Don Giovanni Study Guide by Boston Lyric Opera

STUDY GUIDE AND PRE- AND POST-PERFORMANCE LESSON PLANS For Reading & Writing Common Core Standards Grades 9 – 12

MOZART

ESTHER NELSON, GENERAL & ARTISTIC DIRECTOR

DAVID ANGUS, MUSIC DIRECTOR

Matthu Placek

DON GIOVANNI |

JOHN CONKLIN, ARTISTIC ADVISOR

BLO.ORG

Esther Nelson General & Artistic Director David Angus Music Director John Conklin Artistic Advisor

Don Giovanni Study Guide and Pre- and Post-Performance Lesson Plans Table of Contents

Welcome from BLO Manager of Education Programs

History of Opera: An Overview

Science of Sound from BLO and Museum of Science, Boston

Mozart’s Biography

Don Giovanni Synopsis

Don Giovanni Cast of Characters

Lorenzo Da Ponte

The Don Juan Legend

What to Listen For

Pre-Performance Lesson Plan, Grades 9 – 10

Pre-Performance Lesson Plan, Grades 11 – 12

Post-Performance Lesson Plan, Grades 9 – 10

Post-Performance Lesson Plan, Grades 11 – 12

References and Resources

Esther Nelson General & Artistic Director David Angus Music Director John Conklin Artistic Advisor

April 15, 2015 Dear Educator,

Boston Lyric Opera is pleased to invite high school and college students to Final Dress Rehearsals at the Shubert Theatre throughout our Season. We look forward to seeing you and your students at the theatre for this production of Mozart’s Don Giovanni, performed in a new riveting production! The experience of seeing and hearing live, professional opera is second to none. However, we encourage you to explore the world of the opera in your classroom as well. We are proud to offer a study guide to support your discussions and preparations for Don Giovanni that includes special insights into the production process, the opera’s history, and ready-to-use pre- and post-performance lesson plans for grades 9-12. Boston Lyric Opera’s mission is to build curiosity, enthusiasm, and support for opera. This new study guide is one way in which we hope to reach this goal and support the incredible work of educators like you, who bring this beautiful art form into your students’ lives. As we continue to develop these study guides this Season, we want your feedback. Please tell us about how you use this guide and how it can best serve your needs by emailing education@blo.org. If you’re interested in other opera education opportunities with Boston Lyric Opera, please visit blo.org/ learn to discover more about our programs. We look forward to seeing you at the theatre!

Sincerely,

Elizabeth Mullins  Manager of Education Programs

Boston Lyric Opera 3

KATYA DON KATYA GIOVANNI KABANOVA

DON KATYA GIOVANNI

KATYA DON GIOVANNI KABANOVA

The Life of Amadeus Mozart (1756-1791)

time period.

The local theatre in town was

premiering Gluck’s reform opera Orfeo ed Euridice, and Haydn’s Symphonies 6, 7, and 8 had just been performed at the Esterházy Palace. He also heard the music of Florian Leopold Gassmann and Johann Baptist Wanhal, two composers that belong to the German Sturm und Drang (storm and stress) movement, along with Haydn.

Mozart, Wolfgang Amadeus: oil on canvas by Barbara Krafft, 1819.

Wolfgang Amadeus Mozart (1756-1791) is heralded as one of history’s most prolific composers, despite his short life. Considered a child prodigy, Mozart’s talent was quickly

Mozart, Wolfgang Amadeus: page from the manuscript of Mozart’s

recognized by his father, Leopold, who was an

Don Giovanni (1787).

accomplished violinist himself.

Possessing a

strong, basic foundation in the principles of music was important to Leopold, who took it upon himself to educate young Mozart and his sister, Nannerl.

Leopold possessed a passion for

pedagogy, and wrote a book of clavier pieces for Nannerl to play. At age four, Mozart was able to learn and play the minuets in the book by ear, in as short a time as a half hour. By the time he was five, Mozart started to compose his own music, and around age seven, he wrote his first minuet and trio. Leopold strove to exhibit the talents of his two children, and in 1762 the family journeyed to Munich where they were introduced to Maximilian III, Prince-Elector of Bavaria. Following their time in Munich, the family traveled to Vienna, and Leopold took the children to the Austrian court of Schönbrunn where they performed for Empress Maria Theresa.

Mozart’s time in Vienna was

significant as that is where he was introduced to the music of some of the finest composers of the 10

Mozart championed a variety of musical genres, spanning both sacred and secular avenues. Mozart’s operas continue to be among the world’s most popular operas to this day. Don Giovanni was commissioned by Pasquale Bondini and premiered in Prague on October 29, 1787. In 1788, the fully-staged opera was presented in Vienna and two of the opera’s most famous arias “Dalla sua pace” and “In quali eccessi … Mi tradì quell'alma ingrata” were added to the score. Although he was heralded for his musical creativity, Mozart suffered from financial trouble, which compounded his struggle with depression. Mozart fell ill in 1791, and passed away in December of that year.

The composer was

commissioned to write a requiem (a funeral mass) for the wife of a nobleman. Mozart’s Requiem was left unfinished upon his death, so his daughter Constanze passed it on to the composer Franz Xaver Süssmayr, who added the last few missing movements.

This version of the requiem is still

frequently performed today.

Plot Synopsis ACT I    Leporello, servant to Don Giovanni, keeps watch as Giovanni pursues Donna Anna. She resists and struggles with the disguised Giovanni. Her cries arouse her father, the Commendatore, who challenges the intruder. The Commendatore is killed; Giovanni and Leporello escape. Donna Anna begs her fiancé, Don Ottavio, to avenge her father’s death. Giovanni and Leporello encounter one of Giovanni’s former conquests, Donna Elvira. She is enraged by his betrayal and is looking for retribution. Giovanni eludes her, and Leporello tells her that she is not the first nor will she be the last woman to fall victim to Giovanni’s seductions. Masetto and Zerlina celebrate their marriage. While Leporello escorts Masetto away, Giovanni flirts with the young bride. Zerlina is at the point of giving in to Giovanni’s advances when Elvira arrives. Elvira, still furious, tells Zerlina to flee this false suitor, and the two women depart. Anna and Ottavio arrive to ask Giovanni’s help in discovering the identity of the Commendatore’s murderer. They are unaware it is Giovanni. Elvira returns and warns Anna of Giovanni’s betrayals. Giovanni insists that Elvira is insane and her accusations false. As Giovanni leaves, Anna suddenly Masetto and Zerlina

recognizes his voice as that of the killer; she

demands vengeance.

Ottavio wonders how to restore Anna’s peace of mind. Giovanni has invited Zerlina and Masetto to a party he is hosting. The young bride asks Masetto to forgive her for her moment of weakness with Giovanni. Anna, Elvira, and Ottavio (who have banded together) appear at the party masked, and Leporello invites them into the celebration. Giovanni, while dancing with Zerlina, drags her into an adjoining room. She screams for help, and Giovanni claims that Leporello attacked Zerlina. Anna, Elvira, and Ottavio reveal themselves, denounce Giovanni, and promise that vengeance is at hand. ACT II   Giovanni forces Leporello to exchange clothes with him and pose as Giovanni. Disguised as Giovanni, Leporello succeeds in distracting and seducing an unwitting Elvira, who believes her lover has come back to her. Meanwhile, Giovanni serenades Elvira’s maid. Masetto arrives, looking for revenge, but the still-disguised Giovanni tricks Masetto and beats him. Zerlina finds her bruised husband and comforts him. Leporello and Elvira—who still believes she has been reunited with Giovanni—are surprised by the arrival of Anna, Ottavio, Zerlina, and Masetto, all of whom are now 11

desperate for vengeance. Elvira defends Leporello, believing him to be Giovanni; Leporello, fearing for his life, reveals his true identity before making his escape. Elvira, betrayed yet again, acknowledges that despite his actions, she still loves Giovanni. Ottavio once again pleads with Anna to marry him, but she answers that she cannot until her fatherâ&#x20AC;&#x2122;s murder has been avenged. Giovanni and Leporello encounter the Commendatore. Leporello is terrified, but Giovanni mocks and scornfully invites him to dinner. The Commendatore accepts the invitation. While Giovanni dines, Elvira makes a last, desperate attempt to persuade him to change his life; Giovanni responds with dismissive laughter. The figure of the Commendatore appears and calls for Giovanniâ&#x20AC;&#x2122;s repentance. Giovanni boldly and insistently refuses, and he is punished.

Sketches by Costume Designer Tilly Grimes for Don Giovanni

Donna Elvira

Cast of Characters

Leporello, Don Giovanni’s servant (bass) Donna Anna, daughter of Il Commendatore (soprano) Don Giovanni, a nobleman (baritone) Il Commendatore, Donna Anna’s father (bass) Zerlina, Masetto’s fiancée (soprano) Masetto, a peasant (bass) Don Ottavio, Donna Anna’s fiancée (tenor) Donna Elvira, a lady who was seduced by Giovanni (soprano)

Leporello

The Commendatore

Donna Anna

Sketches by Costume Designer Tilly Grimes for Don Giovanni

Lorenzo Da Ponte one-act libretto by Giovanni Bertati called Don Giovanni Tenorio, o sia il convitato di pietra. Da Ponte altered the libretto to serve as a two-act opera.

Don Giovanni was first intended to be

performed for the Archduchess of Austria, Maria Theresa, who was to be traveling through Prague at the time of the premiere.

The opera was not

finished by this time, however, so Don Giovanni first premiered on October 29, 1787.

Don

Giovanni remains one of the most widely performed operas today. Da Ponte eventually settled in the United States in 1805. He opened a small grocery store in Watercolor of Da Ponte; artist unknown

Lorenzo Da Ponte was an Italian writer who lived during the early 18th century into the early 19th century.

Following a dismissal from Venice,

Da Ponte moved to Vienna where he served as court poet to Emperor Joseph II. It was in Vienna that Da Ponte became acquainted with Mozart, and the two fostered one of the most successful relationships between composer and librettist. The first collaboration between the two occurred in 1786 with The Marriage of Figaro. Da Ponte adapted Beaumarchaisâ&#x20AC;&#x2122; revolutionary play with the same title for the stage. Beaumarchaisâ&#x20AC;&#x2122; play was originally banned from being performed due to its revolutionary content, but Da Ponte convinced Emperor Joseph II that he could edit the sections that would offend the monarchy in his version. The Marriage of Figaro premiered in Vienna at the Burgtheater in May 1786, and was produced in Prague later that year by the Pasquale Bondini Company. The success of The Marriage of Figaro on the Prague stage led to a commission by Domenico Guardasoni to create an opera around a 14

Pennsylvania, and later owned a bookstore in New York. He became the first professor of Italian literature at what is now Columbia University. Da Ponte made it his mission to bring selections of Italian literature to the United States. Many of his selections form the center of Italian literature at the New York Public Library and Columbia University. In 1833, Da Ponte founded the New York Opera Company, which went under after only two seasons, but served as a predecessor for the New York Academy of Music and Metropolitan Opera. Da Ponte died in New York in 1838 and was buried in Queens, New York.

The Don Juan Legend The Don Juan legend originated in Spanish literature and culture during the 1600s. There has been speculation by academics and critics regarding whether or not Don Juan actually lived, or if the persona was folklore or legend.

In Spanish, “tenorio.” is a term commonly used to

describe someone who is a “lady-killer” or “ladies’ man,” and is usually affixed as a surname to Don Juan. The first appearance of the Don Juan character was in El Burlador de Sevilla y convidado de piedra, (“The Seducer of Seville and the Stone Guest”) published in 1630 by Tirso de Molina. The original play was written as a reaction to societal behavior at the time. During El Siglo de Oro (The Golden Age) in Spain, art, literature, and music flourished due to the support and patronage of the Habsburg family. The attitude of the public at the time was that they could indulge in the sinful pleasures of life as they pleased, and would be forgiven as long as they repented before death. De Molina used the figure of Don Juan as a way to express his displeasure with this sentiment.

Book Cover

The Don Juan of “El Burlador” closely mirrors the Don Giovanni character in Da Ponte’s libretto. In the story, Don Juan seduces a young noble girl and murders her father after he tries to avenge the taking of his daughter’s honor. The Don passes by the father’s tomb one day, which has a small statue of the father on it, and jokingly invites the effigy to dinner. The “stone ghost” arrives at the dinner and expects Don Juan to repent for his sins. The handsome and prideful Don Juan refuses and he is dragged to the underworld. The Don Juan legend has been set to various interpretations across cultures. Lord Byron’s poem Don Juan, Molière’s play Dom Juan, ou le festin de pierre, Charles Pierre Baudelaire’s Fleurs du mal, and Don Juan Tenorio by José Zorrilla y Moral are among the most recognized.

Don Giovanni – What to Listen For General Guiding Questions: • What instruments are playing? • How fast is the music? Are there sudden changes in speed? • Is the rhythm steady or unsteady? • Key/Mode: Is it major or minor? (Does it sound bright, happy, sad, urgent, dangerous?) • Dynamics/Volume: Is the music loud or soft? Are there sudden changes in volume (either in the voice or orchestra)? • What is the contour of the melodic line? Does the voice move smoothly or does it make frequent or erratic jumps? • Do the vocal lines move noticeably downward or upward? • Do the melodies end as you would expect or do they surprise you? • What effect do the above factors have on you as a listener? • Does the type of voice singing (baritone, soprano, tenor, mezzo, etc.) have an effect on you as a listener?

Second Listening and Follow-up Questions: • What is the orchestra doing in contrast to the voice? How do they interact? • What kinds of images, settings, or emotions come to mind when listening to the music? Does it remind you of anything you have experienced in your own life? • Do particularly emphatic notes (low, high, held, etc.) correspond to dramatic moments in the text? • What type of character fits this music? Romantic? Comic? Serious? Etc.

LISTENING #1 “Dalla sua pace” (Don Ottavio)   https://www.youtube.com/watch?v=wNZu2uJUk6M   LISTENING #2 "Ah, chi mi dice mai" (Donna Elvira) https://www.youtube.com/watch?v=gpyZoKmE6zg   LISTENING #3 “Là ci darem la mano” (Zerlina and Don Giovanni)  https://www.youtube.com/watch?v=MEgLgF3CpZ8

LISTENING #4 Finale, Act II (The Metropolitan Opera) https://www.youtube.com/watch?v=y1lQ-XjD2E8

Lesson Topic: Creating a Character   Grade Level 9-10 Pre-Performance Lesson Plans Length of Lesson: 2-3 Class Periods Stage 1 – Desired Results Content Standard(s): Reading Standard MA.8.A: Relate a work of fiction, poetry, or drama to the seminal ideas of its time. Writing Standard MA.3: Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

Understanding(s)/Goals: Students will understand: • How to understand the background of a character using text and musical examples • How to analyze a character’s personality, motivations, and objectives • How to use evidence from text to support ideas

Essential Question(s): • What does the process look like for character analysis? • Which clues from the text and music are useful for character development?

Student objectives (Outcomes): Students will be able to: • Recognize information pertinent to character development • Write an essay based on the motivations of a certain character from Don Giovanni Stage 2 – Assessment Evidence Performance Task(s): Other Evidence: • Organize ideas from their research into a • Create an outline of ideas from text and narrative music • Produce a well-constructed essay explaining • Sample Questions to Ask:  the motivations and objectives of a certain 1. Physical description/background character information of character (social status, occupation, family, etc.)  2. What are your character’s strengths? Weaknesses?  3. What is your character’s main objective in the opera? What is his/her reason for this? What obstacles are in his/her way?  4. Do you agree with the steps your character takes to achieve the objective? Why or why not? 18

Stage 3 - Learning Plan Learning Activities: Total Time: 2-3 class periods Introductory Activity: Discussion and contextualizing: (1-2 class periods) • Read through synopsis of Don Giovanni. • Choose one character to analyze: (Don Giovanni, Leporello, Zerlina, Donna Anna, Don Ottavio, Donna Elvira). • Listen to a piece of music that is sung by the chosen character. • Allow students time to free-write and brainstorm a list of physical characteristics, emotions, motivations, and background information of their chosen character (see “Essential Questions” above for prompts). Developmental Activity: (At home or in class)   Writing Activity: • Have students respond to the following prompt in essay format: What actions does your character take to achieve their objective in the opera? Do you agree or disagree with them? Closing Activity: (1 class period) Sharing Activity: • Allow students to share an excerpt from their essays with the class. They should choose one or two of the statements from the essay prompt to share. This can be done aloud, on the board, or on large chart paper so that it can be easily seen by everyone. • Compare and contrast the students’ responses to see if there are any prevalent themes.

Lesson Topic: Creating a Character  Grade Level 11-12 Pre-Performance Lesson Plans Length of Lesson: 2-3 Class Periods Stage 1 – Desired Results Content Standard(s): Reading Standard MA.8.A: Analyze a work of fiction, poetry, or drama using a variety of critical lenses (e.g., formal, psychological, historical, sociological, feminist).  Writing Standard MA.3: Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences Understanding(s)/Goals: Students will understand: • How to create the background of a character using text and musical examples • How to analyze a character’s personality, motivations, and objectives • How to use evidence from text to support ideas

Essential Question(s): • What does the process look like for character analysis? • Which clues from the text and music are useful for character development?

Student objectives (outcomes): Students will be able to: • Recognize information pertinent to character development • Write an essay based on the motivations of a certain character from Don Giovanni Stage 2 – Assessment Evidence Performance Task(s): Other Evidence: • Organize ideas from their research into a • Create an outline of ideas from text and narrative music • Produce a well-constructed essay explaining • Sample Questions to Ask:  the motivations and objectives of a certain 1. Physical description/ background character information of character (social status, occupation, family, etc.)  2. What are your character’s strengths? Weaknesses?  3. What is your main objective in the opera? What is his/her reason for this? What obstacles are in his/her way?  4. Do you agree with the steps your character takes to achieve the objective? Why or why not?

Stage 3 – Learning Plan Learning Activities: Total Time: 2-3 class periods Introductory Activity: Discussion and contextualizing: (1-2 class periods) • Read through synopsis of Don Giovanni. • Choose one character to analyze: (Don Giovanni, Leporello, Zerlina, Donna Anna, Don Ottavio, Donna Elvira). • Listen to a piece of music that is sung by the chosen character. • Allow students time to free-write and brainstorm a list of physical characteristics, emotions, motivations, and background information of their chosen character (see “Essential Questions” above for prompts). Developmental Activity: (At home or in class)   Writing Activity: • Have students respond to the following prompt in essay format: What actions does your character take to achieve their objective in the opera? Do you agree or disagree with them? Closing Activity: (1 class period) Sharing Activity: • Allow students to share an excerpt from their essays with the class. They should choose one or two of the statements from the essay prompt to share. This can be done aloud, on the board, or on large chart paper so that it can be easily seen by everyone. • Compare and contrast the students’ responses to see if there are any prevalent themes.

Lesson Topic: A Discussion of Morality  Grade Level 9-10 Post-Performance Lesson Plans Length of Lesson: 2-3 Class Periods Stage 1 – Desired Results Content Standard(s): Reading Standard MA.8.A: Relate a work of fiction, poetry, or drama to the seminal ideas of its time. Writing Standard MA.3: Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

Understanding(s)/Goals: Students will understand: • How to use evidence from a performance to support ideas • How to create a coherent essay to defend their arguments

Essential Question(s): • What is the definition of morality? • What would morality look like during the time period of Don Giovanni? • Do you think there is an over-arching moral in Don Giovanni? What is it? • Do you think Don Giovanni “gets what he deserves”? Why? • Based on the actions of the characters in this opera, what societal commentary do you think Mozart and Da Ponte were communicating through this work?

Student Objectives (Outcomes): Students will be able to: • Analyze information from a live performance to use as evidence in a narrative • Write an essay based on the topic of morality in Don Giovanni

Stage 2 – Assessment Evidence Performance Task(s): Other Evidence: • Organize ideas from the live performance • Outline of ideas from text and music into a narrative • Produce a well-constructed essay explaining the topic of morality as evidenced in Don Giovanni

Stage 3 - Learning Plan Learning Activities: Total Time: 2-3 class periods Introductory Activity: • Attend the final dress rehearsal of Don Giovanni • Allow students time to free-write and brainstorm a list of various issues of morality that were witnessed in the opera Developmental Activity: (At home or in class)   Writing Activity: • Have students respond to the following prompt in essay format: What do you think is the central moral in the story of Don Giovanni? Why? (see “Essential Questions” above for prompts that may help to support students’ reasoning). Closing Activity: (1 class period) Sharing Activity: • Allow students to share an excerpt from their essays with the class. This can be done aloud, on the board, or on large chart paper so that it can be easily seen by everyone. • Compare and contrast the students’ responses to see if there are any prevalent themes.

Lesson Topic: Feminism in the Time of Mozart  Grade Level 11-12 Post-Performance Lesson Plans Length of lesson: 2-3 Class Periods Stage 1 – Desired Results Content Standard(s): Reading Standard MA.8.A: Analyze a work of fiction, poetry, or drama using a variety of critical lenses (e.g., formal, psychological, historical, sociological, feminist). Writing Standard MA.1: Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. Writing Standard MA.3: Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

Understanding(s)/Goals: Students will understand: • How to analyze a character’s personality using the lens of feminism • How to use musical and text evidence to support ideas

Essential Question(s): • What is the modern definition of feminism? • How do the female characters in Don Giovanni “fit” into this definition of feminism, if at all?

Student Objectives (Outcomes): Students will be able to: • Create a personality profile of a female character using evidence from the opera • Write an essay that examines feminism as represented by one of the female characters from Don Giovanni Stage 2 – Assessment Evidence Performance Task(s): Other Evidence: • Organize ideas from the opera into a • Create an outline of ideas from text and narrative music • Produce a well-constructed essay explaining • A knowledge of the “modern” definition of the definition of feminism as it relates to a feminism and the relationship between that female character in Don Giovanni and the feminist view from the time of Mozart

Stage 3 - Learning Plan Learning Activities: Total Time: 2-3 class periods Introductory Activity: Discussion and contextualizing: (outside of class) • Choose one female character to analyze: (Donna Elvira, Zerlina, Donna Anna). • Attend the final dress rehearsal of Don Giovanni. • Create an outline of talking points for the final essay (personality traits that support or contradict the ideals of feminism). Developmental Activity: (At home or in class)   Writing Activity: • Have students respond to the following prompt in essay format: How does this female character support or contradict the ideals of feminism? Closing Activity: (1 class period) Sharing Activity: • Allow students to share an excerpt from their essays with the class. This can be done aloud, on the board, or on large chart paper so that it can be easily seen by everyone. • Compare and contrast the students’ responses to see if there are any prevalent themes.

References and Resources Works Cited: Brophy, Brigid. “Da Ponte and Mozart.” The Musical Times 122, no. 1661 (1981): 454-456. Accessed April 7, 2015. Editors. “Don Juan Fictional Character.” Encyclopedia Britannica Online. Accessed March 31, 2015. http://www.britannica.com/EBchecked/topic/168882/Don-Juan. Montagne, Renee. “'The Librettist of Venice:' Mozart's Poet.” Review of The Librettist of Venice, by Rodney Bolt. National Public Radio, July 26, 2007, Morning Edition. http://www.npr.org/templates/story/story.php?storyId=5586983.

Sadie, Stanley. “Wolfgang Amadeus Mozart.” Encyclopedia Britannica Online. Accessed March 30, 2015. http://www.britannica.com/EBchecked/topic/395455/ Wolfgang-Amadeus-Mozart.

Waxman, Samuel M. “The Don Juan Legend in Literature.” The Journal of American Folklore 21, no. 81 (1908): 184-204. Accessed March 30, 2015. http:// www.jstor.org/stable/534636.