most noble statue"). Don Giovanni invites the statue to dinner himself. Much to his surprise, the statue nods its head and responds affirmatively. Don Ottavio pressures Donna Anna to marry him, but she thinks it is inappropriate so soon after her father's death. He accuses her of being cruel, and she assures him that she loves him, and

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3432-524: The sub-genre of Don Juan opera had originated in that city. Lorenzo Da Ponte 's libretto is based on Giovanni Bertati 's for the opera Don Giovanni Tenorio , which premiered in Venice early in 1787. In two aspects he copied Bertati: by opening with the Commendatore's murder and by avoiding mention of Seville (for Bertati the setting was Villena , Spain; Da Ponte simply writes "city in Spain"). The opera

3498-430: The tavern to find a better master. The concluding ensemble delivers the moral of the opera – "Such is the end of the evildoer: the death of a sinner always reflects his life" ( Questo è il fin di chi fa mal, e de' perfidi la morte alla vita è sempre ugual ). As mentioned above, productions for over a century – beginning with the original run in Prague – customarily omitted the final ensemble, but it frequently reappeared in

3564-548: The tenor Francesco Morella), Elvira's aria " In quali eccessi ... Mi tradì quell'alma ingrata " (K. 540c, composed on 30 April for the soprano Caterina Cavalieri ) – and the duet between Leporello and Zerlina " Per queste tue manine " (K. 540b, composed on 28 April). He also made some cuts in the Finale in order to make it shorter and more incisive, the most important of which is the section where Anna and Ottavio, Elvira, Zerlina and Masetto, Leporello reveal their plans for

3630-456: The title role in the centenary performance of Don Giovanni in Prague that year was Mariano Padilla y Ramos , the man Désirée Artôt married instead of Tchaikovsky. Michael Nyman 's popular, short band piece In Re Don Giovanni (1981, with later adaptations and revisions) is constructed on a prominent 15-bar phrase in the accompaniment to Leporello's catalogue aria. In addition to instrumental works, allusions to Don Giovanni also appear in

3696-465: The titles "don" and "doña" Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Doña Ana . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Doña_Ana&oldid=1076923900 " Category : Disambiguation pages Hidden categories: Short description

3762-742: The truth about him, and then hurries away. Leporello tells Donna Elvira that Don Giovanni is not worth her feelings for him. He is unfaithful to everyone; his conquests include 640 women and girls in Italy, 231 in Germany, 100 in France, 91 in Turkey, but in Spain, 1,003 (" Madamina, il catalogo è questo " – "My dear lady, this is the catalogue"). In a frequently cut recitative, Donna Elvira vows vengeance. A marriage procession with Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Don Giovanni

3828-467: The villain. They find instead Leporello hiding under the table, shaken by the supernatural horror he has witnessed. He assures them that no one will ever see Don Giovanni again. The remaining characters announce their plans for the future: Donna Anna and Don Ottavio will marry when Donna Anna's year of mourning is over; Donna Elvira will withdraw from society for the rest of her life; Zerlina and Masetto will finally go home for dinner; and Leporello will go to

3894-405: The window"). Before Don Giovanni can complete his seduction of the maid, Masetto and his friends arrive, looking for Don Giovanni in order to kill him. Don Giovanni poses as Leporello (whose clothes he is still wearing) and joins the posse, pretending that he also hates Don Giovanni. After cunningly dispersing Masetto's friends (Don Giovanni aria: "Metà di voi qua vadano" – "Half of you go this way.

3960-577: Was able to enjoy the title queen of Saxony for only a few months after the death of her brother-in-law Frederick Augustus I in May 1827. The latter's alliance with Napoleon led to significant losses of territory for Saxony at the Congress of Vienna . Maria Theresa died at Leipzig in 1827. Maria Theresa and Anthony were parents to four children, all of whom were born and died in Dresden; none survived to

4026-558: Was born in Florence , Grand Duchy of Tuscany , the eldest child of Grand Duke Peter Leopold of Tuscany (later Leopold II, Holy Roman Emperor ) and his wife Maria Luisa of Spain . As such, she was also the eldest grandchild of Charles III of Spain . Like all the eldest daughters of the children of her paternal grandparents, she was named after her grandmother, the Habsburg ruler Maria Theresa . Maria Theresa and her siblings were given

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4092-502: Was considered improper for a new bride by many observers, and the couple left the opera theater early without seeing the entire work performed. Mozart complained bitterly of the intrigues surrounding this incident in a letter to his friend Gottfried von Jacquin that was written in stages between 15 October and 25 October 1787. She was also present in Prague in September 1791 for the premiere of Mozart's opera La clemenza di Tito , which

4158-400: Was generally omitted until the early 20th century, a tradition that apparently began very early on. According to the 19th-century Bohemian memoirist Wilhelm Kuhe , the final ensemble was only presented at the first performance in Prague, then never heard again during the original run. It does not appear in the Viennese libretto of 1788; thus the ending of the first performance in Vienna without

4224-465: Was originally intended to be performed in honor of Maria Theresa and Anthony Clement for their visit to Prague on 14 October 1787, as they traveled between Dresden and Vienna , and librettos were printed with dedication to them. The premiere could not be arranged in time, however, so the opera The Marriage of Figaro was substituted on the express orders of Maria Theresa's uncle, Holy Roman Emperor Joseph II . The choice of The Marriage of Figaro

4290-458: Was supposed to premiere on 14 October 1787 for Archduchess Maria Theresa of Austria ’s visit, but it was not ready in time and Le nozze di Figaro was substituted. Mozart recorded its completion, finally, on 28 October, the night before the premiere (29 October). The opera was rapturously received, as was often true of Mozart's work in Prague . The Prager Oberpostamtzeitung reported, "Connoisseurs and musicians say that Prague has never heard

4356-535: Was written as part of the celebrations there in honor of the coronation of her father as King of Bohemia . Maria Theresa was described as a simple and homely character devoted to a private family life, and she was reportedly relieved to marry a spouse who was, at the time of their marriage, not expected to succeed to a throne. Her four children all died as infants. However, at the death of her cousin and sister-in-law, Princess Carolina of Parma , she and her other sister-in-law, Amalie of Zweibrücken-Birkenfeld , shared

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