Mozart in Prague: Rolando Villazon on Don Giovanni


Mozart in Prague: Rolando Villazon on Don Giovanni

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Don Giovanni, Wolfgang Amadeus Mozart's opera of all operas,

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is to me one of the greatest artistic achievements of all time.

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Over two centuries, Don Giovanni has been continually restaged

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and reinvented in the world's finest opera houses.

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The finale is terrifying and unforgettable.

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If you see one opera before you die, make sure it is this one.

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But what would it have looked and sounded like in 1787,

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during its first ever public performance?

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To find out, I've come here to Prague,

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where the premiere took place.

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We are going to restage Don Giovanni's finale

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to understand the challenges Mozart faced,

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so we can all see and hear it as the first audience did.

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I will find out how the instruments sounded...

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..what the performers wore...

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and the special effects Mozart used.

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He was not only an amazing and extraordinary musician,

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but also a very courageous artist.

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He took the conventions of his day, transformed them,

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played with them and created his own way.

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My name is Rolando Villazon and I am an opera singer.

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I'm going to throw myself into the 18th century world

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in which Mozart moved...

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..explore the social and political ideas that surrounded

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and inspired him

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and bring us close to Don Giovanni, as Mozart himself imagined it.

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The house was packed with 12,000 people.

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The emperor in Vienna was unsure about whether, you know,

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the court would like this piece.

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This is the dark side of the enlightenment.

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How far can libertines go before they become dangerous?

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So...get ready, fasten your seat belts, here we go.

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HE SINGS IN AN OPERATIC STYLE

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I became an opera singer after someone heard me

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singing in the shower.

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Mozart's operas are among my favourites.

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They express what it is to be human, what brings us together,

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and what pulls us apart.

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I have become fascinated with the maestro, and immersed myself

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in his life through his music and through his letters.

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SINGING CONTINUES

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I have performed in Mozart's opera Don Giovanni many times,

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though not as the star of the show, Don Giovanni himself.

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That part was written for a baritone, a deeper voice than mine.

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Don Giovanni is a womanizer whose sins catch up with him when he

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commits murder and unleashes vengeance from beyond the grave.

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My first stop in Prague really has to be the Estates Theatre

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where the first performance took place on October 29th 1787.

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I can just imagine these cobbled streets rattling with carriages

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carrying Prague's nobility.

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Coachmen helping ladies cross the muddy roads without ruining

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their finest dresses.

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The tickets sold out, the box office shut early,

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the excitement in the air.

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And me? I have dreamed of walking onto this stage.

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Wow.

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HE LAUGHS

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Wow.

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It's quite special.

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History was made here.

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Look at this beautiful theatre.

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It's...

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It's hard to find the words to describe the feeling

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of being in a place that...

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..that means so much to music...

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..but as well to humankind.

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Because this opera is about the human soul.

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It's just beautiful.

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I...I almost can hear the laughter, the people, the chat...

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..the nervousness. That must have been quite a night.

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The performers getting ready to sing this masterpiece...

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and the orchestra tuning.

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Quite special. And look.

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This plaque marks the spot

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where Mozart conducted that night.

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Just imagine: Mozart gives an indication and the first notes

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of this monument of music come out...

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right from this place.

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HE SINGS

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Mozart received three standing ovations that night.

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He loved applause.

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When Mozart and his wife, Constanze, arrived for the premiere,

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he was only 31 but a living legend,

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at the height of his creative powers.

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And he wanted his genius recognised and celebrated.

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So, why was the premiere in this theatre in Prague?

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The maestro was used to the prestigious venues in Vienna,

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where he lived and composed.

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Mozart thrived in the Age Of The Enlightenment,

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when the traditional social order gave way to reason and new freedoms.

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The American constitution was being framed,

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and Mozart's previous opera, The Marriage Of Figaro,

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had been a subversive comedy about the nobility.

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Simon, why did Mozart come to Prague?

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Well, I think Prague was the second most important city

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in the Austrian empire

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and certainly the most important in the Czech lands and...

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after Vienna of course,

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and so there were always musical opportunities here.

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He directed a performance of Marriage Of Figaro

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at the Estates Theatre as well.

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So when he came to Prague and when he said, you know, everybody is

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whistling, singing Figaro,

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that's all they're singing, that's all you hear anywhere,

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you can tell when he's writing that, that he just absolutely loves that.

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The Emperor himself, Joseph II, had requested a private performance

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of Figaro in Vienna.

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But Mozart was always torn between success at court

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and forging his own creative path.

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Mozart was very happy to be here in Prague

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but he also wanted to return to Vienna.

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What was the difference between these two cities?

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He yearned for a court appointment in Vienna and the stability that

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that would bring with it in terms of an annual salary.

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I think in Prague, actually,

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because it's not an imperial seat - there was no emperor resident here -

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the theatres worked somewhat differently.

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Whereas in Vienna, the Emperor would always be looking over your shoulder

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and working out what needed to be cut, censorship etc...

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..here in Prague, actually, it was much more of a market.

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Commissions from private companies helped Mozart with his dreams

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of becoming a free artist, making his living without wealthy patrons.

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With the creative freedoms available in Prague, Mozart took

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the centuries-old legend of the seducer Don Juan and created

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a provocative work of art that would also be a crowd pleaser.

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The fee was a factor too.

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Constanze was pregnant with their second child,

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and Mozart was terrible with money.

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But how was Don Giovanni commissioned?

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There was an Italian company at the time in Prague.

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The impresario of this company was called Pasquale Bondini

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and his partner was Domenico Guardasoni.

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Guardasoni?

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These two men had put together Le Nozze De Figaro from Mozart,

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which had been extremely successful.

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So, the idea of commissioning another opera from the same composer

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was very good, I think.

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And here comes the beer.

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HE LAUGHS

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SHE SIGHS

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Look at this. Delicious.

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-To Mozart.

-To Mozart.

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-Si.

-Cheers.

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Mmmm. You know, I always say that...

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had I met Mozart, I would have loved to go drink beers with him.

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Yes, yes!

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What do we know of Signor Bassi, the very first Don Giovanni?

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Luigi Bassi...look, this shows Luigi Bassi as Don Giovanni.

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-And Luigi Bassi was 21 at the time.

-Wow! 21?

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If, today, a singer says, "I'm going to sing Don Giovanni, I'm 21."

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People will go, "You're crazy. "You should never do that. That's impossible."

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Yes, that's true, but at the time singers started singing very early.

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And in fact, we know about Luigi Bassi that he ruined his voice.

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Oh, that's why today they don't let you sing it at 21!

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HE LAUGHS

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Do we know how much Mozart was paid for this musical adventure?

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We think he was paid 100 ducats, £35,000 today.

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Well, I mean, for the best opera ever written...

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Underestimated!

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..the theatre got a good deal.

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-Yes!

-So, we are ready to try this, sausages like they were...

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At the premiere of Don Giovanni, the people in the gallery were eating

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-wurst during the performance...

-During the performance?

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Whereas the people sitting below, the posh people,

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were asking for lemonade and almond milk which were traditional,

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very fashionable treats in France and Italy.

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So they were eating and they were drinking during the performance.

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-Were they talking?

-Of course! They were probably even walking around

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during the performance.

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-Singing along?

-Singing along, why not?

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It is fantastic to imagine the interaction between

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the audience of the time, the performers and the play going on.

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It's like...there was not a sacred thing about it.

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No, absolutely, it was very alive.

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-Well...here, another sip of beer, salute!

-Yes, salute.

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Don Giovanni is not a simple, 'boy-meets-girl, they fall in love,

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'then they both die tragically' opera.

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So, bear with me while I outline the plot.

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Don Giovanni is a womanising scoundrel

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with a list of conquests so long that his manservant, Leporello,

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has a whole aria about it.

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Giovanni kills the Commendatore, an old soldier and the father

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of one of his female victims.

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The serial seducer's fate is sealed when he drunkenly invites

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the Commendatore's memorial statue to supper.

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Bad idea! The statue shows up and Don Giovanni is sent to hell.

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Mozart was an incredibly original composer.

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I think part of his genius is that he had a direct line

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between the human soul and then his work of art.

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He was able to translate the soul of his characters into music.

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He gave soul to Don Giovanni, to his opera Don Giovanni,

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but the words of his characters come from librettist

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Lorenzo Da Ponte, with whom he collaborated in another two

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masterpieces, Cosi Fan Tutte and The Marriage Of Figaro.

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By the way, Lorenzo Da Ponte was quite a colourful character.

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Da Ponte wrote the libretto, the text,

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for Don Giovanni in Vienna, with his hostesses'

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16-year-old daughter as his muse.

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"If only I could think of her as just a daughter," he wrote.

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He was something of a libertine, as Don Giovanni is.

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This philosophy was growing popular at the time,

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physical pleasures mattered most.

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Morality and public opinion be damned!

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Da Ponte's womanising even had him exiled from Venice,

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not 18th century Europe's most conservative city.

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But Joseph II gave him an official position in Vienna,

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where he met Mozart.

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In 1787, the two men embarked on their biggest challenge yet,

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Don Giovanni, which they polished here in Prague.

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They probably worked together until the very last minute on the libretto

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and the score in this room.

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It's fantastic, how these two were inspired by each other, no?

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I mean, Mozart, it was so important for him to find a good librettist.

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He, in all his letters, he's asking, he's searching for a good librettist

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and meeting Da Ponte was like a gift from heaven for him.

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Look. The Theatre of Prague...

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READS ITALIAN

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1,800.

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..1787

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Wow.

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This is a reproduction of the libretto of Don Giovanni.

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It is a beautiful document, isn't it?

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So, the audience got this when they were in the theatre.

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Yes, something very similar to this and...

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-And they would following too, the...

-They were able to follow.

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There was light in the theatre so they could read.

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This is my line.

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HE SINGS

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Yeah, wonderful. So, the audience, the audience got one?

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The people up on the gallery bought the one for 20 crowns which was just

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a simpler version of the libretto,

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whereas they also had a very beautiful one with golden paper.

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So, I guess this one is not golden paper.

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No, not golden paper, this one.

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There was something about Da Ponte's way of writing and, of course,

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the story, the humour in it, the great timing about this humour,

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that resonates with Mozart's own humour, isn't it?

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It's like an existential humour.

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Like, when there is tragedy, there is the possibility of comedy.

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And when there is comedy, there is the possibility of tragedy.

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And that is what I perceive that exists in this libretto

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-as well as the music of Mozart.

-Yeah.

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It is said that Mozart wanted Don Giovanni to be a tragedy,

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and Da Ponte persuaded him to add some comedy.

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At least, that's the way Da Ponte tells it.

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Whoever's idea it was, Don Giovanni mixes tragedy, known as opera seria,

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with laugh-out-loud comedy opera bouffe, in a unique way.

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These colleagues of mine

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will perform our reconstruction of the finale.

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But here, they are bringing to life Mozart's genius

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elsewhere in the opera.

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As in this wonderful scene,

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where Don Giovanni makes his manservant Leporello

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impersonate him to fool the Don's jilted fiance, Donna Elvira.

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THEY SING

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You've got the tragic situation that Elvira is falling yet again

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for Don Giovanni, perhaps against her better instincts,

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but she's certainly falling for him.

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On the other hand, you've got the great comedy of impersonation.

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Leporello waving his arms literally as a result of Don Giovanni

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telling him exactly what he wants him to do, puppet style.

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You get that sense of never quite being sure as to whether you're

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going to be led towards the comedic or the tragic,

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primarily because they're both sort of balanced, as it were,

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on a knife edge.

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Ensembles where performers sing together are always a joy

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to take part in.

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But Mozart's are just magical.

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With Verdi, I have the impression that in later repertoire,

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the performers are meant to be like surfers on top of a wave.

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But here, in Mozart, you are supposed to be,

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you are asked to be part of the wave.

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It's probably right that he's one of the very first composers

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truly to master the art of having different characters

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expressing very different emotions concurrently.

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While Mozart's audience enjoyed the new freedoms the Enlightenment

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brought, they also felt new fears.

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Where was society going? Would it break down?

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After all, Don Giovanni is a nobleman, yet he pursues any woman,

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even a peasant girl, Zerlina, on her wedding day.

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Today she's also played for us by Alzbeta.

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Alzbeta, you have performed in a couple of productions as Zerlina.

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Which one do you prefer?

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SHE LAUGHS

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Well, it depends on Giovanni.

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THEY LAUGH

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So, tell us a little bit about this character.

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She is getting married. But then she saw Don Giovanni.

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Well, it's a nobleman. He asks her if she will marry him.

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So, she's very surprised and she... "Is that true? I can't believe it."

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And then she's, you know, getting closer and, and you know how...

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how it goes.

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No, I don't know!

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THEY LAUGH

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With his Don Giovanni, Mozart created a very modern character

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who raised issues we are still wrestling with today.

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Why do some women fall for scoundrels?

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Do Don Giovanni's escapades make him a free spirit to admire

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or a shameless sex addict?

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Despite his misdeeds, it's very hard not to fall for him.

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It's the seduction of all musical seductions.

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The two voices start singing the verses separately,

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then they alternate in the middle section and then the big theme.

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And they're overlapping.

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The phrases get closer and closer together.

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And then they sing together.

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You've got the sense of them being way apart, then closer, alternating,

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then intertwined and then finally singing together.

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It's a wonderful musical seduction mirroring the seduction in the plot.

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He's a nobleman, but yet he's able to interact so freely and so easily,

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just as easily with a maid or servant as with the highest nobility.

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The fact he's able to do this, is part of his character.

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He is, in a sense, a social and musical chameleon.

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While Don Giovanni is seducing Zerlina,

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Mozart is seducing the audience, was seducing the audience

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on that first night with the music he composed for this scene.

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La Ci Darem is rightly, you know, thought to be one of the truly great

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numbers in all of opera, not just in Don Giovanni.

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It's that magnetic quality that makes him

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pretty much unique as an operatic character.

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Mozart changed opera forever.

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He made the music, not the libretto, the driving force of the drama.

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He was able to translate it immediately,

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what he was feeling, the emotions.

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I think you can see it. Look at this page. It's just...

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Everything is there. It's already...

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He's listening to the orchestra, to the violins, to the...

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But also, he's listening to the soul of his character, Don Giovanni,

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and he's translating those emotions, that journey of that man,

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that wild, incredible force of nature, into music immediately.

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Everything is there.

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And he, himself, this incredible force of nature

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and genius, is giving us how that feels through music.

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And that is why it's so incredible!

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Because then we experience that force of nature

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that Don Giovanni represents and that Mozart is.

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It must have been amazing for the audience to attend that very

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first performance of Don Giovanni,

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but would their musical experience have been the same as ours?

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The instruments that played these very same notes were different

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than the ones we use today. But how? And why?

0:23:310:23:34

To make our staging of the finale as accurate as possible,

0:23:420:23:45

the music will be played by Vaclav Luks' orchestra, Collegium 1704.

0:23:450:23:49

This orchestra is a similar size to Mozart's.

0:23:510:23:54

The size of the pit and costs kept classical ones at around 30 players.

0:23:540:23:58

And these are period instruments, so this is how

0:24:000:24:03

the overture to Don Giovanni would have sounded at the premiere.

0:24:030:24:06

MUSIC PLAYS

0:24:060:24:09

Hello again. Bravo, orchestra.

0:24:120:24:15

Wonderful. This wonderful orchestra is a period orchestra.

0:24:150:24:18

What can you tell us about those instruments and your orchestra?

0:24:180:24:23

Yes. Our instruments are almost the same as at the time of Mozart.

0:24:230:24:29

I think the best way to introduce the instruments, is to speak

0:24:290:24:33

directly with the instrumentalists.

0:24:330:24:35

What you see, we don't have any valves on this instrument.

0:24:350:24:38

You lower the note by closing your hand in the bell.

0:24:380:24:42

HE PLAYS

0:24:450:24:46

At the moment, where we had it completely closed,

0:24:480:24:52

then, acoustic wise, the instrument is shorter.

0:24:520:24:55

The quality of the sound,

0:24:550:24:56

the timbre changes according to whether your hand's stopping or

0:24:560:25:00

whether you're playing an open note.

0:25:000:25:01

That's so the composers can compose knowing that,

0:25:010:25:04

whereas the modern horn, of course, it's all equalized.

0:25:040:25:07

Yes, it is. And with every change of the crook

0:25:070:25:10

we have a very strong change of character.

0:25:100:25:13

We have...

0:25:130:25:15

HE PLAYS

0:25:150:25:19

That's an E flat major.

0:25:190:25:21

If we have the same thing in B, we change the crook

0:25:210:25:25

and it's very short and it's more like a trumpet.

0:25:250:25:28

HE PLAYS

0:25:290:25:32

I have the modern violin here. This E string is a metal string.

0:25:380:25:42

SHE PLAYS

0:25:420:25:45

This is a period violin.

0:25:570:26:00

The main difference are the gut strings so you can actually get

0:26:000:26:04

really, really soft and nice sound of the violin,

0:26:040:26:08

especially on the E string but then you can also get

0:26:080:26:12

to the really nasty sound on the D and G string.

0:26:120:26:15

-Which is good for Mozart.

-Which is good for Mozart.

0:26:150:26:18

SHE PLAYS

0:26:180:26:21

Like this.

0:26:210:26:22

I'm speaking as a singer but it feels like a sound where you can

0:26:220:26:26

actually go and lean with your voice and join with your voice.

0:26:260:26:30

As with a modern instrument, it feels like a tight chord, no?

0:26:300:26:35

Where you have to be very precise and work in that line.

0:26:350:26:41

This gives you more space.

0:26:410:26:43

Probably because there is more air in the sound of the strings,

0:26:430:26:49

so you can play more with the colours.

0:26:490:26:52

So it allows you to go...

0:26:520:26:54

HE SINGS

0:26:540:26:57

Instead of...

0:26:580:27:00

HE SINGS

0:27:000:27:03

This colour, it feels more comfortable doing it

0:27:060:27:10

with a period orchestra.

0:27:100:27:12

Mozart had written most of the score for Don Giovanni in Vienna.

0:27:220:27:25

But some key sections were still only in his head

0:27:290:27:31

when the Maestro arrived in Prague.

0:27:310:27:33

It seems like Mozart was always in a rush to get his music finished.

0:27:430:27:47

When you look at some of his manuscripts,

0:27:470:27:49

particularly of the instrumental music,

0:27:490:27:51

as you leaf through them and get further towards the end,

0:27:510:27:53

you can see that he's clearly in a rush in terms

0:27:530:27:56

of the notations in the manuscript. It gets slightly less tidy.

0:27:560:27:59

There's actually a legend about the overture music

0:27:590:28:02

being given at the last moment, right?

0:28:020:28:04

Musicians in the late 18th century have to be prepared for that.

0:28:040:28:07

Very often they would have very minimal amounts of rehearsal time

0:28:070:28:10

in Prague and elsewhere.

0:28:100:28:11

The orchestra received the hand-copied overture music

0:28:130:28:16

just before curtain up.

0:28:160:28:18

Mozart admitted, several notes fell under the desks that night.

0:28:180:28:22

But I'm sure that the audience were on the edge of their seats.

0:28:240:28:27

18th century overtures were usually happy and upbeat.

0:28:270:28:31

The Maestro started darkness and tension.

0:28:310:28:34

Another musical masterwork is the scene where my character,

0:28:360:28:39

Don Ottavio and others attempt to rescue Zerlina

0:28:390:28:42

from Don Giovanni's castle.

0:28:420:28:43

At the end of first act in Don Giovanni,

0:28:450:28:48

something extraordinary happens.

0:28:480:28:50

It's a ball scene, it's something like all the things

0:28:500:28:53

that Mozart puts together, there are three orchestras.

0:28:530:28:57

Each orchestra plays a different dance,

0:28:570:28:59

they play at the same time, different rhythms.

0:28:590:29:01

What do you think of these dancers, Helena?

0:29:010:29:04

This scene is really very interesting.

0:29:040:29:06

Let's make a little workshop.

0:29:060:29:08

Maestro, count the beginning before we begin.

0:29:080:29:11

One, two, three, four, five, six.

0:29:110:29:15

The first dance is a formal minuet,

0:29:150:29:17

the favourite dance of Viennese high society.

0:29:170:29:20

One, two, three, four, five, six. One, two, three, four, five, six.

0:29:200:29:25

Thank you very much. You were great.

0:29:270:29:29

In Mozart's time, you'd have to spend at least half a year,

0:29:310:29:37

-three days in a week, learning it.

-OK, that explains everything.

0:29:370:29:42

What is the second dance that we hear in this masked ball?

0:29:430:29:49

Well, it's a country dance.

0:29:490:29:51

The country dance is the bourgeois dance, so it belongs neither to

0:29:570:30:01

Don Giovanni's class and nobility,

0:30:010:30:03

nor Zerlina's class of the peasantry.

0:30:030:30:05

They're meeting, in effect, on middle ground.

0:30:050:30:08

So we've had a dance for the nobility

0:30:080:30:10

and one for the middle class.

0:30:100:30:12

The third is a German waltz, enjoyed by the common folk.

0:30:120:30:16

And we turn around and I still hold your hands,

0:30:170:30:20

then we make this window.

0:30:200:30:22

Then I can turn you around. Then you turn me round, you know?

0:30:220:30:26

And we play with that all the time.

0:30:260:30:30

And now, after having rehearsed for about 25 seconds, something that

0:30:300:30:33

needs six weeks of rehearsals, we're ready to present to you

0:30:330:30:36

the last ball scene of the end of the first act of Don Giovanni.

0:30:360:30:39

We have the three orchestras, we have the performers,

0:30:390:30:42

we have the dancers. We even have a musicologist. Here we go!

0:30:420:30:46

MUSIC PLAYS

0:30:460:30:50

As a piece of counterpoint, weaving different melodies together,

0:30:560:31:00

this is absolutely magnificent.

0:31:000:31:02

Mozart enjoyed going to balls in Vienna,

0:31:020:31:05

so he must have loved creating this wonderful, organised chaos.

0:31:050:31:09

The late 18th century was a turbulent but also exciting age.

0:31:310:31:35

Revolution was in the air! Now, Mozart was not a political radical,

0:31:350:31:40

but he did have had a mischievous and subversive streak,

0:31:400:31:43

and, for me, this is very clear in Don Giovanni.

0:31:430:31:46

One of my favourite moments in this opera happens

0:31:460:31:49

right before the dances we just performed and it's

0:31:490:31:51

when Don Giovanni comes and makes everybody sing Viva La Liberta.

0:31:510:31:55

Let's sing it.

0:31:550:31:57

# Viva, viva la liberta!

0:31:570:32:02

# Viva la liberta!

0:32:020:32:05

# Viva la liberta!

0:32:050:32:07

# La liberta! #

0:32:070:32:10

It's a fantastic, fantastic moment

0:32:110:32:14

and it's more than just good composition, right?

0:32:140:32:18

It's fantastic, but yet it's also unsettling, fundamentally,

0:32:180:32:21

and I think was designed absolutely to be that way.

0:32:210:32:24

What does it mean, Viva La Liberta?

0:32:240:32:26

Is it liberty? Is it licentiousness? Or is it political liberty?

0:32:260:32:30

With the French Revolution just around the corner on the horizon,

0:32:300:32:33

you know, there would have been sort of uncertainties.

0:32:330:32:36

This is kind of potentially the dark side of the Enlightenment.

0:32:360:32:39

And Don Giovanni is a threat, he's a threat to society.

0:32:390:32:41

He brings people together from different classes, chaotically.

0:32:410:32:44

He gets everybody to sing.

0:32:440:32:46

After all, everybody is part of this Viva La Liberta.

0:32:460:32:48

He manages to convince everybody to do it. I mean, it's wonderful!

0:32:480:32:52

It's been short, but very intense hard work

0:32:520:32:54

and hopefully, we are ready.

0:32:540:32:56

And just like Don Giovanni brings everybody together to scream,

0:32:560:33:00

"Viva La Liberta" I think that Mozart has brought us together

0:33:000:33:03

to scream a big "Viva!" to him.

0:33:030:33:06

ALL: Viva, Mozart!

0:33:060:33:08

Viva La Liberta was cut from the later staging

0:33:110:33:14

of Don Giovanni in Vienna.

0:33:140:33:16

Perhaps Emperor Joseph II's liberalism had its limits.

0:33:160:33:20

Mozart had arrived in Prague in early October

0:33:210:33:24

with only a few weeks to prepare for the premiere.

0:33:240:33:27

But things did not go smoothly.

0:33:270:33:29

The first performance, on the 14th October, was postponed.

0:33:320:33:36

"If you think my opera is over by now,"

0:33:360:33:38

he wrote to a friend, "you are a little mistaken."

0:33:380:33:42

The set was not ready.

0:33:420:33:44

"The stage personnel are not as smart here as in Vienna," Mozart complained.

0:33:440:33:48

At least he now had another ten days to finish the score.

0:33:480:33:52

Whoa, look at this city! It's just spectacular.

0:33:550:33:58

And it's not hard to imagine the Prague that Mozart knew

0:33:580:34:01

back in 1787, the Prague where Mozart was walking

0:34:010:34:06

with the last bits of Don Giovanni still being born in his head.

0:34:060:34:10

He must have been quite inspired by the beauty and mystery

0:34:100:34:14

of this extraordinary city, especially inspired to compose

0:34:140:34:18

that last scene where Don Giovanni is being dragged into hell.

0:34:180:34:23

During the second act, Don Giovanni went to the graveyard

0:34:230:34:27

where the man he killed, Il Commendatore, has a statue.

0:34:270:34:30

And he invites this statue to come for dinner.

0:34:300:34:34

As we are about to see, that was a bad mistake.

0:34:340:34:36

Mozart's finale is a work of genius

0:34:400:34:42

and we want to recreate it with all the drama and excitement

0:34:420:34:45

of the first night.

0:34:450:34:47

We've explored the background to Don Giovanni

0:34:470:34:50

and how it would have sounded.

0:34:500:34:52

But what would it have looked like?

0:34:520:34:53

This is Barrandov Studios. It's one of the biggest film studios

0:34:550:34:58

in Europe, just outside of Prague, and it's right here

0:34:580:35:01

where we are going to reproduce

0:35:010:35:04

Don Giovanni's defiant descent into hell.

0:35:040:35:07

It's my first visit here. I cannot wait, so let's go!

0:35:070:35:10

Ta-ta-ta-ta!

0:35:190:35:21

Here we go back in time, 1787.

0:35:210:35:25

The stage.

0:35:250:35:27

Whoa! Fantastic.

0:35:350:35:38

Wow!

0:35:380:35:39

And it's right here it will all happen once again.

0:35:430:35:48

MUSIC PLAYS

0:35:490:35:51

From offstage, this set creates an extraordinary illusion

0:36:170:36:20

of Don Giovanni's dining room.

0:36:200:36:22

This set has been painted by hand from 18th century designs,

0:36:230:36:27

as Mozart's was.

0:36:270:36:29

-Hello.

-Hello.

-How are you?

-How are you?

0:36:320:36:36

Very nice to meet you, Jiri. And Jiri.

0:36:360:36:39

Well, first of all, thank you very much and congratulations.

0:36:390:36:44

It's such a beautiful work.

0:36:440:36:46

How much do we know about the set designer

0:36:460:36:48

and his relationship with Mozart?

0:36:480:36:51

Well, we know that the decorations were painted by Josef Platzer.

0:36:510:36:56

-Mmm-hmm.

-He was quite famous later. This work for Prague

0:36:560:36:59

was his first major work.

0:36:590:37:01

He became famous because of this.

0:37:010:37:05

-And then he was invited to Vienna.

-So, the artist!

0:37:050:37:10

You painted... How long does it take to paint?

0:37:100:37:13

HE SPEAKS CZECH

0:37:130:37:15

HE TRANSLATES: It was very quick, so they did it in ten days.

0:37:190:37:23

-Wow.

-Mmm.

-In ten days, the whole thing?

-Yeah.

0:37:230:37:27

THEY LAUGH

0:37:270:37:28

What I find so amazing, so magical,

0:37:290:37:32

is that when you are standing there,

0:37:320:37:35

you see this and you feel there is a whole world, no?

0:37:350:37:39

Perspective is everything for this set.

0:37:390:37:41

How do you achieve the right balance?

0:37:410:37:45

HE SPEAKS CZECH

0:37:450:37:46

HE TRANSLATES: It's really hi tech.

0:38:010:38:04

You need a rope and a nail!

0:38:040:38:05

THEY LAUGH

0:38:050:38:07

And you have to find the right vanishing point.

0:38:070:38:11

So is this the set that they had for the premiere of Don Giovanni?

0:38:110:38:15

We can just guess from this information we have,

0:38:150:38:19

but I think it's very probable that it was like this.

0:38:190:38:23

-Very close to this.

-Yeah, very close to this, yeah.

0:38:230:38:25

Now there's one last, vital cast member to meet.

0:38:270:38:31

And more to learn about performing in 1787.

0:38:310:38:35

Lots of things were different in those days

0:38:350:38:38

than the way we do theatre today.

0:38:380:38:40

And I am sure that gestures of performers were also very different

0:38:400:38:45

than the ones I use when I'm on stage.

0:38:450:38:48

You throw with this hand the gesture here.

0:38:500:38:53

With this hand you can throw the gesture here.

0:38:530:38:58

Then you get them back...

0:38:580:38:59

Professor Helena Kazarova is showing us what Mozart's audience

0:38:590:39:03

would have expected to see.

0:39:030:39:05

..you reject something.

0:39:050:39:07

And here is our Commendatore, whose statue comes to supper.

0:39:070:39:11

He will be singing our Commendatore.

0:39:110:39:14

And actually, we performed together Don Giovanni in Berlin.

0:39:140:39:19

-But in a quite modern production.

-Sure.

0:39:190:39:22

Where, you know, that's the big difference.

0:39:220:39:24

Actually today, we performers are told many times during rehearsals

0:39:240:39:29

in the modern productions, "Don't move your hands!

0:39:290:39:33

"Don't be exaggerated! Don't play as if it was opera!"

0:39:330:39:36

Which is funny, we're like, "Uh, it's opera!"

0:39:360:39:40

-You could put his hand like this.

-Mmm-hmm.

-You lose your composure.

0:39:400:39:44

Also in your body. Because here you were very proud,

0:39:440:39:47

and he's squeezing you to kneel.

0:39:470:39:49

-Ahh!

-And you push him to the ground. You push him.

0:39:530:39:55

You try to get up.

0:39:580:39:59

Not everyone in Mozart's audience understood Italian

0:40:010:40:03

and there were no translations to help them along.

0:40:030:40:06

So the language of gestures acted as a kind of subtitle

0:40:060:40:10

to explain the action.

0:40:100:40:11

It was very good. You feel it?

0:40:130:40:15

Haaaaaah!

0:40:170:40:19

By modern standards, some of these gestures are a little over the top.

0:40:190:40:23

But to Mozart's audience, they spoke volumes.

0:40:240:40:27

From the time, we have tens of books on gesture.

0:40:280:40:32

-Let's take love...

-But opera is never about love!

0:40:320:40:35

-Oh, you don't mean that! Seriously?!

-Opera is all about love!

0:40:350:40:38

And death. OK, so, expressing love?

0:40:380:40:41

Yes. So the first thing, you would stand in a position.

0:40:410:40:45

For instance, if the lady would be before you, on your right-hand side,

0:40:450:40:50

which is the right side, you would have your weight

0:40:500:40:54

on the foot which is near to her, you would look at her.

0:40:540:40:58

Then you would make the gesture towards her.

0:40:590:41:03

And maybe at the same time to your heart, with the elbow from.

0:41:030:41:07

-And say, "I love you."

-I love you.

-"I love you."

0:41:070:41:12

-Ah,

-OK. Yeah? The succession of hands.

-You love me.

0:41:120:41:17

Ah, no, that's the tenor speaking!

0:41:170:41:19

-"I love you." Yes.

-That's how it would be.

0:41:190:41:23

HE SINGS IN ITALIAN

0:41:240:41:27

Excellent!

0:41:270:41:28

A vital part of Mozart's spectacle on stage were the costumes

0:41:340:41:37

his characters wore.

0:41:370:41:39

So, I'm looking forward to seeing what we will be using.

0:41:390:41:43

Every time I do a new production and I go to the theatre,

0:41:430:41:47

this is one of my favourite places. Look at that. Fantastic!

0:41:470:41:51

You can try a hat. Cyrano De Bergerac!

0:41:510:41:54

The gesture that goes with this one is this... Madame.

0:41:540:41:58

Yes. Very elegant!

0:42:000:42:02

HE LAUGHS

0:42:020:42:04

Don Giovanni could have been wearing something like this!

0:42:070:42:12

The fact that these materials are so shiny means that they would reflect

0:42:120:42:18

-the light of the candle.

-That is Don Giovanni.

-Yes.

0:42:180:42:22

Now, Leporello, I'm sure, has not so elegant a costume.

0:42:220:42:26

Leporello is his servant. Let's see them both together.

0:42:260:42:29

Of course it makes a difference.

0:42:290:42:32

# Don Giovanni! #

0:42:340:42:37

And... # Leporello! #

0:42:370:42:39

HE LAUGHS

0:42:390:42:40

Now, probably the most complicated character we had to deal with

0:42:410:42:48

was the Commendatore.

0:42:480:42:49

The libretto tells us that he's the White Man, the man made of stone.

0:42:490:42:54

-Mmm-hmm.

-So we are going to go with this.

-Ah.

0:42:540:42:58

Nice. Well, I hope he's not naked!

0:43:000:43:04

We're actually still looking for something for him!

0:43:040:43:07

-So we will have to use some sort of paste.

-Mmm.

-Now, these pastes

0:43:090:43:13

were usually made with ingredients

0:43:130:43:17

that might have included lead and mercury.

0:43:170:43:20

Oh, pretty dangerous.

0:43:200:43:22

-So they were extremely dangerous, extremely poisonous.

-Mmm.

0:43:220:43:26

And we know of people who have, you know, ruined their skin for ever.

0:43:260:43:31

And we even know of people who died.

0:43:310:43:34

-This is what we're thinking about for...

-For Donna Elvira?

0:43:340:43:38

..for our Donna Elvira. Women didn't have the luxury

0:43:380:43:43

-of not wearing a corset.

-Mmm.

-These instruments of torture...

0:43:430:43:47

HE LAUGHS

0:43:470:43:49

..were meant to shape the breast,

0:43:490:43:52

the back and the waist of female singers.

0:43:520:43:56

It was made of linen, usually,

0:43:560:43:59

-but inside there was either whalebone or metal.

-Mmm.

0:43:590:44:04

So that we know that some women were actually bruised

0:44:040:44:06

-by the use of corsets.

-Let me try one.

0:44:060:44:11

Just to see how tremendous this torture actually is.

0:44:110:44:16

For once, it's the man who will suffer it. So, is it like this?

0:44:160:44:20

-Well, no. This is the back.

-Oh, God.

-Yes.

0:44:200:44:23

All those Czech beers are not going to help, I think!

0:44:230:44:26

SHE LAUGHS

0:44:260:44:27

Oh, no! It's not working! It's not working!

0:44:270:44:30

HE GROANS

0:44:320:44:34

It's nearly time now. Our own premiere is taking place tomorrow.

0:44:360:44:40

In the finale of Mozart's masterpiece, the supernatural figure

0:44:450:44:48

of the Commendatore - the soldier Don Giovanni killed -

0:44:480:44:52

comes to his castle to make the libertine

0:44:520:44:54

pay the ultimate price for his crimes.

0:44:540:44:57

Mozart wanted this scene to terrify his audience.

0:44:590:45:02

So how did they create a suitably scary atmosphere?

0:45:030:45:07

18th century, obviously, no electricity. How did it look?

0:45:090:45:12

Most of this light was on the stage, inside the scenery.

0:45:130:45:17

The low intensity and this diffusion made a very different feeling

0:45:170:45:23

or impression, very different from what we know today.

0:45:230:45:27

-Mmm. Kind of dreamy like.

-Yes.

-Lots of shadows.

-Yes.

0:45:270:45:30

Do we know that this is more or less the exact shape

0:45:300:45:34

of the kind of lights that were in that premiere?

0:45:340:45:37

We know some details from theatres which are preserved

0:45:370:45:42

from 18th century, and this kind of lamp was quite usual,

0:45:420:45:46

not only in the theatres, but also elsewhere from 17th century on.

0:45:460:45:51

The light needs to give us a sense of spooky ambience, no?

0:45:520:45:57

Yes, the emperor in Vienna was unsure about whether, you know,

0:45:570:46:01

the court would like this piece.

0:46:010:46:03

I think in the public theatre it allowed Mozart to experiment

0:46:030:46:07

by mixing effects, mixing smoke,

0:46:070:46:11

mixing flame, drums, music, et cetera, et cetera,

0:46:110:46:14

all the things that we get as Don Giovanni goes into hell.

0:46:140:46:16

It's one of the first multi-media scenes,

0:46:160:46:19

when we see a horror movie or something,

0:46:190:46:22

we know it's not for real, and yet we can be...

0:46:220:46:25

we can enjoy the terror that we get.

0:46:250:46:27

-And I think Mozart does that...

-Mmm.

-..in that scene at the end.

0:46:270:46:31

We have built a trap door for Don Giovanni to go down to hell,

0:46:360:46:40

just as it would have worked on that October evening.

0:46:400:46:43

And here we are, next to our trap.

0:46:430:46:46

This is of interest for Don Giovanni,

0:46:460:46:48

because this is on the left-hand side of the stage.

0:46:480:46:52

It is sinister.

0:46:520:46:53

"Sinister" - the left hand. "Dextrous" - the right hand.

0:46:530:46:57

-Oh, from Latin.

-So this is the left-hand side. You want to try it?

0:46:570:47:01

-Yeah, is it ready?

-It is. OK.

-Let's have a ride to hell!

0:47:010:47:06

Ahhhh!

0:47:080:47:10

And this is where Don Giovanni will end his days!

0:47:140:47:18

HE LAUGHS EVILLY

0:47:180:47:20

It's...sinister.

0:47:200:47:22

OK, take me out of here!

0:47:240:47:25

During a performance, Don Giovanni's doom is no laughing matter.

0:47:330:47:37

How did they recreate the flames of hell?

0:47:370:47:39

What they used to do was to get an oil burner

0:47:410:47:45

and put brandy in it, because in the 18th century,

0:47:450:47:48

burning brandy was the hottest flame that they could achieve.

0:47:480:47:51

And literally, phhh, blow powder called lycopodium

0:47:510:47:56

across the top of the flame and it exploded in a fireball.

0:47:560:47:59

And of course that was a reason why so many theatres burnt down.

0:47:590:48:03

The atmosphere was so dry, the scenery was canvas,

0:48:030:48:07

you open a door to try and get out, to escape, and, of course,

0:48:070:48:11

you sucked air in and the theatre became a fireball.

0:48:110:48:14

So pretty dangerous stuff.

0:48:140:48:16

-OK.

-We've got the flaming bowls of brandy, we've got compressed air

0:48:160:48:20

-and we've got lycopodium. And let's go!

-Wow!

0:48:200:48:24

Great, isn't it?!

0:48:260:48:28

EXPLOSIVE CRASH

0:48:280:48:29

It's far too dangerous for us to do that.

0:48:290:48:32

But many of the pyrotechnicians were actually military men

0:48:320:48:36

and they used rockets, they used... imagine taking a rocket,

0:48:360:48:40

cutting off the stick and just allowing the flame

0:48:400:48:44

to go up in the air. Which, luckily for us, is very similar

0:48:440:48:48

to the kind of much safer effect that modern pyrotechnicians

0:48:480:48:53

can use in the theatre.

0:48:530:48:55

HE LAUGHS

0:48:550:48:58

It's great! Whoa!

0:48:580:48:59

Everything is ready for our finale. We have shortened it a little,

0:49:060:49:09

but otherwise it is as Mozart's audience

0:49:090:49:11

would have seen and heard it.

0:49:110:49:13

The props are in place, the gestures rehearsed,

0:49:140:49:18

the period instruments tuned, the stage is dressed,

0:49:180:49:23

the candles are lit and the pyrotechnics primed.

0:49:230:49:27

I'm so happy everything is going smoothly here.

0:49:280:49:31

# Don Giovanni! #

0:49:310:49:33

Hello!

0:49:350:49:36

Poor Mozart's premiere was delayed again when a singer fell ill.

0:49:380:49:42

The maestro's frustrations poured out in a letter.

0:49:420:49:46

"Everything dawdles along here because the singers are lazy."

0:49:460:49:50

At least he had another five days to put off writing his overture.

0:49:500:49:54

And finally, here we go.

0:49:580:50:00

Stand by everybody, switch the studio lights off.

0:50:000:50:04

Don Giovanni is dining, attended by Leperello,

0:50:040:50:06

when his jilted fiance Donna Elvira bursts in.

0:50:060:50:10

From there, we're going to jump forward to a brilliant example

0:50:100:50:13

of Mozart's genius for ensembles.

0:50:130:50:16

MUSIC PLAYS

0:50:180:50:20

THEY SING IN ITALIAN

0:50:200:50:22

The strings here have a very spacious sound.

0:51:110:51:14

Don Giovanni's gestures clearly show his defiance.

0:54:010:54:04

Da Ponte mixes the comic and tragic brilliantly.

0:54:250:54:27

CHEERING AND APPLAUSE

0:57:090:57:12

I am very moved. It was more than what I expected.

0:57:220:57:26

We don't do theatre like this any more.

0:57:260:57:28

To have the chance to reproduce it exactly like that was very special

0:57:280:57:32

for me as a performer.

0:57:320:57:34

This journey has shown me

0:57:340:57:36

that Mozart cared more about the here and now than posterity.

0:57:360:57:40

Don Giovanni's all about the immediate experience

0:57:400:57:42

the maestro could give his audience.

0:57:420:57:45

During this wonderful musical adventure,

0:57:450:57:48

I have felt that I have been working

0:57:480:57:50

next to the ever-joyous spirit of Mozart.

0:57:500:57:53

Viva, Mozart. Viva, Don Giovanni!

0:57:530:57:55

And one, two, three... cheese! Tequila!

0:57:560:57:59

HE SINGS

0:58:030:58:06

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