tag:blogger.com,1999:blog-4939290855438272306.post682225385833572611..comments2023-09-19T08:52:46.269-05:00Comments on Alms for Oblivion: Don Giovanni, Heroic Sinnerpiershttp://www.blogger.com/profile/12042745369869839918noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-4939290855438272306.post-66978257264879133692009-01-21T10:21:00.000-06:002009-01-21T10:21:00.000-06:00If we simply look at the libretto, Don Giovanni is...If we simply look at the libretto, Don Giovanni is a bad guy who gets what he deserves. At the end of the opera, the other characters sing about how they will go on to improve their lives now that this villain is out of the picture. It is the music that adds complexity to the character of Don Giovanni. This is typical of Mozart's operas. In The Magic Flute, the Queen of the Night gets to sing the best aria, and the serious initiations scenes have no music at all. I discuss this in my<BR/>http://www.jochnowitz.net/Essays/MagicFlute<BR/>Similarly, in Cosi Fan Tutte, the love duets of the supposedly comic scenes where the girls are being deceived are the places where the music is the most sincere. You can read about this in my book The Blessed Human Race, written under my English name, George JochnowitzAnonymousnoreply@blogger.com