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Editor Since 7-Oct-2004, with 11970 edits 用戶名號: Yuyu 用戶編號: 11573 暱稱:JéRRy ~ 雨雨 名: Jeromy-Yu Maximilian 所在地：香港 各大分頁 用戶主頁 浮誇舊頁 討論頁面 片言隻語 作品展廊 攝影展版 工作區間 歷程簡表 巴別亂崗 雨樂事務所 新鮮出爐 私人網誌 更新 - 編輯

  关于本歌劇主角背後的傳說，請見「唐璜」。

莫扎特歌剧作品
第一誡的義務（1767年） 阿波罗与雅辛托斯（1767年） 巴斯蒂安与巴斯蒂妮（1768年） 善意的謊言（1768年） 本都王米特里達梯（1770年） 阿斯卡尼俄斯在阿尔巴（1771年） 西庇阿之梦（1772年） 卢基乌斯·苏拉（1772年） 假扮園丁的姑娘（1774年） 牧羊王（1775年） 埃及王塔莫斯（1779年） 賽蒂（1780年） 依多美尼歐（1781年） 后宫诱逃（1782年） 开罗之鹅（1784年） 失望的新郎（1784年） 剧院经理（1786年） 费加罗的婚禮（1786年） 唐·喬望尼（1787年） 女人皆如此（1790年） 魔笛（1791年） 狄托的仁慈（1791年）

《唐·喬望尼》（義大利語：Don Giovanni；全名《浪子終受罰，或唐·喬望尼》，Il dissoluto punito, ossia il Don Giovanni，作品號K.527；又譯喬望尼先生），是一部由著名作曲家沃尔夫冈·阿马多伊斯·莫扎特譜曲，洛伦佐·达·彭特作詞的二幕義大利語歌劇，首演於1787年10月29日的布拉格城邦劇院，由莫札特本人親自指揮。

《唐·喬望尼》雖然和很多其他歌劇一樣，以唐璜為主要人物，但這個版本被普遍認為是在眾多版本中最為出類拔萃的。而达·彭特為歌劇準備的劇本，把該劇歸類為｢詼諧戲劇(dramma giocoso)｣，而莫札特自己則把該劇收入｢喜歌劇(Opera buffa)｣的分類下。雖然常常被歸類為喜劇，但是實際上該劇融合了喜劇、悲劇甚至超自然事件的元素。

丹麥哲學家索倫·奧貝·克爾凱郭爾在《非此即彼(Enten-Eller)》裡的一篇長篇論文中，引用夏尔·古诺的說話，指出《唐·喬望尼》是一套｢沒有瑕疵，毫無間斷的完美(作品)｣。該劇的終曲，當中唐·喬望尼拒絕悔改，引起了成為不少作家筆下的哲學性和藝術性主題，當中包括蕭伯納在《人與超人(Man and Superman)》當中反諷地模仿這一幕，還詳細地列出最後這一幕的樂譜。

1979年，約瑟夫·羅西 (Joseph Losey)，曾將整套歌劇搬上大螢幕。著名的唐·喬望尼扮演者包括男低音艾齐欧·平扎 (Ezio Pinza)、西萨·西艾皮 (Cesare Siepi)、諾曼·特雷哥(Norman Treigle)以及男中音迪特里希·费雪尔-迪斯考、托馬斯·漢普遜和托馬士·阿倫等等。

根據美國歌劇協會的數據顯示，現時《唐·喬望尼》在北美地區上演的頻率，名列第七。

創作歷程和首演

自1787年6月劇本完成後，莫札特便開始開始譜曲，直至同年10月28日完成。而在莫札特作曲的同時便開始彩排，作詞和作曲同時在場，以便即場作出修改，但首演也因此延遲。一般相信，莫札特最後才完成序曲的創作，傳抄人員在首演前一刻才完成抄寫，譜上墨水才剛剛乾，就拿去給樂團，即場試讀演奏。

整套歌劇，以全名「Il Dissoluto Punito ossia il Don Giovanni Dramma giocoso in due atti」於1787年10月29日在布拉格首演，一如既往，反應狂熱。《布拉格邸報 (Prager Oberamtszeitung)》報導中指出：「音樂行家和演奏家都說，布拉格從未聽過這樣的(音樂)」，還指出｢這套歌劇……表演難度極高。｣維也納《省內新聞報(Provincialnachrichten)》指出：｢莫札特先生親自指揮，並獲得來自各個階層愉悅地歡迎。｣

1788年5月7日的維也納首演，莫札特也是親自督陣。為了這次首演，莫札特分別為兩位獨唱家，增寫了兩首詠嘆調和其相關的宣敘調：第一首為扮演唐·奧塔維奧的男高音范切斯科·莫瑞拉(Francesco Morella)，寫於4月24日「我的快樂建築在她的安好之上(Dalla sua pace)」 (作品號 K. 540a)；另一首則是4月30日落筆，為扮演艾維拉的女高音卡塔里娜·卡拉利耶里(Catarina Cavalieri)的｢多深的罪孽……這個壞人背叛了我(In quali eccessi … Mi tradì quell'alma ingrata)｣ (作品號 K.540c) ；另外在4月28日，還增寫了利波雷洛和澤林娜的二重唱｢妳這對纖纖小玉手 (Per queste tue manine)｣ (作品號 K.540b)。

演出安排

莫札特的原譜中要求，宣敘調中使用的木管、圓號、小號、定音鼓和低音羽管鍵琴都是一般配置的雙倍，而弦樂部則保持一般配置。同時，莫札特在不少地方要求一些特別音效，如在第一幕尾的舞會場景，莫札特就要求三支樂隊同時在台上演奏不同的舞曲，而不同主角則於此時在台上跳不同的舞蹈。而在第二幕，觀眾將看到唐·喬望尼在台上演奏曼陀林(mandolin)，弦樂部則以撥奏(pizzicato)加以伴奏。而該幕稍後部分，騎士長的石像首次發話之時，莫札特另加三支長號，增加氣勢。

演出安排

莫札特的原譜中要求，宣敘調中使用的木管、圓號、小號、定音鼓和低音羽管鍵琴都是一般配置的雙倍，而弦樂部則保持一般配置。同時，莫札特在不少地方要求一些特別音效，如在第一幕尾的舞會場景，莫札特就要求三支樂隊同時在台上演奏不同的舞曲，而不同主角則於此時在台上跳不同的舞蹈。而在第二幕，觀眾將看到唐·喬望尼在台上演奏曼陀林（mandolin），弦樂部則以撥奏（pizzicato）加以伴奏。而該幕稍後部分，騎士長的石像首次發話之時，莫札特另加三支長號，增加氣勢。

而直至20世紀中葉，該劇的終曲都會在演出中刪去，而且在1788年供維也納首演的辭本。但今時今日，終曲總會足本上演。

而另一個現代處理，就是要求扮演唐·奧塔維奧的男高音，都要演唱「我的寶貝(Il mio tesoro)」和「我的快樂建築在她的安好之上」兩首詠嘆調，但事實上莫札特因當時歌手能力問題，在維也納首演以後者取代前者，以降低難度。以另一方面，「妳這對纖纖小玉手」在現代的製作往往會被忽略。

角色

角色	音域	世界首演 - 1787年10月29日 (莫札特指揮)	維也納首演 -1788年[5月7日]] (莫札特指揮)
唐·喬望尼 (Don Giovanni)，極度放蕩的年輕貴族	男中音或男中低音	巴斯(Luigi Bassi)	阿伯塔雷利 (Francesco Albertarelli)
騎士長唐佩德洛 (Il Commendatore, Don Pedro)	男中音	羅利(Giuseppe Lolli)	布山尼(Francesco Busani)
Donna Anna, his daughter, betrothed to Don Ottavio	soprano	Teresa Saporiti	Aloysia Weber
Don Ottavio	tenor	Antonio Baglioni	Francesco Morella
Donna Elvira, a lady of Burgos abandoned by Don Giovanni	soprano or mezzo-soprano	Katherina Micelli	Caterina Cavalieri
Leporello, Don Giovanni's servant	bass or bass-baritone	Felice Ponziani	Francesco Benucci
Masetto, a peasant	baritone or bass	Giuseppe Lolli	Francesco Busani
Zerlina, Masetto's Fiancee	soprano	Caterina Bondini	Luisa Mombelli
Chorus: peasants, servants, young ladies, musicians

Cavalieri (Donna Elvira) had been the first Konstanze in Die Entführung aus dem Serail; Benucci (Leporello) the first Figaro in Le nozze di Figaro, and Weber, Mozart's sister-in-law, frequently sang in his works.

Synopsis

Don Giovanni, a young nobleman, after a life of amorous conquests, meets defeat in three encounters. The first is with Donna Elvira, whom he has deserted but who still follows him. The second is with Donna Anna, who must postpone her marriage to Don Ottavio after Don Giovanni tries to rape her and kills her father, the Commendatore, while escaping afterwards. The third is with Zerlina, whom he vainly tries to lure from her fiancé, the peasant Masetto. All vow vengeance on Don Giovanni and his harassed servant Leporello. Elvira alone weakens in her resolution and attempts reconciliation in the hope that Giovanni will reform. Don Giovanni's destruction and deliverance to hell are effected by the cemetery statue of the Commendatore, who had accepted the libertine's invitation to supper.

Act 1

The garden of the Commendatore

Leporello is keeping watch outside Donna Anna's house. Don Giovanni, Leporello's master, has crept into the house in order to seduce Donna Anna. (Leporello aria: "Notte e giorno faticar — I work night and day"). Donna Anna appears, chasing a masked Giovanni. She wishes to know who he is and she cries for help. (Trio: "Non sperar, se non m'uccidi — You shan't flee, unless you kill me"). The Commendatore, Anna's father, appears and challenges Giovanni to a duel while Donna Anna flees for help. Giovanni stabs the Commendatore, kills him, and escapes unrecognized. Anna, upon returning with her fiancé, Don Ottavio, is horrified, and Don Ottavio swears to avenge his betrothed's father. (Duet: "Fuggi, crudele fuggi — Flee, cruel one, flee").

A public square outside Don Giovanni's palace

Giovanni and Leporello arrive and hear a woman (Donna Elvira) speaking of having been recently spurned and calling for revenge (Elvira aria: "Ah, chi mi dice mai — Ah, who could tell me"). Giovanni starts to flirt with her, but as she turns to look at him, recognizes her as a recent conquest. At this, he shoves Leporello forward, ordering him to tell Elvira the truth, and then hurries away.

Leporello endeavours to console Elvira and unrolls a list of Don Giovanni's lovers. Comically, he rattles off their number and their country of origin: 640 in Italy, 231 in Germany, 100 in France, 91 in Turkey, and 1,003 in Spain. (Leporello aria: "Madamina, il catalogo è questo — My little lady, this is the catalogue"). In a frequently-cut recitative, Elvira vows vengeance.

When she leaves, a marriage procession with Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Giovanni immediately is attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realizing that Giovanni means to remain behind with Zerlina, Masetto becomes angry (Masetto aria: "Ho capito! Signor, sì — I understand! Yes, dear sir"). 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").

Elvira arrives and thwarts the seduction (Elvira aria: "Ah, fuggi il traditor — Flee from the traitor!"), followed shortly by Ottavio and Anna who are plotting vengeance on the still unknown murderer of Anna's father, when they run into Giovanni. Anna, unaware that she is speaking to her attacker, pleads for his help. Giovanni readily promises it, and asks —with great concern— what cruel man would dare to disturb her peace; obviously, he still sees a chance with Anna. But Don Giovanni is out of luck again: Elvira returns and announces Giovanni's recent betrayal of her. Giovanni answers her reproaches by declaring to Ottavio and Anna that Elvira is insane. (Quartet: "Non ti fidar, o misera — Don't trust him, oh sad one"). With Giovanni's departing oath to help find the Commendatore's murderer, Anna suddenly recognizes Giovanni as her seducer and also his murderer. (Anna aria: "Or sai chi l'onore — He is the one who robbed me of my honour"). Ottavio, not convinced, determines to keep an eye on his friend. (Ottavio aria: "Dalla sua pace — On her peace.")

Leporello, still half-determined to leave Don Giovanni, informs him that all the guests of the peasant wedding are in Giovanni's house, that he distracted Masetto from his jealousy, but that Zerlina's post-seduction return had spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organize a party. (Giovanni's champagne aria: "Fin ch'han dal vino — Finally, with the wine."). He hurries off to his palace.

Zerlina follows the jealous Masetto and tries to pacify him. (Zerlina's aria: "Batti, batti o bel Masetto — Beat me, oh lovely Masetto"), but just as she manages to persuade him of her innocence, Don Giovanni's voice startles her, making her want to flee. Masetto's trust evaporating in an instant, the jealous groom hides and wants to see for himself what Zerlina will do when Giovanni arrives. In vain, Zerlina hides from Don Giovanni, but he continues the seduction before stumbling upon Masetto. Confused but quickly recovering, Giovanni claims Zerlina was very sad that Masetto was away from her, and he returns her temporarily. He then leads both to the bridal chamber, which has been lavishly decorated. Leporello has also invited three masked guests (the disguised Elvira, Ottavio, and Anna) who plan to catch Giovanni red-handed, if possible.

Ballroom

As the merriment proceeds, Don Giovanni leads Zerlina away, while Leporello distracts Masetto. When Zerlina's cry for help is heard, Leporello dashes off to warn his master. Don Giovanni tries to fool the onlookers by dragging his servant into the room with drawn sword and accuses him of seducing Zerlina. Elvira, Ottavio and Anna unmask, claiming that they now know all. The guests do not believe Giovanni and attack him, but he fights his way through the crowd and escapes...

Act 2

Outside Elvira's house

Leporello threatens to leave Giovanni, but his master calms him with a peace offering of money. (Duet: "Eh via buffone — Come on, buffoon"). Wanting to seduce Elvira's maid, Giovanni persuades Leporello to exchange cloak and hat with him. Elvira comes to her window. (Trio: "Ah taci, ingiusto core — Ah, be quiet unjust heart"). Seeing an opportunity for a game, Giovanni hides, sending Leporello out in the open dressed as Giovanni and, from his hiding place sings a promise of repentance, expressing a desire to return to her. Elvira is convinced and descends to the street. She thinks that Leporello (who is wearing his master's clothes) is actually Giovanni. Leporello leads her away to keep her occupied while Giovanni attempts to seduce her maid while accompanying himself on the mandolin. (Giovanni aria: "Deh vieni alla finestra — Come to the window").

Before Giovanni can complete his seduction of the maid, Masetto and his friends arrive, searching for Giovanni. Giovanni (dressed as Leporello) convinces the posse that he also wants Giovanni dead, and joins the hunt. After separating the group (Giovanni aria: "Metà di voi qua vadano — Half of you go this way"), Giovanni "confiscates" all the firearms and beats up the unarmed Masetto, then flees laughing. Zerlina arrives and consoles Masetto. (Zerlina aria: "Vedrai carino — Come dear one").

A dark courtyard

Leporello abandons Elvira. (Sextet: "Sola, sola in buio loco — Alone in this dark place"). As he tries to escape, Ottavio arrives with Anna, consoling her in her grief. Just as Leporello is about to slip through the door, which he has difficulty finding, Zerlina and Masetto open it and, seeing him in his Giovanni regalia, catch him before he can escape. When Anna and Ottavio notice what is going on all move to surround Leporello, threatening him with death. Elvira tries to protect the man whom she thinks is Giovanni, claiming that he is her husband and begging for pity. The other four ignore her, and Leporello removes his cloak to reveal his true identity. While everyone is so taken aback in the confusion, Leporello is able to escape (Leporello aria: "Ah pietà signori miei — Ah, pity me, my lords"). Given the circumstances, Ottavio is convinced of Giovanni's guilt and swears vengeance (Ottavio aria: "Il mio tesoro — My treasure") while Elvira is furious at Giovanni for betraying her. (Elvira aria: "Mi tradì quell'alma ingrata — That ungrateful wretch betrayed me").

A graveyard with the statue of the Commendatore.

Leporello tells Don Giovanni of his near-death experience, and Giovanni taunts him, throwing in a story of his own, one of a near-success with a woman in love with Leporello. But the servant is not amused, suggesting it could have been his wife, and Don Giovanni laughs aloud at his servant's protests. The voice of the statue warns Giovanni that his laughter will not last beyond sunrise. At the request of his master, Leporello reads the inscription upon the statue's base: "Vengeance here awaits my murderer." The servant trembles, but the unabashed Giovanni orders him to invite the statue to dinner, threatening to kill him if he does not. (Duet: "Oh, statua gentilissima — Oh most kind statue"). Leporello makes several attempts to invite the statue to dinner but for fear cannot complete the task. It falls upon Don Giovanni himself to complete the invitation thereby sealing his own doom. The statue nods its head and responds affirmatively.

Donna Anna's room.

Ottavio pressures Anna to marry him, but she thinks it inappropriate so soon after her father's death. He accuses her of being cruel, and she assures him that she loves him, and is faithful. (Anna aria: "Non mi dir — Tell me not").

Don Giovanni's chambers

Giovanni revels in the luxury of a great meal and musical entertainment (during which the orchestra plays then-contemporary late 18th century music — including a reference to the aria "Non più andrai" from Mozart's own Le nozze di Figaro), while Leporello serves. (Finale "Già la mensa preparata — Already the meal is prepared"). Elvira appears, saying that she no longer feels resentment for Giovanni, only pity. ("L'ultima prova dell'amor mio — The final proof of my love"). Surprised by her lack of hatred, Giovanni asks what it is that she wants, and there follows her desperate plea that he change his life. This is met only with one reply: "Brava!", as Giovanni taunts her and then ignores her, praising wine and women as the "essence and glory of humankind". Hurt and angered, Elvira gives up and leaves. A moment later, her scream is heard from outside the walls of the palace, and she returns only to flee through another door. Giovanni orders Leporello to see what has upset her; upon peering outside, the servant also cries out, and runs back into the room with the news that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Giovanni opens it himself, revealing the statue of the Commendatore. ("Don Giovanni! a cenar teco m'invitasti — Don Giovanni! You've invited me to dine with you"). It exhorts the careless villain to repent of his wicked lifestyle, but Giovanni adamantly refuses. The statue sinks into the earth and drags Giovanni down with him. Hellfire surrounds Don Giovanni as he is carried below.

Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for the villain. They find instead Leporello under the table, shaken by the horrors he has witnessed and which he describes to the others. Since the conflict is over, Anna and Ottavio choose to wait until Anna's year of grieving is over before marrying; Elvira will spend the rest of her life in a convent; Zerlina and Masetto will finally go home for dinner; and Leporello will find a new master at a tavern.

The concluding chorus delivers the moral of the opera — "So ends he who evil did. The death of a sinner always reflects his life" (Questo è il fin). In the past, this ensemble was sometimes omitted by conductors who claimed that this concluding chorus was never really considered to be a part of the opera. However, this approach has not survived, and today's conductors almost always perform the complete opera as composed by Mozart.

Noted arias

• "Notte e giorno faticar" — Leporello in Act I, Scene I
• "Ah! chi mi dice mai" — Donna Elvira in Act I, Scene V
• "Madamina, il catalogo è questo" — Leporello in Act I, Scene V
• "Ho capito, signor, sì" — Masetto in Act I, Scene VIII
• "Là ci darem la mano" — Don Giovanni & Zerlina in Act I, Scene IX
• "Ah, fuggi il traditor" — Donna Elvira in Act I, Scene X
• "Don Ottavio... Or sai chi l'onore" — Donna Anna in Act I, Scene XIII
• "Dalla sua pace" — Don Ottavio in Act I, Scene XIV
• "Fin ch'han dal vino" — Don Giovanni in Act I, Scene XV
• "Batti, batti, o bel Masetto" — Zerlina in Act I, Scene XVI
• "Deh, vieni alla finestra" — Don Giovanni in Act II, Scene III
• "Metà di voi qua vadano" — Don Giovanni in Act II, Scene IV
• "Vedrai, carino" — Zerlina in Act II, Scene VI
• "Ah, pietà! Signori miei!" — Leporello in Act II, Scene IX
• "Il mio tesoro" — Don Ottavio in Act II, Scene X
• "In quali... Mi tradì quell'alma ingrata" — Donna Elvira in Act II, Scene X
• "Troppo mi... Non mi dir" — Donna Anna in Act II, Scene XII
• "Don Giovanni, a cenar teco m'invitasti" — Don Giovanni, Leporello & Commendatore in Act II, scene XV

Don Giovanni and other composers

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 I makes an incongruous appearance in the manuscript of Liszt's Fantasie on Two Motives from Mozart's "Marriage of Figaro", 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. 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). Beethoven, Danzi and Chopin each wrote a series of variations on the duet between Don Giovanni and Zerlina, Là ci darem la mano. And Beethoven, in his Diabelli Variations, alludes to Leporello's aria "Notte e giorno faticar" in Variation 30.

The music from Don Giovanni has also featured in a number of movie soundtracks, including Amadeus, It Happened in Brooklyn, Parting Glances, Some Girls, Madagascar Skin, Il Cermonie, and The Bonfire of the Vanities. The aria Il mio tesoro is used as the main theme to the classic Ealing comedy Kind Hearts and Coronets. In addition, Là ci darem la mano is performed in Babette's Feast between one virginal female lead, Philippa, and her suitor, the opera singer Achille Papin, at a moment of romantic indecision that mirrors the circumstances of the opera.

Selected recordings

Although not recorded as often as Figaro, there is no shortage of recordings of Don Giovanni, so a small sampling will suffice.

One of the most critically acclaimed recordings is Carlo Maria Giulini's (1959) recording for EMI, with Eberhard Wachter (Don Giovanni), Giuseppe Taddei (Leporello), Elisabeth Schwarzkopf (Donna Elvira), Joan Sutherland (Donna Anna), Luigi Alva (Don Ottavio) and the London Philharmonia Orchestra.

Other notable efforts include: Bernard Haitink's 1993 recording for EMI with Thomas Allen, Stafford Dean, Carol Vaness and Maria Ewing; and Colin Davis' 1992 recording for Philips with Ingvar Wixell, Mirella Freni, Kiri Te Kanawa and Wladimiro Ganzarolli.

More recent critically praised recordings include René Jacobs' (2007) recording for Harmonia Mundi with Johannes Weisser (Don Giovanni), Lorenzo Regazzo (Leporello), Alexandrina Pendatchanska (Donna Elvira), Olga Pasichnyk (Donna Anna), Kenneth Tarver (Don Ottavio), and the Freiburg Baroque Orchestra.

Don Giovanni has also been recorded in languages other than Italian, for example, David Parry's 2000 recording for Chandos with the Philharmonia Orchestra and Gary Magee in the title role.

External links

• 《Yuyu/Sandbox:Don Giovanni》：谱子和报道（德语），《莫扎特全集》
• Don Giovanni的免费乐谱，由国际乐谱典藏计划提供
• Opera Guide Synopsis — Libretto — Highlights
• Opera in a nutshell Soundfiles (MIDI)
• （意大利文） Original libretto
• Libretto in English
• Piano-Vocal Score of Don Giovanni from Indiana University
• The 1979 film's entry at IMDB
• Video Performances of Don Giovanni A free selection of videos to view online.
• Don Giovanni — Harmonia Mundi 2007 The new recording of Don Giovanni

備註及參考資料

• Deutsch, Otto Erich, Mozart: A Documentary Biography. Stanford: Stanford University Press, 1965.
• Synopsis taken from The Opera Goer's Complete Guide by Leo Melitz, 1921 version.
• Preface by Schünemann to a complete orchestral and vocal score published in 1974 by Dover publications, Inc., NY

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