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As she berates him, the dismayed Giovanni sneaks off.Leporello, curtly explaining to her that she is not his master’s only victim and will surely not be the last, relates the catalogue of Giovanni’s conquests to her (“Madamina, il catalogo è questo”): 640 in Italy, 231 in Germany, 100 in France, a mere 91 in Turkey, but 1,003 in Spain!Lorenzo da Ponte) that premiered at the original National Theatre in Prague on October 29, 1787.The opera’s subject is Don Juan, the notorious libertine of fiction, and his eventual descent into hell.Leporello quickly departs, leaving Elvira even angrier and bent on revenge. A group of peasants are celebrating the engagement of Zerlina and Masetto.Giovanni and Leporello admire the girls, and Giovanni is very interested in Zerlina.As the duet begins, Giovanni and his prey have alternate verses, but, as the conquest ensues, they begin to blend in harmony, the music reflecting their emotional unity.
He grumbles about his thankless job—no sleep, little pay, hard work (“Notte e giorno faticar”).He had placed hints at the beginning of the overture; the foreboding chords symbolize Giovanni’s fate and foreshadow the massive movement of the statue that will end the libertine’s adventures.The scene is so powerful that many performances in the 1800s ended with Giovanni’s descent into hell rather than with Mozart’s light final scene.Suddenly, Giovanni and Donna Anna rush out of the palace. Anna screams and unsuccessfully tries to discover the masked Giovanni’s identity.
Her father appears, brandishing a sword, and challenges Giovanni to a duel; Anna runs to get help.
Mozart wanted to keep the same librettist, da Ponte, for the new work.