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#lorenzo da ponte
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carovisetto · 1 year
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Lorenzo da Ponte heroines + questionable romantic requests
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lorenzodpnt · 8 months
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modern fem!da Ponte
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obsidian-river · 5 months
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In the Beaumarchais play Le Mariage de Figaro, Figaro's birth name is revealed to have been "Emmanuel" before being abducted as a baby.
In the operatic adaptation Le nozze di Figaro, Figaro's birth name is not (the Italianized) "Emanuele," which had been librettist Lorenzo Da Ponte's own birth name before his father converted the family from Judaism. As was the custom, the eldest son Emanuele took the name of the bishop who baptized them, becoming Lorenzo.
Lorenzo Da Ponte:
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whitmerule · 2 years
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somebody: says '36' or '43' in italian
me: Figaro my beloved???!?
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clamarcap · 1 year
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Un innocente amor
Wolfgang Amadeus Mozart (1756 - 1791): «Là ci darem la mano», duettino di Don Giovanni e Zerlina, dal I atto, scena 9a, del dramma giocoso Don Giovanni K 527 (1787), libretto di Lorenzo Da Ponte. Bryn Terfel, baritono; Cecilia Bartoli, soprano; Orchestra dell’Accademia nazionale di santa Cecilia, dir. Myung-Whun Chung. Friedrich Dotzauer (1783 - 6 marzo 1860): Andante con Variazioni über ein…
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movie-titlecards · 2 years
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Don Giovanni (1979)
My rating: 6/10
Fuck Around and Find Out: The Opera: The Movie
This is quite lavishly produced, with great costumes, sets and locations, though it still feels a bit stagey at times, and I know you don't go to the opera for the plot, but I can't help but feel that the whole "haunted statue sends the protagonist to hell" bit could've been set up a bit better - as it is, it feels like a bit of a diabolus ex machina, if you will. Also, I would've rather liked to actually see the bastard suffer a bit, but that may just be me.
The music is great, though, and I gotta say, when the guy is like "Don Giovanni is a WHORE, and I have PROOF" and then unrolls that giant list of women he's slept with? That is a solid bit.
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raydioactivegeorg · 2 years
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you:
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me, an intellectual:
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eshilftnurgewalt · 11 months
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Don Giovanni [Joseph Losey, 1979]
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elmartillosinmetre · 1 year
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Fígaro vuelve a Sevilla
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[Un momento del ensayo general de 'Las Bodas de Fígaro' de Mozart en el Maestranza / JUAN CARLOS MUÑOZ]
Desde esta misma tarde y hasta el próximo sábado, el Teatro de la Maestranza presenta 'Las bodas de Fígaro', ópera de Mozart y Da Ponte ambientada en Sevilla
No hay ninguna constancia de que Pierre-Augustin Caron de Beaumarchais (1732-1799) visitase Sevilla, pero es seguro que estuvo en España, moviéndose en los ambientes de la corte madrileña cerca de un año, entre la primavera de 1764 y la de 1765, y fue allí donde concibió los enredos de Fígaro, uno de los tres personajes que vinculan de forma incontestable la ópera con la ciudad (los otros dos son, por supuesto, Don Juan y Carmen).
Relojero de oficio, Beaumarchais fue él mismo todo un personaje de su tiempo, que ejerció a lo largo de su vida de profesor de música, horticultor, prestamista, diplomático, espía y traficante de armas, entre otros empleos menos prestigiosos y lucrativos, aunque fue su dedicación al teatro lo que acabó por preservar su nombre para la posteridad. Entre todas sus creaciones literarias es sin duda la trilogía concebida en torno a Fígaro, el barbero sevillano que ayuda a un joven conde a conquistar a su amada y se ve involucrado luego en tramas sentimentales de las más diversas, la que más hizo por su fama universal.
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[Pierre-Augustin Caron de Beaumarchais (1732-1799) / D.S.]
El 23 de febrero de 1775 en la Comédie Française se presentó El barbero de Sevilla o La precaución inútil y, aunque la función del estreno no parece que fuera memorable, pronto la obra se impuso como un éxito extraordinario, lo que llevó a su autor a idear una continuación, Las bodas de Fígaro, que escribe en 1778 pero no sube a las tablas hasta 1784. Beaumarchais, liberal y agitador político, intercesor por la causa de la independencia de las colonias inglesas en América y luego revolucionario convencido en su propio país, dejó sutilmente esparcidas por su comedia rotundas críticas contra la sociedad del Antiguo Régimen y eso haría trabajar con denuedo durante años a la censura de todos los reinos europeos. Finalmente, ya en 1792, se estrenó La madre culpable, tercera parte de la trilogía, que su autor editaría con el título genérico de La novela de la familia Almaviva.
Pero, como ha ocurrido con tantas obras teatrales a lo largo de la historia, sin la música, estas piezas serían hoy un pálido recuerdo en libros de historia de la literatura y no la experiencia vívida que sigue emocionando año tras año a miles de personas por los teatros de medio mundo. En el último listado de obras vinculadas a Sevilla que recopila Andrés Moreno Mengíbar, coautor de varias monografías sobre el tema, figuran 43 óperas relacionadas con el personaje de Fígaro, si bien ahí se incluye alguna pieza inacabada, como la que dejó Leoncavallo, o por completo inédita, como la del madrileño Conrado del Campo.
En los casos más conocidos, estas óperas están compuestas sobre libretos que parten directamente de los originales de Beaumarchais, pero hay también muchas otras salidas de derivaciones argumentales creadas por otros autores. Fígaro dejó de pertenecer a su autor y eso es prueba definitiva de su triunfal universalización. Son las dos primeras obras de la trilogía las que más óperas inspiraron, pues para ver una sobre la tercera, en la que la comedia ha dejado paso a un drama moral, hay que esperar a 1966, cuando Darius Milhaud estrenó La mère coupable en Ginebra. Veinticinco años después, John Corigiliano triunfaría en el Metropolitan de Nueva York con otra ópera sacada del final de la trilogía, esta vez con el título de Los fantasmas de Versalles, una obra que no ha desaparecido ni mucho menos del repertorio.
Pero son evidentemente las dos primeras comedias las que más celebridad lírica han alcanzado, y ello casi desde el mismo momento de la presentación de la pieza teatral, pues ya en mayo de 1776 Friedrich Ludwig Benda había ofrecido en Leipzig un Barbero de Sevilla, cuando había pasado poco más de un año del estreno de Beaumarchais en París. En cualquier caso, el primer gran éxito operístico vinculado a la comedia original es sin duda el que obtuvo Giovanni Paisiello. Su Barbero de Sevilla se estrenó en San Petersburgo en 1782 y tuvo una resonancia extraordinaria en toda Europa, incluida Viena, donde Mozart aspiraba a relanzar su carrera de autor lírico, algo paralizada desde el estreno de El rapto en el serrallo, también en 1782. Con el tiempo, no sería tanto El barbero de Paisiello sino el que estrenó Gioacchino Rossini en Roma en 1816 el que acabó convertido en auténtico fetiche operístico mundial.
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[Wolfgang Amadeus Mozart (1756-1791) / D.S.]
Fue Mozart quien en algún momento de 1785 decidió que Las bodas de Fígaro sería el sujeto de su nueva ópera, y Lorenzo Da Ponte le sirvió un libreto en el que los pasajes más políticamente transgresores habían sido limados, lo que permitió su exitoso estreno el 1 de mayo de 1786 en el Burgtheater vienés, un éxito que en cualquier caso quedó lejos del que había logrado la partitura de Paisiello en la misma plaza e incluso del que sólo unos meses después obtendría el valenciano Vicente Martín y Soler con otra comedia con libreto de Da Ponte, Una cosa rara.
Esta tarde el Teatro de la Maestranza presenta por tercera vez en su historia Las bodas de Fígaro, ahora con producción de Emilio Sagi para el Teatro Real. Las dos veces anteriores la ópera se ofreció en producción propia del teatro sevillano, debida a José Luis Castro (octubre de 1999, con la batuta musical de Alain Lombard; y su reposición en septiembre de 2011 comandada por Pedro Halffter). También fue Castro el responsable de una de las producciones más recordadas del Maestranza, la de El Barbero de Sevilla rossiniano que se estrenó en abril de 1997 y se repuso al año siguiente y en febrero de 2016. Unos años antes, en 1991, antes de la Expo, la Ópera Nacional Polaca había ofrecido ya el título de Rossini en la escena maestrante, y hay que irse dos años más atrás para documentar la presentación del Barbero de Paisiello en la ciudad: fue la itinerante Ópera de Cámara de Varsovia quien la ofreció dos días consecutivos de mayo de 1989 en el Teatro Lope de Vega. Así que desde el invierno de 2016, Fígaro, el factótum de la ciudad, no subía a las tablas de su principal escenario. Ha vuelto.
[Diario de Sevilla. 11-12-2022]
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widevibratobitch · 5 months
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oh yeah. happy 236th don giovanni premiere anniversary! some of yall tried soooo hard to cover it in ooze for me. and yet. i persist. peace and love and eternal damnation. mwah
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lorenzodpnt · 8 months
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stealing books is a peak dpnt moment
i won't elaborate
(i will ignore this person for ever so that they won't remember about the books)
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soulcidium · 1 year
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Ontem eu ensaquei o Lorenzo, nosso filho que você me deu em uma das nossas milhares de brigas sem fim e sem jeito. Ele me olhou triste, passivo e impotente, assim como eu também olhei para ele e assim como tenho olhado para o mundo. Depois foi a vez das fotos, eu beijei uma por uma e guardei numa caixa, coloquei a caixa num canto escondido e alto do armário, no mesmo canto escuro e esquecido por onde anda meu coração. Olhei meus sapatos novos e pensei como seria triste usá-los sem nem saber direito para onde ir. Olhei minha velha cara no espelho e tive muita pena do quanto aquele rosto ainda ia esbugalhar os olhos para o teto lembrando que você disse que nunca desistiria. Vire e mexe tenho essa vontade de cortar alguma parte do meu corpo, para ver se esguicho pra longe esse sangue contaminado que incha meu corpo de dor e me emagrece de vida. Outro dia desses eu estava num bar com um amigo e No final da noite eu só queria estar ouvindo aquela merda daquele cd do Alpha Blond, esses intelectuais de merda não chegam aos pés do seu sorriso e nunca vão ter de mim esse amor tão puro, tão absurdo e tão sem fim que eu tinha por você. A fidelidade não é uma escolha e nem um sacrifício, ela é uma verdade. A gente não se fala mais, eu nem sei mais por onde você anda, eu até tenho o impulso de tentar de novo com outros homens, mas eu só sinto nojo. Eu tenho um milhão de motivos pra fugir de pensar em você, mas em todos esses lugares você vai comigo. Eu torço pra não fazer Sol, eu torço pra não chover, eu torço para acordar no meio do dia, eu torço para o dia acabar logo. Eu torço para ter alguma coisa que me faça torcer, que me diga que eu ainda sei torcer por algo mesmo sem torcer pela gente. Minha dança é queda equilibrada, minhas roupas novas são fantasias, meu sorriso é espasmo de dor, minha caminhada reta é um círculo que sempre me traz até aqui, meu sono é cansaço de realidade, meu silêncio é o grito mais alto que alguém já deu, o incômodo é interno, nenhum lugar do mundo me conforta. Minha fome é sobrevivência, minha vontade é mecânica, minha beleza é esforço, meu brilho é choro, meus dias são pontes para os dias de verdade que virão quando essa dor acabar. Às vezes tento não ser eu, porque se eu não for eu, eu não sentirei essa dor. Mas o amor é tanto que até as outras todas que eu posso ser também o sentem. Hoje menos que ontem, amanhã menos que hoje, e por aí vai.
(Tati Bernardi)
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madreemeritus · 7 months
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Don Juan Triumphant — An analysis of Erik's masterpiece
Warning: i don't speak French and i don't have english editions of PotO, only Portuguese, so i will translate it directly from my text
Gaston Leroux's novel narrates the fact that Erik was producing an Opera of his own with the theme "Don Juan Triumphant". Unfortunately, we never hear it because it's a book, but a few adaptations brought his work to live with different interpretations.
Let's analyze what Leroux intented to write with Erik's character.
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Don Juan is a Spanish archetype of a lascivious and libertine man, created by Tirso de Molina, a poet and religious playwright of the Middle Ages. His character was supposed to be an antagonist of what society considered to be moral and pure at that time. And as any other story, it has its adaptations.
Don Giovanni (the same as Don Juan) is the work of Mozart (composer) and Lorenzo Da Ponte (writer), where Don Giovanni is a scoundrel who seduces and abandons women; one of his victims has his father murdered by Don Giovanni after he tried to prevent the seduction. The spirit of the Commander (Donna Anna's father murdered by D. Giovanni) returns in the form of a statue and drags the protagonist to hell with the help of demons.
Erik, after Christine asks him to play Don Juan Triumphant, says: "Never ask me that. This Don Juan was not composed for the libretto of a Lorenzo Da Ponte, inspired by wine, by furtive loves and by vices finally punished by God. I can play Mozart if I so wish, which will bring beautiful tears to your eyes and inspire you with frank reflections. But my Don Juan burns, Christine, and not because he has been hit by heavenly fire!" (...) "You see, Christine, there is a song so terrible that it consumes all who approach it. You haven't reached it yet, and that's good, because you would lose your soft colors and they wouldn't recognize you anymore on your return to Paris" (...)
Erik says that his Don Juan "burns" and that Christine was in no condition to understand the somber depths of his masterpiece. He refuses to play Don Juan at first (although he is willing to play other Mozart pieces), but after being unmasked, he plays in a form of escapism. Christine is enthralled by the terrible, somber performance. Erik's Don Juan is a reflection of the pain he feels.
He apparently has no interest in writing a story like Don Giovanni, possibly an inspiration for him is Lord Byron's version, where Don Juan is neither a seducer nor a villain: but a victim of a cruel and false love of a woman. Erik says that it took him years to finish his work, as if each event in his life influenced the work more. He also says that, when finishing Don Juan Triumphant, he would die and be buried along with the scores: he changes his mind when he falls in love with Christine.
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Don Juan is an archetype that contradicts everything Erik is and believes. Erik scares women by his ugliness / Don Juan seduces and conquers them all. Erik wants true love / Don Juan wants to deceive women in exchange for sex. Don Juan is a handsome, seductive man who is admired by people / Erik was born deformed and was abused, humiliated and rejected by (almost) everyone he met. Erik would probably change the character of Don Juan just as Lord Byron changed it according to his own life experience. That's why he is "Don Juan Triumphant", rather than the protagonist's defeat.
Christine's words after hearing Don Juan Triumphant: "His Don Juan Triumphant (for there was no longer any doubt that he had rushed his masterpiece to forget the horror of the present minute) appeared to me only one long, frightening, magnificent sob, where poor Erik had deposited all his misery." (...) "I remembered the notebook with red notes and easily imagined that that song had been written in blood. It guided me through all the details of martyrdom; it made me enter all the corners of the abyss, the inhabited abyss by the ugly man; it showed me Erik atrociously banging his poor, ugly head against the funereal walls of hell, where he had taken refuge so as not to frighten human eyes any longer, where Pain was deified, and then, the sounds that saw from the abyss and suddenly grouped together in a prodigious and threatening flight. the world. I understood that the work was finally done and that Ugliness, borne on the Wings of Love, had dared to look Beauty in the face!" (...)
For me, Erik's Don Juan is an expression of his life and inner demons. The rejection, the suffering, the pain, the hate, the jealousy, and at the same time, the love, the desire and the will to be loved like any other human being. Erik is as much compared with Death as with Sexuality. This duality would be expressed in his work. And since the work is Triumphant, in the end he would find the love and happiness he longed for.
Adaptations
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In my opinion, Andrew Loyd Webber's "Don Juan Triumphant" doesn't make much sense because it only explores a carnal scandal between Don Juan and Aminta. It looks like the same character as Tirso de Molina and Lorenzo Da Ponte, not the alternative — painful and suffering — version of Erik. There is no tragedy, no hellfire and no suffering. It just seems like an empty work made to shock the society of the 19th century. "Oh but it's Erik's self insert", the original work was clearly an escapism, a reflection of his life, a form of expression of the pain he felt. It's not that Erik's work in the book doesn't explore the theme of sexuality, but that's not all. It's not just a horny show between Erik and Christine. Especially because it gives off a weird vibe that Erik just wanted sex with her, and that's a lie. I do love The Point of No Return by its beautiful melody and my E/C bullshit that likes some horny fanfiction.
I adore, however, the 1925s (or 1929s rebuilt) "Don Juan". Not only because it's the main theme scored by Gabriel Thibaudeau, but also because this specifically is the unmasking scene and it captures everything that I imagined as Leroux's description. The pain, the passion, the tragedy, is all there. Lon Chaney's Erik says to Christine that since the first time he saw her, he was inspired to write such a magnificent piece of music. Not 20 years writing it as originally, but more a romantic inspiration coming from his heart. This adaptation, to be fair, is my favorite.
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And another version which I apreciate a lot is the 1989 slasher movie with Robert Englund. It's such a sublime song that remarks the exact 'Dark Romance' vibes of E/C relantionship. Obviously is not the best adaptation, actually it has little to do with the original work as Christine is a time traveler, Erik is a murderous psychopath villain and the story goes totally into a supernatural horror. But if you put in your mind that PotO and A Nightmare On Elm Street were merely an inspiration to a slasher/supernatural movie, it's actually an interesting experience.
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So in conclusion, this was my analysis of the mysterious Don Juan Triumphant. Feel free to disagree or point out new things in the comments 🙏🏽❤️
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clamarcap · 1 year
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Il catalogo è questo
Giuseppe Gazzaniga (1743 - 1º febbraio 1818): «Dell’Italia, ed Alemagna», aria di Pasquariello dal I atto del dramma giocoso Don Giovanni o sia Il convitato di pietra (1786) su libretto di Giovanni Bertati. Alfredo García, baritono; María Rodríguez, soprano; Real Orquesta Sinfónica de Sevilla, dir. Pablo González. PASQUARIELLO Per me… sentite… vi dirò… siccome… DONNA ELVIRA Non…
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sutekiyomitsu · 3 months
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Sato Ryuji's Major Performances of 2023
Suzuki Kakeru in REAL⇔FAKE: Final Stage
Mozart in Onagku Geki 'Nigero' ~Mozart's Librettist Lorenzo Da Ponte~
Shinzo in Toriaezu Kanpai Shimasen Ka
Igarashi/Mitama Seiya in Castor & Pollux
Sato Ryuji in Zipang Opera: Furinkazan
Satsuki Asama (playing King Lear) in Genepro 7
Ryuji in The Brow Beat Live Tour: The Five Senses
Yoneda in Haru wa Mijikashi Koiseyo Danshi
Jitto / Kamen Rider Regard in Kamen Rider Geats
Kudan Suzujiro in Akudo Kaigi: Itoshi no Hakana
Uchiha Sasuke in Live Spectacle Naruto: Shinobi no Ikiru Michi
Itadori Yuji in Jujutsu Kaisen the Stage: Kyoto Sister-School Goodwill Event & the Origin of Obedience
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