Don Giovanni - Schedule, Program & Tickets

Don Giovanni

Dramma giocoso in two acts
Libretto by Lorenzo da Ponte
World premiere on October 29, 1787 in Prague
Premiere at the Deutsche Oper Berlin on October 16, 2010

In Italian with German and English surtitles

about 3 hours 30 minutes / one break

"Where did you take the insane rights that you have dedicated your life to?" Asks George Sand the Legendary. Gottfried Benn he confided casually: "I once dreamed, a young birch gave me a son." No other modern art figure has received more journalistic attention than don Juan, that "seducer of Seville", in 1613 from the pen of a Spanish monk escaped. Only seven years younger than his compatriot Don Quijote, he has since made his way through dramas, epics, novels and operas, haunting cinema screens and plasma screens. Against changing moral backgrounds he boasts - memorial and icon - with his famous list, laid out against death, which he casts as a stone shadow. "Mine is hell!" Lord Byron heard him say.

A cutting chord opens on October 29, 1787 in the Count's Nostic National Theater in Prague under the direction of the composer, the overture to a dramma giocoso on the death of DON GIOVANNI. In the history of music theater, this moment can be compared to the Big Bang. In order to put himself in the position of the rampant libertine and blasphemer, lyricist Lorenzo da Ponte had time and again by flirting with the daughter of his landlady in the mood to bring. Mozart himself, successful the year before with his FIGARO, composes Gage for 1000 Gulden under great time pressure. The overture will be finished on the day of the premiere at 7 o'clock in the evening. A "flash" sees Søren Kierkegaard, who "from the darkness of the weather cloud dissolves, unsteady than this and yet also tact-solid. Hear the passion of unbridled desire, hear the rush of love, hear the murmurings of temptation, hear the vortex of seduction, hear the silence of the moment - hear, hear, hear Mozart's Don Juan! "

The hellish journey, to which the archetype of moral reprehension has so far been condemned, this time takes him as a soul. Although the whole of Western metaphysics is endeavored to end, it no longer justifies the just in their indignation, but causes consternation. Freedom, which the libertine extolls against prescribed humility, makes him an anarchic prototype on the threshold of the French Revolution. In his licentiousness, peeled as a life plan from the dictates of hormones, instinctual longings and self-realization fantasies of subsequent generations can be reflected.

The nineteenth century will put him in the middle of a fist, so that he can pass it on to psychoanalysis. Julia Kristeva locates in him the "son of a mother, who becomes a dreamer with her husband and gives to her little ones, he may conquer all women as no one has ever conquered them". That he could be sad, Albert Camus considers unlikely. How to deceive the "laughter, the victorious impudence, the lopsided", the profoundly earthly that the French philosopher diagnoses in him! - With D.H. Lawrence ponders the restless: "Where is peace for me? The mystery must be in love with me ... "

What drives the seducer through the bedrooms of the centuries? What hunts the hunter? Who is this man who always means, really?

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