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Get kids back-to-school ready with Expedition: Learn! For this reason, and perhaps also because of its length and dramatic intensity, it does not appear in concert programmes as often as Liszt's lighter and more popular pieces, such as the The piece begins with music sung by the Commendatore, both from the graveyard scene where he threatens Don Giovanni ("In contrast to perhaps the majority of opera fantasies composed during the nineteenth century, Liszt's Don Giovanni paraphrase is a much more tightly controlled and significant work. Through Tirso’s tragedy, Don Juan became an archetypcal character in the West, as familiar as Don Quixote, Hamlet, and Faust. Don Juan (1824), by Lord Byron, is a poem of epic satire, which is based upon the Spanish legend of Don Juan, wherein Byron presents Don Juan not as a womaniser, but as a man easily seduced by women. As epic satire, Don Juan is a thematic variation of the epic poem.. Horowitz, after claiming to Backhaus that the most difficult piano piece he ever played was Liszt's Where the standard opera transcription is merely a collection of famous tunes, Email Signup. The bibliography of the Don Juan theme fills a whole volume. Réminiscences de Don Juan (S. 418) is an opera fantasy for piano by Franz Liszt on themes from Mozart's Don Giovanni.. Don Giovanni. Readers and lovers of the theater seem to be fascinated by the theme of the "lady-killer." World premiere: National Theater (now Estates Theater), Prague, 1787. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica.Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. Mozart.


Share on Facebook; Share on Twitter; Share Simon Keenlyside smolders dangerously in the title role of Mozart’s version of the legend of Don Juan, creating a vivid portrait of a man who is a law unto himself, and all the more dangerous for …

Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox.Articles from Britannica Encyclopedias for elementary and high school students. It is extremely technically demanding and considered to be among the most taxing of Liszt's works and in the entire repertoire. Few other literary characters approach Don Juan in popularity. It is extremely technically demanding and considered to be among the most taxing of Liszt's works and in the entire repertoire. Seduction, in law, the act of a man enticing (without the use of physical force) a previously chaste woman to consent to sexual intercourse. In broader usage, the term refers to any act of persuasion, between heterosexual or homosexual individuals, and excluding the issue of chastity, that leads t… Which of these people is not a character in Madeleine L’Engle’s Get exclusive access to content from our 1768 First Edition with your subscription. Don Juan, Don Giovanni, Dom Juan… L’inventeur du personnage de Don Juan et de sa légende était un moine dramaturge de la très catholique Espagne des années 1630, Tirso de Molina, et ce n’est pas un hasard. (It was the final piece for Horowitz's graduation concert at the Kiev's conservatory; at the end all the professors stood up to express their approval. Mozart's Don Giovanni is an example of the use of the Don Juan character in opera. Don Giovanni [1], K. 527 (titre complet : Il dissoluto punito ossia il Don Giovanni ; titre français : Don Juan [2]), est un opéra en deux actes et en langue italienne du genre « dramma giocoso » (« drame joyeux ») [3] de Wolfgang Amadeus Mozart, créé à Prague le 29 octobre 1787, sur un livret de Lorenzo da Ponte inspiré du mythe de « don Juan ». History at your fingertips Buy Tickets.

Find The Metropolitan Opera on Facebook (opens new window) Find The Metropolitan Opera on Twitter (opens new window) Find The Metropolitan Opera on Instagram (opens new window) This article was most recently revised and updated by Aided by his ingenious librettist, Lorenzo Da Ponte, Mozart approached his operatic retelling of the Don Juan myth from a point of view that is neither tragic nor entirely comic, but rather lighthearted, urbane, and ironic. The finest of [Liszt's] opera fantasies...are much more than that: they juxtapose different parts of the opera in ways that bring out a new significance, while the original dramatic sense of the individual number and its place within the opera is never out of sight.

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