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02965nma a2200541 u 4500 |
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220822 ||| eng |
| 020 |
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|a 9781000510539
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|a 9780429281709
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|a 9780367243203
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|a 9781032158334
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|a Schneider, Magnus Tessing
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|a The Original Portrayal of Mozart's Don Giovanni
|h Elektronische Ressource
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| 260 |
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|b Taylor & Francis
|c 2022
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| 300 |
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|a 1 electronic resource (260 p.)
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| 653 |
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|a Theatre and Performance Studies
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| 653 |
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|a dramatury
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| 653 |
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|a Da Ponte
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|a morality
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| 653 |
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|a Luigi Bassi
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| 653 |
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|a stage production
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| 653 |
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|a translation
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| 653 |
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|a Ashgate Interdisciplinary Studies in Opera
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| 653 |
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|a Music / bicssc
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| 653 |
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|a Opera Studies
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| 653 |
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|a Magnus Tessing Schneider
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| 653 |
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|a German reception
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| 653 |
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|a Wolfgang Amadeus Mozart
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| 653 |
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|a Music History
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| 653 |
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|a adaptation
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| 653 |
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|a criticism
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| 653 |
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|a enlightenment
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| 653 |
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|a performance history
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| 653 |
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|a Mozart's Don Giovanni
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| 041 |
0 |
7 |
|a eng
|2 ISO 639-2
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| 989 |
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|b DOAB
|a Directory of Open Access Books
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| 490 |
0 |
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|a Ashgate Interdisciplinary Studies in Opera
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| 500 |
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|a Creative Commons (cc), https://creativecommons.org/licenses/by-nc-nd/4.0/
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| 028 |
5 |
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|a 10.4324/9780429281709
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| 856 |
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|u https://library.oapen.org/bitstream/20.500.12657/51420/1/9781000510539.pdf
|7 0
|x Verlag
|3 Volltext
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| 856 |
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|u https://directory.doabooks.org/handle/20.500.12854/72774
|z DOAB: description of the publication
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|a 900
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|a 700
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|a 780
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|a The Original Portrayal of Mozart's Don Giovanni offers an original reading of Mozart's and Da Ponte's opera Don Giovanni, using as a lens the portrayal of the title role by its creator, the baritone Luigi Bassi (1766-1825). Although Bassi was coached in the role by the composer himself, his portrayal has never been studied in depth before, and this book presents a large number of new sources (first- and second-hand accounts), which allows us to reconstruct his performance scene by scene. The book confronts Bassi's portrayal with a study of the opera's early German reception and performance history, demonstrating how Don Giovanni as we know it today was not only created by Mozart, Da Ponte and Luigi Bassi but also by the early German adapters, translators, critics and performers who turned the title character into the arrogant and violent villain we still encounter in most of today's stage productions. Incorporating discussion of dramaturgical thinking of the late Enlightenment and the difficult moral problems that the opera raises, this is an important study for scholars and researchers from opera studies, theatre and performance studies, music history as well as conductors, directors and singers.
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