This video came with another copyright strike, of course! But if you'd like to support this channel, you can start by checking out my program, Musicality - a training program for mastering your musicianship. Check it out here: www.insidethescore.com/musicality Thanks everyone - enjoy the video, and I'm hoping here'll be another one out before Christmas!
Cc. "Porgi", It's pronounced "por-gee", not "por-ghi". Just as (Là ci) darÉm" rather than "dàrem". But that's a minor glitch, considering. Otherwise, well done.
Truth to be told, Mozart composed operas throughout his life and most of them are remarkable pieces. What sets Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte aside is that just for these three operas, the genius of Mozart meets the underestimated genius of da Ponte. The sublime music and the marvelous simplicity of the verses feed each other allowing those three works to soar high above any other opera of the time. This is why I get angry every time I hear singers butchering the Italian of the librettos: in these three operas, words are just as important as music and one cannot exist without the others. This is also why I hate directors who take too many liberties: these three operas are so rich that they don't need any added gimmick to shine.
I dont remember Zaide having Da Ponte as the libretto ? ! Which was an unfinished masterpiece. Fools will always think that a libretto writer is on the same artistic level as the writer of the music.
Bach, Beethoven, and Mozart may be the three single best composers the world has ever seen. But none had the apparent lightness and humour and cleverness that Mozart had. He was probably too smart for his own good, but being that clever also made him eternally modern and fresh. Figaro is as fresh today as it was two hundred years ago, and there will always be endless possibilities of modern interpretations.
@@ingvarhallstrom2306 Yes, but saying this is the best or whatever isn't really valid. Various composers composed for different reasons and to different audiences. If they only composed for themselves, we may or may not like it and we'll never know what they would have created. Same with most art. In the end all that matters is did it move you or make you feel something and that's hopefully where we'd leave it instead of getting into classification and ranking like eggs or manufactured products.
@ingvarhallstrom2306 Bach gave us visons of how the Universe is put together.. Beethoven opened our eyes to the beauty and chaos of the world around and within us. Mozart taught us the meanings of heaven and heII, of damnation and redemption.
What’s remarkable to me about Mozart’s operas is that you can hear the dichotomy in them between “writing pretty pleasing music for the nobility and the masses” and “writing music that propels emotional expression into the future.” For every “la ci darem la mano,” you get a “mi tradi quell’alma ingrata,” and in those moments, something opens up in his music. We either get a glimpse into the abyss or into the heavens.
@@ldhdjzjjaklzjdbd6610 Oh it absolutely is! Not saying it isn’t. I’m just saying, it’s the pop hit of the opera (that and “Deh vieni alla finestra”), whereas “Mi tradi quell’alma ingrata” is more of a deep cut. And it has a much deeper emotional significance to the plot, whereas “la ci darem” is a straight love song.
I think it’s interesting too that Mozart and Da Ponte changed how the Don Juan tale is perceived. Before the opera, Don Juan was a largely comic figure and all his exploits were played for laughs. It’s great that Mozart gave the story a darker edge.
In fact, this tragic version was taken from Molière's play, and he was forced by the French king to write a punishing ending for Don Juan so that the play could be staged. A seducer who goes on and on with impunity would have been a false example in the eyes of the king.
The original spanish story of Don Juan was very similar to Mozart/da Pontes version. It had comedy and tragedy. Don Juan was described as a trickster who liked getting the better of others and who was a privelidged noble which protected him from getting the earthly punishment he deserved. He was a seducer, a rapist and also happily set up his 'friend' to be executed after attempting or successfully raping 'donna Anna' (?) While dressed like his friend. He is finally punished via a non earthly finale.
The comment below about Mozart and Shakespeare I think is right on the money. They both had the power to communicate that "nothing human is alien to them". Vividly remember seeing both Figaro and Don Giovanni when I was 12-13 years ago as the PBS station in Los Angeles would show classical music shows from time to time. Was utterly transfixed. Now it's 60 years later and I still find myself awestruck by their sublime greatness.
I'm also awestruck by the operas and oratorios of Handel -he is the equal of both Mozart and Shakespeare as far as being able to express so wonderfully every human emotion-just give you one example from possibly hundreds -the aria "Dove sei? -"Where are you my beloved?" from the opera "Rodelinda" especially in the version sung by Andreas Scholl.I'm so totally moved by the intensity of the emotion of loss that happens in this work -and there are so many others in Handel's works either to Italian words or to English ones.The oratorio "Theodora" to English words is also an absolute favourite-I believe the Glyndebourne production of about 20 years ago had such an emotional impact that 3 ambulances were needed for each performance of the Peter Sellars interpretation.I have the video and every time I watch I'm totally overwhelmed
@@kaloarepo288 I don't know Handel's operas at all (except perhaps for a "greatest hit" here and there). I will have to check them out. For example, I'm a bit embarrassed to admit I've never heard of "Rodelinda" before. Sincerely and ignorantly yours, Still Learning at 72!
@@scottmunson2917 A caution about Handel operas -because castrated male singers were all the rage in Handel's time the modern equivalent is to either use female voices for male roles or to use counter tenors and male sopranos(falsetto voices)Some people can't stomach these voices!I'm surprised you haven't heard the so called the famous Largo from "Xerxes" which was the first "song" ever broadcast when the inventor of radio broadcasting (Fessenden I think)played the vocal version of it "Ombra mai fu" that opens this wonderful opera.Three other wonderful Handel operas are "Orlando","Julius Caesar" and "Tamerlano" -the last is about the Mongol conqueror who defeated and imprisoned the sultan of the Ottomans.I suggest you watch "Theodora" on You Tube in the Peter Sellars version -Sellars set it in contemporary times and his treatment absolutely works as it allows the singers to act and not be weighed down by ancient costumes!
@@kaloarepo288 Oh, I'm aware of the tradition. Can't say it's my absolute favorite either. But fashions/tastes change so much in music and opera in particular. I try not to get too high on my high horse and try to appreciate different tastes/eras/cultures. Sometimes a challenge though!
I think that Mozart’s instrument concertos are some of the best pieces of music ever written (clarinet, flute, piano concertos). And then, Mozart’s operas are music for the gods! So divine, so deep, so inspired that humans will try in vain (and forever) to replicate them… And I agree that Bach and Beethoven were in the same very small group of geniuses with Mozart.
Again, another amazing script by Ricardo Santos! Incredibly moving. I have heard teachers say: 'if you want to begin to understand Mozart, you have to listen to his opera's.' Thanks for giving me the extra nudge to follow through with that advice.
I've been into opera's since I've listened to classical music, some 20+ years now. Unfortunately for me, but also fortune to me, after I really fell in love with opera's I have betrayed my non-operatic classical collection (300+ CD's). But there's nothing I can do about it 🤷🏻♂️ The culprit, the One And Only Don! Have almost 20 recordings (CD, DVD and Blu-ray), and I sincerely believe it's the best opera ever composed. Cesare Siepi stands firm on the Throne, but with Ramey dangerously close (clip shown in the video is with Karajan from Salzburger Festspiele in 1987). This is the reason why my son bares the Serbian version of Giovanni, Jovan. As someone wrote, opera's to Mozart are what symphonies are to Beethoven. But, do give other opera's of Mozart a chance. P.S.: When you are ready to move onwards after Don Giovanni, try Semiramide, by Rossini. Thank me later.
Don Giovanni is one of my favourites. Probably Mozart's darkest opera, but there is still a lot of humor, too. I wonder how an 18th century audience reacted to the Commendatore Scene because musically, it's nothing like what was typical for the era or even for Mozart.
It would have been weird to use your average classical music to represent a scene where a statue takes a man to hell.If I was a 18th century person watching that live I would have freaked out lmao. In the good way ofc
Unfortunately, you didn’t talk about two singspiele of Mozart “The Abduction from the Seraglio” and “The Magic Flute”. They were more revolutionary than his Italian ones because they pushed the German opera to a new level, equal to the Italian one.
The video is about two of Mozart's three operatic collaborations with Italian librettist Lorenzo Da Ponte. Maybe the title of the video should be changed, but the subject matter is in the description. I don't know if Cosi Fan Tutti is discussed here as I have TH-cam on auto-play and think I heard the narrator mention it, but it could have been in passing or in another of his videos.🤔
Mozart was my gateway to opera. Without him I would have been stuck in an orchestra pit playing operas that didn’t interest in any way. Thanks, especially to Marriage of Figaro and Don G I decided to give the opera form another try and have been greatly musically rewarded for doing so.
Great video, but I missed Cosi fan tutte. I have no doubt Cosi deserves the same admiration as its two more famous sisters and is too frequently overlooked. Its music is just as wonderful. Think about moments as Soave sia il vento or Per pietà, ben mio perdona… every ensemble and aria form that opera is just perfect. Most are among the very best Mozart ever composed. The plot, on the other hand, is a brutal, (too) crude exploration of romantic young love and loss of innocence. It is probably the darkest of the three. I hope you find the time to talk about it.
my favourite composer, and truly one of the great geniuse to ever live. You should do a video about his greatest contribution in my mind... the piano concerto... i mean common, the guy was on another level.
Here here brother. Possibly the greatest musical journey I have ever taken was discovering Mozart's piano concertos. It started with the 20th. That is where it 'clicked' for me. Probably the greatest musical paradigm shift of my life.
piano concerto 24 c minor Beethoven loved that piece,20 d minor, PINAO CONCERTO 23 2ND MV STALIN (RUSSIA) LEADER EVIL MAN AS HE WAS DYING SKED TO HEAR THIS MVT DURING HIS LAST BREATHS 16, piano 4 hands 521 3rd mvt. you hear Mozart play spanish music, OR SPANISH MUSIC STARTED FROM THIS 3RD MOVENT, 20:36 th-cam.com/video/Yxx3XPhM8lM/w-d-xo.html LISTEN SPAIN OLA
Please sir make a video on Mozarts Piano Concertos! They are his only works that rival his operas in my eyes. The first movement of the 20th and the 2nd of the 23rd will live on for me as two of the greatest movements ever written in music. For me they are beyond just genius.
That was the hook that made me a deep admirer of Mozart and of classical music in general. I remember hearing his 24th for the first time through an iPod a friend of mine gave me. I’ve never listened to modern music the same since
His late piano concertos, starting from the 20th in D Minor are monumental pieces that basically sets an immortal model for piano concertos of later eras. His earlier ones are wonderful too, but to me there are some works that are not as significant in those range.
There is no difference between earlier and later Mozart. In both periods there is a combination of "serious works" and works required for particular circumstances. But both kinds have masterpieces. kV 160 is an example of his earlier masterpiece.
Yessir, couldn't agree more, the standout movements of those concertos where every movement is just breathtaking. The 1st movement of the 20th is some kind of miracle, and I particularly love that the the cadenza played on it is usually Beethoven's wild, beautiful and perfect condensation of the themes, so you get a mashup of a Mozart and Beethoven 2 in 1! Nice. And the 2nd movement of the 23rd? That a man wrote that with a quill, paper and maybe a harpsichord and violin to hand? Just miraculous.
I’m so glad you made this video - been waiting for something on this subject for a long time. I myself have always wanted to compose a work for the stage, and your musicality course sounds like something fantastic for learning how to do it.
Thank you. I love your exciting and succinct commentary and explanation of the operas. Oftentimes "experts" who cover the same territory are overanalytical and pedantic. You create such genuine enthusiasm, I need to get on a plane and fly to Vienna immediately!
I really enjoyed the video...however in the pre-1786 period, you didn't mention Idomeneo or The Abduction from the Seraglio, of course neither were as influential or ultimately as important as the Da Ponte operas and beyond, but they both have same brilliant music in them that point the way to the more mature opera composer he would become, and I just thought I would make a case for them in passing
Why is the background music so needlessly chopped up? That's what they do in commercials and movies; I wouldn't expect it in a video about music literacy.
Hans Zimmer re-orchestrated that final scene of Don Giovanni in Games of Shadow 😄It's truly one of Hans's masterpieces. I wonder what Mozart would have done if he had all the tech we had today 😊
Also, opera becomes much more attainable if you think of Figaro as a slapstick farce on the subject of sex. It is up there with the best comedies Hollywood has ever offered.
I believe that after this video, I will finally find the opportunity to get to know these operas closely. But for many years and nowadays my heart belongs to the "The Queen of Spades" by Tchaikovsky.
Why do you have insects running around your image? I thought they were on my display at first but soon realized they were recorded with the video. Good content, thank you!
Considering my case I think that exposition to a style of music is of great importance for its adoption and comprehension. Let's face it, the pop music is less demanding to the ears than more elaborated music. You need repeated experience with classical music to get more susceptible to embrace it. But still, you can find a piece of music that can enchant you and makes you eager to learn more about a style of music. In China, the average age for classical audience is about 30 ! When asked how come this young generation is so thrilled with classical music, the answer is from a Chinese is : "From primary school onwards, children receive a great deal of education in music. We organize nearly 600 concerts a year for school children. The young audience of 15/30 year olds therefore naturally comes to attend our concerts."
Why do people who are talented in music are also very powerful in their linguistic expressions? I usually read these comments for the beauty of the words and the way they are “ composed”.
Don Giovanni was written in 1787, the year of the American constitutional convention and the year the French monarchy finally lost control of its finances. The difference in one year from Figaro to Giovanni is that in the earlier the nobility can repent and be forgiven for their crimes, while in the later they are damned. I have seen Don in the small theatre in Prague where it was premiered but the most dramatic occasion was in Melbourne where before the opera began there was a great white screen covering the whole enormous stage and written on it was "1787". It might as well have been written in blood.
"The restored third act was bold, brilliant. The fourth was astounding. l saw a woman disguised in her maid's clothes, hear her husband speak the first tender words he'd offered her in years, simply because he thinks she is someone else. l heard the music of true forgiveness filling the theatre, conferring on all who sat there perfect absolution. God was singing through this little man, to all the world, unstoppable".
You've said that I should try to watch this in my lifetime? No, I want to return from the depths of hell to really appreciate Don Giovanni. I mean, ya'gotta live it to love it, n'est-ce pas?
Already a massive Mozart fan, having grown up, playing his sonatas and one of his concertos. I studied "Figaro," at University and fell in love with the music, but didn't really "get it," until I watched a wonderful production of it by the Kent Opera, in the 1980's. I'm not (sacrilege, according to some) a fan of watching Opera in a language I don't understand, having spent many years struggling to read the synopses of a number of Italian Operas, in the dark and still ending up not really getting the plots, nor the fact that, a lot of the time, the singers (often totally miscast, you know, overweight 60 year olds, singing parts written for 20 year olds) often just stood about, singing with very little in the way of action. And no, for me, "surtitles," are no substitute. I struggle to watch foreign language films, for the same reason, although, for me, subtitles are a better option than awful dubbing! What was wonderful about the Kent, was, not only did they sing in English, so that the, drama, intricacies of the verbal exchanges between the chracters and the humour of the plot (especially, in the case of Figaro) were fully realized, but they "acted" as well as just sang. Their production of Figaro was great. One "twist" they added to the plot, was that The Count, often played as a lecherous, unattractive, old man, was played by an absolute hunk, far more attractive than they guy who played Figaro and who drew gasps from the audience when he entered and I'm sure that some people were left wondering (even though you know she wouldn't be) whether she might be tempted and who would blame her, if she were! 😉😉 Re the music, well, it's a total joy and so often, for me, with Mozart, it's not the moments of instrumental/vocal acrobatics that stir. The Countess's aria, at the beginning of Act II is a thing of pure beauty and every bit as moving as some of the more histrionic ballads you hear in Opera, and in Pop/Rock music, for that matter!
"I'm not (sacrilege, according to some) a fan of watching Opera in a language I don't understand" This sentiment is not entirely uncommon! I'm not an opera person myself but that's because I don't like the timbre of soprano voices.
Of course you had to speak of "Figaro" and "Giovanni"; yet for my tastes "Magic Flute" is equal to, if not greater than, both. So much great music, from Papageno's opening song to the Revenge aria of the Queen of the Night, which is immediately offset by Sarastro's "Within These Sacred Halls": two verses rather than one long aria, major instead of minor, a simple melody instead of vocal fireworks--the two numbers work individually AND paired off against each other! The Flute is as great as any of Mozat's other operas!
Great and interesting doc which works for the intro and interpretation of Mozarts importance to (classical) music. May I add the more neglected opera Midridate which I regards as his earlier but already mature showcase.
BriIIiant briIiant video and expIanations, but I have to put die entführung aus dem seraiI and die zuberfIote into the story to, as first and Iast step; seraiI being the first reaIIy concerted opera in which interesting, exotic and joyous meIodies are tied with many voices and in-story drama, martern aIIer arten is my favorite aria in aII of opera history, on the other hand zauberfIote bring out aII that obscure, mysterious, pagan, magic mystery, with its symboIism, its characters and stories, its exoteric nature, and possibIy one of the best overtures ever in music history
Mozart's political motivations/achievements should not be understimated. It is not a coincidence that the greatest 150 years of Western music, 1685-1815, coincide with the Age of Enlightenment, from the birth of Bach and Handel to the Congress of Vienna. It is also no coincidence that Beethoven's music tracked the progress of the French Revolution, from the Cantata on the Death of Leopold II (1790), in which his middle period is already on full display, to the Eroica (1803), then the period of disenchantment, tearing up the dedication to Napoleon to Wellington's Victory (1813). The late period begins in 1816, just after the Congress of Vienna and the subsequent age of reaction, when he retreats into his inner world with his late sonatas and quartets, the creative soil for his final mature statements to the world, the Missa Solemnis (1819-1823) and the one and only Ninth (1817-1824).
I have seen most of Mozart's operas done by the Seattle Opera. Once, they used an updated English translation from the Italian of Mozart's "The Marriage of Figaro." Everybody of all ages enjoyed this opera immensely. Even though this opera has four acts, the music, singing, and storyline flowed so well. There were so many comic moments in the storyline that it made this opera so entertaining. It is also one of those operas that used a woman dressed as a man, called a "trouser role." Mozart may have intended to use a castrati singer for that role instead of a woman soprano voice. A castrati singer was a young man castrated before puberty to retain his child-like high voice. Another time, Seattle Opera performed Mozart's "Cosi fan Tutti," which was set in the modern era. For example, during the first act, the two women characters use cell phones to admire their boyfriend's picture instead of using small 18th-century images in a handheld frame. The two leading men characters are told by a friend that their girlfriends cannot be trusted, and they try to prove the antagonist wrong by dressing as different people. One singer was dressed in a long trenchcoat with no shirt, and he had six-pack abs with a sizeable hand-drawn tattoo done by a Sharpie marker on his midriff. In another act, one character faints on stage, and they bring out a doctor and a nurse while rolling in a crash cart with paddles to revive him. It was such an enjoyable experience, and I would love to see that production again. In the end, each woman fell in love with the opposite man. I also saw Mozart's darkest opera, "Don Giovanni." This opera retells the story of the gigolo Don Juan, who tries to sleep with multiple women. His servant carries a book of all the names of women he conquered, and he does not care about them or their feelings. During one of the acts, Don Giovanni has a swordfight with a commander who was the father of one of the women he used for his sexual pleasures. In the end, Don Giovanni kills the commander, but the man he killed will return to haunt him to repent for his many indiscretions with all those women. Finally, I saw Mozart's last opera, "The Magic Flute." It's a fantasy story about a man who has many adventures, such as meeting and killing a ten-foot serpent. Later, he meets a birdman named Papageno, who tells many fibs. As a result, three women show up and put a lock on his mouth as punishment for telling so many lies. The most famous aria is done by the Queen of the Night. She is asking her daughter to kill her father, Sarastro. However, if she does not do this task, she will be banished from the Queen's palace and no longer be her daughter. Mozart was a member of the Freemasons, and he used a secret ceremony for a part of the story during the second act. As I mentioned, this is Mozart's last opera because he died unexpectedly from a lousy illness at age 35. Some historians believe he may have died from food poisoning, such as improperly cooked pork at a local Vienna, Austria restaurant. By his death, Mozart had written over 600 pieces, such as piano sonatas, concertos, symphonies, and operas. One could imagine the number of other pieces of music he could have written for all to enjoy listening to. Besides completing that last opera, Mozart finished composing his famous Clarinet in A minor Concerto. His other notable piece of music was his "Requiem Mass in D minor." Yet, he only finished some fragments of music. One of his students finished it by copying Mozart's style of music. We will never know what Mozart intended for it after he died because he did not leave any notes about how he wanted it to be composed and performed. I highly recommend seeing any of Mozart's operas because each one has such good music and great stories.
A wonderful comment. I had the opportunity to listen to a live performance of his Requiem. It was sublime and magnificent. Performed in a cathedral on a catholic holiday. I own a Karajan edition of his 40th and 41th symphonies. They are played with an opera like passion, frantic, fast, forceful. Thank you for posting this comment, it was a great read.
A minor point, but I really prefer to have "Giovanni" pronounced as Italians would, i.e., as "Jovanni." Btw, while considering these two operas as mankind's greatest acievements, I slightly prefer Figaro because its characters are more human, more relatable to, more worthy of sympathy.
You haven't seen Don Giovanni have you. You got the story wrong jumping from the end of the 2nd act to the very end of the opera missing out the whole of the post interval content until the final scene where he is drawn down to hell. Unforgivable.
It's amazing how popular Bruckner is these days (well deserved). I can remember back in the 80s/90s when he was not in the top 20 classical composers that would be name-dropped, now he almost certainly is.
@@GreenTeaViewer indeed, he is by far my favourite composer. Though I’m quite new to classical music. But when I heard his 7th symphony for the first time (recommended by my dad), I could not believe what I was hearing. Also, I heard his 9th live from the Rotterdam Philharmonic Orchestra and I almost was into tears.
@@sybcnoops7527 I know what you mean. I had similar experiences discovering Beethoven and Mozart at around 10, then Bruckner as a teenager. For me it was a Karajan LP of the 4th, and Jochum's 9th. Absolutely life-changing. I love many composers but there is something special about Bruckner.
I remember seeing Verdi's opera "La Forza del Destino" and being struck by both the similarities and the differences between its first scene and that of "Don Giovanni." In both, a young rake breaks into the bedroom of a woman he intends to seduce, is surprised by her father, and he dies. Only in "Forza" the death is an accident: the young man threw down his gun and it went off. In the world of Mozart and da Ponte, actions have consequences and individuals are responsible for what they do. In the world of Verdi and his librettist, Piave, it is all "the force of destiny."
I think that more than anything it's that technology has rewired how our brains work. You talked about it: it's the short form content and the inability of our brains at this point to exert the effort it takes to consume longer works. Youngsters of today are unable to watch LOTR for God's sake! I think everything you mentioned is a part of it, but nothing is going to beat mental reprogramming. At the end of the day it is just something that each person will have to come to realize on their own and will have to make a choice between being a short form content addict, who has no say in what is consumed, or putting the effort into quitting screen dependency and opening infinite doors into worlds of imagination, pleasure, adventure, and sometimes even wisdom. Music is only the second step in this tragedy. The first step is to regain ownership of the human brain that has been hijacked. And yes, I deliberately write long sentences.
Great video, but the clips you showed didn’t actually synch up to what you were talking about. When you recap the figaro act 2 finale the clips are from the act 3 finale.
Lorenzo di Ponte had met Giacomo Casanova, and there's probably a lot of him in Don Giovanni! Despite the hero's infernal fate, DON GIOVANNI is basically a comedy! (It was more popular in Prague than in Vienna--Czechs like a comedy with a tragic ending...)
Where is Mozart's Kv 588 Cosi fan tutte? Le nozze di Figaro, Don Giovanni and Cosi fan tutte are like Father, Son and Holy Ghost of the all operas. You certainly missed the Eiffel Tower in Paris!
There is an awkward and confusing cut between 12:45 and 12:50, a jump from the “Finale” of Act I (the costume party in Don Giovanni’s house, where he tries to rape Zerlina) and the Finale of Act II (The private dinner to which the Commendatore is invited). I suppose it is because of editing problems, but it can have a very puzzling effect in audience.
It is not „prima nocta“ but „ius primae noctis“, the right of the first night. The Latin word for night is not, „noctis“ is the Genitiv meaning „of the night“.
Why is it only two? You can't rank Die Zauberflöte lower than these two. The best opera ever written is one of these three, probably the one I have just listened to.
8:53 I'm guessing this is a joke, because this premiere happened in 1786 and photography was invented in 1822. Not to mention, the way people are dressed here seems more 19th century than 18th century to me. Honestly, the more I'm looking at it, the more it looks like AI art.
Enjoyable description of Mozart's wk. Interesting to know Haydn "gave up" writing Operas....Now, I don't see any contemporary composer giving up writing specific genre just because someone else is simply brilliant as it is described here. Even mediocre musicians in any style will record/post anything as they are surrounded by virtuosos. Just an observation.
This video came with another copyright strike, of course! But if you'd like to support this channel, you can start by checking out my program, Musicality - a training program for mastering your musicianship. Check it out here:
www.insidethescore.com/musicality
Thanks everyone - enjoy the video, and I'm hoping here'll be another one out before Christmas!
Mozart wouldn’t have given you a strike
Cc. "Porgi", It's pronounced "por-gee", not "por-ghi". Just as (Là ci) darÉm" rather than "dàrem".
But that's a minor glitch, considering.
Otherwise, well done.
Anybody knows a place where one can use classical music for one’s videos without copyright infringement?
You have to listen to Ilayaraja India, you will be really feeling well... explain us how knowledge he has in music
Truth to be told, Mozart composed operas throughout his life and most of them are remarkable pieces.
What sets Le Nozze Di Figaro, Don Giovanni and Così Fan Tutte aside is that just for these three operas, the genius of Mozart meets the underestimated genius of da Ponte. The sublime music and the marvelous simplicity of the verses feed each other allowing those three works to soar high above any other opera of the time.
This is why I get angry every time I hear singers butchering the Italian of the librettos: in these three operas, words are just as important as music and one cannot exist without the others. This is also why I hate directors who take too many liberties: these three operas are so rich that they don't need any added gimmick to shine.
I dont remember Zaide having Da Ponte as the libretto ? ! Which was an unfinished masterpiece. Fools will always think that a libretto writer is on the same artistic level as the writer of the music.
I fell in love with opera because of Mozart
Bach, Beethoven, and Mozart may be the three single best composers the world has ever seen. But none had the apparent lightness and humour and cleverness that Mozart had. He was probably too smart for his own good, but being that clever also made him eternally modern and fresh. Figaro is as fresh today as it was two hundred years ago, and there will always be endless possibilities of modern interpretations.
You forgot Handel. Many great composers out there. Wagner, Tchaikovsky, Zelenka, Vivaldi, etc.
@@mrknesiah But you understood my point, yes? Even though I didn't mention "all of the great composers" out there?
@@ingvarhallstrom2306 Yes, but saying this is the best or whatever isn't really valid. Various composers composed for different reasons and to different audiences. If they only composed for themselves, we may or may not like it and we'll never know what they would have created. Same with most art. In the end all that matters is did it move you or make you feel something and that's hopefully where we'd leave it instead of getting into classification and ranking like eggs or manufactured products.
@@mrknesiah Yeah, but that wasn't what my post was about? You're discussing a completely different issue.
@ingvarhallstrom2306
Bach gave us visons of how
the Universe is put together..
Beethoven opened our eyes to the beauty and chaos of the world around and within us.
Mozart taught us the meanings of heaven and heII, of damnation and redemption.
What’s remarkable to me about Mozart’s operas is that you can hear the dichotomy in them between “writing pretty pleasing music for the nobility and the masses” and “writing music that propels emotional expression into the future.” For every “la ci darem la mano,” you get a “mi tradi quell’alma ingrata,” and in those moments, something opens up in his music. We either get a glimpse into the abyss or into the heavens.
La ci Darem la Mano is beautiful tho
@@ldhdjzjjaklzjdbd6610 Oh it absolutely is! Not saying it isn’t. I’m just saying, it’s the pop hit of the opera (that and “Deh vieni alla finestra”), whereas “Mi tradi quell’alma ingrata” is more of a deep cut. And it has a much deeper emotional significance to the plot, whereas “la ci darem” is a straight love song.
I think it’s interesting too that Mozart and Da Ponte changed how the Don Juan tale is perceived. Before the opera, Don Juan was a largely comic figure and all his exploits were played for laughs. It’s great that Mozart gave the story a darker edge.
In fact, this tragic version was taken from Molière's play, and he was forced by the French king to write a punishing ending for Don Juan so that the play could be staged. A seducer who goes on and on with impunity would have been a false example in the eyes of the king.
There was a Don Giovanni opera before Mozart by Gazzaniga.
The original spanish story of Don Juan was very similar to Mozart/da Pontes version. It had comedy and tragedy. Don Juan was described as a trickster who liked getting the better of others and who was a privelidged noble which protected him from getting the earthly punishment he deserved. He was a seducer, a rapist and also happily set up his 'friend' to be executed after attempting or successfully raping 'donna Anna' (?) While dressed like his friend. He is finally punished via a non earthly finale.
@@heinedietiker4943 Ironic considering Louis XIV's own womanising habits.
But predictable. The harshest moralizers are rarely moral themselves. @@DressyCrooner
The comment below about Mozart and Shakespeare I think is right on the money. They both had the power to communicate that "nothing human is alien to them". Vividly remember seeing both Figaro and Don Giovanni when I was 12-13 years ago as the PBS station in Los Angeles would show classical music shows from time to time. Was utterly transfixed. Now it's 60 years later and I still find myself awestruck by their sublime greatness.
I'm also awestruck by the operas and oratorios of Handel -he is the equal of both Mozart and Shakespeare as far as being able to express so wonderfully every human emotion-just give you one example from possibly hundreds -the aria "Dove sei? -"Where are you my beloved?" from the opera "Rodelinda" especially in the version sung by Andreas Scholl.I'm so totally moved by the intensity of the emotion of loss that happens in this work -and there are so many others in Handel's works either to Italian words or to English ones.The oratorio "Theodora" to English words is also an absolute favourite-I believe the Glyndebourne production of about 20 years ago had such an emotional impact that 3 ambulances were needed for each performance of the Peter Sellars interpretation.I have the video and every time I watch I'm totally overwhelmed
@@kaloarepo288 I don't know Handel's operas at all (except perhaps for a "greatest hit" here and there). I will have to check them out. For example, I'm a bit embarrassed to admit I've never heard of "Rodelinda" before. Sincerely and ignorantly yours, Still Learning at 72!
@@scottmunson2917 A caution about Handel operas -because castrated male singers were all the rage in Handel's time the modern equivalent is to either use female voices for male roles or to use counter tenors and male sopranos(falsetto voices)Some people can't stomach these voices!I'm surprised you haven't heard the so called the famous Largo from "Xerxes" which was the first "song" ever broadcast when the inventor of radio broadcasting (Fessenden I think)played the vocal version of it "Ombra mai fu" that opens this wonderful opera.Three other wonderful Handel operas are "Orlando","Julius Caesar" and "Tamerlano" -the last is about the Mongol conqueror who defeated and imprisoned the sultan of the Ottomans.I suggest you watch "Theodora" on You Tube in the Peter Sellars version -Sellars set it in contemporary times and his treatment absolutely works as it allows the singers to act and not be weighed down by ancient costumes!
@@kaloarepo288 Oh, I'm aware of the tradition. Can't say it's my absolute favorite either. But fashions/tastes change so much in music and opera in particular. I try not to get too high on my high horse and try to appreciate different tastes/eras/cultures. Sometimes a challenge though!
To some extent Mozart's operas are the equivalent of Beethoven's contributions to symphonies.
Very true. To the next level of matchless reign.
I think that Mozart’s instrument concertos are some of the best pieces of music ever written (clarinet, flute, piano concertos).
And then, Mozart’s operas are music for the gods! So divine, so deep, so inspired that humans will try in vain (and forever) to replicate them…
And I agree that Bach and Beethoven were in the same very small group of geniuses with Mozart.
Again, another amazing script by Ricardo Santos! Incredibly moving. I have heard teachers say: 'if you want to begin to understand Mozart, you have to listen to his opera's.' Thanks for giving me the extra nudge to follow through with that advice.
I've been into opera's since I've listened to classical music, some 20+ years now. Unfortunately for me, but also fortune to me, after I really fell in love with opera's I have betrayed my non-operatic classical collection (300+ CD's). But there's nothing I can do about it 🤷🏻♂️
The culprit, the One And Only Don! Have almost 20 recordings (CD, DVD and Blu-ray), and I sincerely believe it's the best opera ever composed. Cesare Siepi stands firm on the Throne, but with Ramey dangerously close (clip shown in the video is with Karajan from Salzburger Festspiele in 1987). This is the reason why my son bares the Serbian version of Giovanni, Jovan.
As someone wrote, opera's to Mozart are what symphonies are to Beethoven. But, do give other opera's of Mozart a chance.
P.S.: When you are ready to move onwards after Don Giovanni, try Semiramide, by Rossini. Thank me later.
Don Giovanni is one of my favourites. Probably Mozart's darkest opera, but there is still a lot of humor, too. I wonder how an 18th century audience reacted to the Commendatore Scene because musically, it's nothing like what was typical for the era or even for Mozart.
It would have been weird to use your average classical music to represent a scene where a statue takes a man to hell.If I was a 18th century person watching that live I would have freaked out lmao. In the good way ofc
Was waiting with literally my mouth open
Heck of an intro. Less than 2 minutes in and I am totally invested. Excellent job hooking the viewer in
Unfortunately, you didn’t talk about two singspiele of Mozart “The Abduction from the Seraglio” and “The Magic Flute”. They were more revolutionary than his Italian ones because they pushed the German opera to a new level, equal to the Italian one.
Didn't talk about Idomeneo neither
The video is about two of Mozart's three operatic collaborations with Italian librettist Lorenzo Da Ponte. Maybe the title of the video should be changed, but the subject matter is in the description. I don't know if Cosi Fan Tutti is discussed here as I have TH-cam on auto-play and think I heard the narrator mention it, but it could have been in passing or in another of his videos.🤔
Mozart was my gateway to opera. Without him I would have been stuck in an orchestra pit playing operas that didn’t interest in any way. Thanks, especially to Marriage of Figaro and Don G I decided to give the opera form another try and have been greatly musically rewarded for doing so.
Great video, but I missed Cosi fan tutte. I have no doubt Cosi deserves the same admiration as its two more famous sisters and is too frequently overlooked. Its music is just as wonderful. Think about moments as Soave sia il vento or Per pietà, ben mio perdona… every ensemble and aria form that opera is just perfect. Most are among the very best Mozart ever composed. The plot, on the other hand, is a brutal, (too) crude exploration of romantic young love and loss of innocence. It is probably the darkest of the three. I hope you find the time to talk about it.
my favourite composer, and truly one of the great geniuse to ever live. You should do a video about his greatest contribution in my mind... the piano concerto... i mean common, the guy was on another level.
Here here brother. Possibly the greatest musical journey I have ever taken was discovering Mozart's piano concertos. It started with the 20th. That is where it 'clicked' for me. Probably the greatest musical paradigm shift of my life.
Mozart best music is not well known . Quartets, quintets, isolated piano pieces like Adagio k.540 or Rondo k.511, most of his sacred music etc.
piano concerto 24 c minor Beethoven loved that piece,20 d minor, PINAO CONCERTO 23 2ND MV STALIN (RUSSIA) LEADER EVIL MAN AS HE WAS DYING SKED TO HEAR THIS MVT DURING HIS LAST BREATHS 16, piano 4 hands 521 3rd mvt. you hear Mozart play spanish music, OR SPANISH MUSIC STARTED FROM THIS 3RD MOVENT, 20:36 th-cam.com/video/Yxx3XPhM8lM/w-d-xo.html LISTEN SPAIN OLA
With the exception of Henry Purcell's King Arthur, never have I tried to listen to an opera before. I hope to check out Mozart's operas.
Start with Figaro!
I like the ENO's production of Barber of Seville. I love that I can understand the lyrics.
Check out Puccini's la boheme. This is a piece that is impossible not to fall in love with!
Please sir make a video on Mozarts Piano Concertos! They are his only works that rival his operas in my eyes. The first movement of the 20th and the 2nd of the 23rd will live on for me as two of the greatest movements ever written in music. For me they are beyond just genius.
Maybe also explain how they we’re basically opera pieces as the Piano being the voice. This truly allowing the pieces to become utter masterpieces.
That was the hook that made me a deep admirer of Mozart and of classical music in general. I remember hearing his 24th for the first time through an iPod a friend of mine gave me. I’ve never listened to modern music the same since
His late piano concertos, starting from the 20th in D Minor are monumental pieces that basically sets an immortal model for piano concertos of later eras. His earlier ones are wonderful too, but to me there are some works that are not as significant in those range.
There is no difference between earlier and later Mozart. In both periods there is a combination of "serious works" and works required for particular circumstances. But both kinds have masterpieces. kV 160 is an example of his earlier masterpiece.
Yessir, couldn't agree more, the standout movements of those concertos where every movement is just breathtaking. The 1st movement of the 20th is some kind of miracle, and I particularly love that the the cadenza played on it is usually Beethoven's wild, beautiful and perfect condensation of the themes, so you get a mashup of a Mozart and Beethoven 2 in 1! Nice. And the 2nd movement of the 23rd? That a man wrote that with a quill, paper and maybe a harpsichord and violin to hand? Just miraculous.
I’m so glad you made this video - been waiting for something on this subject for a long time. I myself have always wanted to compose a work for the stage, and your musicality course sounds like something fantastic for learning how to do it.
Excellent video!! Mozart’s Opera’s are truly timeless and beautiful works of art!
8:50 A photograph of the premier of The Marriage of Figaro in 1786, but wasn't the first photograph only taken 41 years later by Nicéphore Niépce?
yeah my thoughts exactly... I don't know if that's just a good painting or if this guy (or his editor) is just ignorant
15:10 Please stop over editing and putting music tracks on top of each other. It becomes noise in the end.
You can still watch Don Giovanni in the Ständeteater/Stavovské divadlo in Prague where it premiered in 1787.
After Lacrimosa dropped, the art of music composing was never the same.
Thank you. I love your exciting and succinct commentary and explanation of the operas. Oftentimes "experts" who cover the same territory are overanalytical and pedantic. You create such genuine enthusiasm, I need to get on a plane and fly to Vienna immediately!
Excellent video! Just one detail that must have slipped unnoticed at 8:50 - a "photo of the première"? in 1786?
Your comments are very insightful, as ever, but the portrait you show as Louis XVI is actually Louis XV. All in all, luminous observations, thank you!
I really enjoyed the video...however in the pre-1786 period, you didn't mention Idomeneo or The Abduction from the Seraglio, of course neither were as influential or ultimately as important as the Da Ponte operas and beyond, but they both have same brilliant music in them that point the way to the more mature opera composer he would become, and I just thought I would make a case for them in passing
To this day Losey's D. Giovanni is the high watermark. The best version of what I feel is the best opera ever created.
Why is the background music so needlessly chopped up? That's what they do in commercials and movies; I wouldn't expect it in a video about music literacy.
Hans Zimmer re-orchestrated that final scene of Don Giovanni in Games of Shadow 😄It's truly one of Hans's masterpieces. I wonder what Mozart would have done if he had all the tech we had today 😊
Probably a lot of cool shit!
You mean: one of Mozarts Masterpieces. Hans Zimmer is not in the same league. I'd compare him to Eybler or Ries 😉
Thank you for this excellent summary and assessment of the significance of these amazing works!
I love this channel so much!!
Also, opera becomes much more attainable if you think of Figaro as a slapstick farce on the subject of sex. It is up there with the best comedies Hollywood has ever offered.
Wonderfully presented 🔥
Great piece of work thanks.
I believe that after this video, I will finally find the opportunity to get to know these operas closely. But for many years and nowadays my heart belongs to the "The Queen of Spades" by Tchaikovsky.
This video is perfect. Thank you!
Why do you have insects running around your image? I thought they were on my display at first but soon realized they were recorded with the video. Good content, thank you!
2:50 That’s Louis XV
Director Milos Forman's rendering of the finale of Don Giovanni in the film "Amadeus" is amazing.
1:34 skip to the stuff that matters.
Considering my case I think that exposition to a style of music is of great importance for its adoption and comprehension. Let's face it, the pop music is less demanding to the ears than more elaborated music. You need repeated experience with classical music to get more susceptible to embrace it. But still, you can find a piece of music that can enchant you and makes you eager to learn more about a style of music. In China, the average age for classical audience is about 30 ! When asked how come this young generation is so thrilled with classical music, the answer is from a Chinese is : "From primary school onwards, children receive a great deal of education in music. We organize nearly 600 concerts a year for school children. The young audience of 15/30 year olds therefore naturally comes to attend our concerts."
I always thought the last scene was giovanni having a dinner by himself while leporello steals some food with an orchestra playing music just for him.
Der Schauspieldirektor has a great terzet in it that foreshadows Mozart's greatest comedic moments in Figaro and Don Giovanni, worth a listen.
Why do people who are talented in music are also very powerful in their linguistic expressions? I usually read these comments for the beauty of the words and the way they are “ composed”.
Don Giovanni was written in 1787, the year of the American constitutional convention and the year the French monarchy finally lost control of its finances. The difference in one year from Figaro to Giovanni is that in the earlier the nobility can repent and be forgiven for their crimes, while in the later they are damned. I have seen Don in the small theatre in Prague where it was premiered but the most dramatic occasion was in Melbourne where before the opera began there was a great white screen covering the whole enormous stage and written on it was "1787". It might as well have been written in blood.
Don't underestimate The Magic Flute!
"The restored third act was bold, brilliant. The fourth was astounding. l saw a woman disguised in her maid's clothes, hear her husband speak the first tender words he'd offered her in years, simply because he thinks she is someone else. l heard the music of true forgiveness filling the theatre, conferring on all who sat there perfect absolution. God was singing through this little man, to all the world, unstoppable".
You've said that I should try to watch this in my lifetime?
No, I want to return from the depths of hell to really appreciate Don Giovanni.
I mean, ya'gotta live it to love it, n'est-ce pas?
Already a massive Mozart fan, having grown up, playing his sonatas and one of his concertos. I studied "Figaro," at University and fell in love with the music, but didn't really "get it," until I watched a wonderful production of it by the Kent Opera, in the 1980's.
I'm not (sacrilege, according to some) a fan of watching Opera in a language I don't understand, having spent many years struggling to read the synopses of a number of Italian Operas, in the dark and still ending up not really getting the plots, nor the fact that, a lot of the time, the singers (often totally miscast, you know, overweight 60 year olds, singing parts written for 20 year olds) often just stood about, singing with very little in the way of action.
And no, for me, "surtitles," are no substitute. I struggle to watch foreign language films, for the same reason, although, for me, subtitles are a better option than awful dubbing!
What was wonderful about the Kent, was, not only did they sing in English, so that the, drama, intricacies of the verbal exchanges between the chracters and the humour of the plot (especially, in the case of Figaro) were fully realized, but they "acted" as well as just sang.
Their production of Figaro was great. One "twist" they added to the plot, was that The Count, often played as a lecherous, unattractive, old man, was played by an absolute hunk, far more attractive than they guy who played Figaro and who drew gasps from the audience when he entered and I'm sure that some people were left wondering (even though you know she wouldn't be) whether she might be tempted and who would blame her, if she were! 😉😉
Re the music, well, it's a total joy and so often, for me, with Mozart, it's not the moments of instrumental/vocal acrobatics that stir.
The Countess's aria, at the beginning of Act II is a thing of pure beauty and every bit as moving as some of the more histrionic ballads you hear in Opera, and in Pop/Rock music, for that matter!
"I'm not (sacrilege, according to some) a fan of watching Opera in a language I don't understand"
This sentiment is not entirely uncommon! I'm not an opera person myself but that's because I don't like the timbre of soprano voices.
I love translated opera. Wish there are any/more of them to watch online.
Of course you had to speak of "Figaro" and "Giovanni"; yet for my tastes "Magic Flute" is equal to, if not greater than, both. So much great music, from Papageno's opening song to the Revenge aria of the Queen of the Night, which is immediately offset by Sarastro's "Within These Sacred Halls": two verses rather than one long aria, major instead of minor, a simple melody instead of vocal fireworks--the two numbers work individually AND paired off against each other! The Flute is as great as any of Mozat's other operas!
Great and interesting doc which works for the intro and interpretation of Mozarts importance to (classical) music. May I add the more neglected opera Midridate which I regards as his earlier but already mature showcase.
BriIIiant briIiant video and expIanations, but I have to put die entführung aus dem seraiI and die zuberfIote into the story to, as first and Iast step; seraiI being the first reaIIy concerted opera in which interesting, exotic and joyous meIodies are tied with many voices and in-story drama, martern aIIer arten is my favorite aria in aII of opera history, on the other hand zauberfIote bring out aII that obscure, mysterious, pagan, magic mystery, with its symboIism, its characters and stories, its exoteric nature, and possibIy one of the best overtures ever in music history
Mozart's political motivations/achievements should not be understimated. It is not a coincidence that the greatest 150 years of Western music, 1685-1815, coincide with the Age of Enlightenment, from the birth of Bach and Handel to the Congress of Vienna. It is also no coincidence that Beethoven's music tracked the progress of the French Revolution, from the Cantata on the Death of Leopold II (1790), in which his middle period is already on full display, to the Eroica (1803), then the period of disenchantment, tearing up the dedication to Napoleon to Wellington's Victory (1813). The late period begins in 1816, just after the Congress of Vienna and the subsequent age of reaction, when he retreats into his inner world with his late sonatas and quartets, the creative soil for his final mature statements to the world, the Missa Solemnis (1819-1823) and the one and only Ninth (1817-1824).
I have seen most of Mozart's operas done by the Seattle Opera. Once, they used an updated English translation from the Italian of Mozart's "The Marriage of Figaro." Everybody of all ages enjoyed this opera immensely. Even though this opera has four acts, the music, singing, and storyline flowed so well. There were so many comic moments in the storyline that it made this opera so entertaining. It is also one of those operas that used a woman dressed as a man, called a "trouser role." Mozart may have intended to use a castrati singer for that role instead of a woman soprano voice. A castrati singer was a young man castrated before puberty to retain his child-like high voice.
Another time, Seattle Opera performed Mozart's "Cosi fan Tutti," which was set in the modern era. For example, during the first act, the two women characters use cell phones to admire their boyfriend's picture instead of using small 18th-century images in a handheld frame. The two leading men characters are told by a friend that their girlfriends cannot be trusted, and they try to prove the antagonist wrong by dressing as different people. One singer was dressed in a long trenchcoat with no shirt, and he had six-pack abs with a sizeable hand-drawn tattoo done by a Sharpie marker on his midriff. In another act, one character faints on stage, and they bring out a doctor and a nurse while rolling in a crash cart with paddles to revive him. It was such an enjoyable experience, and I would love to see that production again. In the end, each woman fell in love with the opposite man.
I also saw Mozart's darkest opera, "Don Giovanni." This opera retells the story of the gigolo Don Juan, who tries to sleep with multiple women. His servant carries a book of all the names of women he conquered, and he does not care about them or their feelings. During one of the acts, Don Giovanni has a swordfight with a commander who was the father of one of the women he used for his sexual pleasures. In the end, Don Giovanni kills the commander, but the man he killed will return to haunt him to repent for his many indiscretions with all those women.
Finally, I saw Mozart's last opera, "The Magic Flute." It's a fantasy story about a man who has many adventures, such as meeting and killing a ten-foot serpent. Later, he meets a birdman named Papageno, who tells many fibs. As a result, three women show up and put a lock on his mouth as punishment for telling so many lies. The most famous aria is done by the Queen of the Night. She is asking her daughter to kill her father, Sarastro. However, if she does not do this task, she will be banished from the Queen's palace and no longer be her daughter. Mozart was a member of the Freemasons, and he used a secret ceremony for a part of the story during the second act. As I mentioned, this is Mozart's last opera because he died unexpectedly from a lousy illness at age 35. Some historians believe he may have died from food poisoning, such as improperly cooked pork at a local Vienna, Austria restaurant. By his death, Mozart had written over 600 pieces, such as piano sonatas, concertos, symphonies, and operas. One could imagine the number of other pieces of music he could have written for all to enjoy listening to. Besides completing that last opera, Mozart finished composing his famous Clarinet in A minor Concerto. His other notable piece of music was his "Requiem Mass in D minor." Yet, he only finished some fragments of music. One of his students finished it by copying Mozart's style of music. We will never know what Mozart intended for it after he died because he did not leave any notes about how he wanted it to be composed and performed.
I highly recommend seeing any of Mozart's operas because each one has such good music and great stories.
A wonderful comment. I had the opportunity to listen to a live performance of his Requiem. It was sublime and magnificent. Performed in a cathedral on a catholic holiday. I own a Karajan edition of his 40th and 41th symphonies. They are played with an opera like passion, frantic, fast, forceful. Thank you for posting this comment, it was a great read.
What about Cosi Fan Tutte? It was the 3rd and last Mozart Da Ponte collaboration and is a glorious, intelligent and heart wrenching opera.
Beautifully done presentation.
Cosí fan tutte is another masterpiece.
A minor point, but I really prefer to have "Giovanni" pronounced as Italians would, i.e., as "Jovanni." Btw, while considering these two operas as mankind's greatest acievements, I slightly prefer Figaro because its characters are more human, more relatable to, more worthy of sympathy.
You haven't seen Don Giovanni have you. You got the story wrong jumping from the end of the 2nd act to the very end of the opera missing out the whole of the post interval content until the final scene where he is drawn down to hell. Unforgivable.
1:34 Mozart - Symphony No. 40, mvmt. 2
That was Brilliant
Love your content, though could you maybe make a video on Bruckner?
It's amazing how popular Bruckner is these days (well deserved). I can remember back in the 80s/90s when he was not in the top 20 classical composers that would be name-dropped, now he almost certainly is.
@@GreenTeaViewer indeed, he is by far my favourite composer. Though I’m quite new to classical music. But when I heard his 7th symphony for the first time (recommended by my dad), I could not believe what I was hearing. Also, I heard his 9th live from the Rotterdam Philharmonic Orchestra and I almost was into tears.
@@sybcnoops7527 I know what you mean. I had similar experiences discovering Beethoven and Mozart at around 10, then Bruckner as a teenager. For me it was a Karajan LP of the 4th, and Jochum's 9th. Absolutely life-changing. I love many composers but there is something special about Bruckner.
Nice video! Could you also Make one on Jean Sibelius?
This is a gorgeous, gorgeous video that urged me to want to listen to these operas.
Btw, Can you please make one focusing on just Debussy?
MORE OPERA VIDEOS PLEASE!!!
great work, thanks a lot
What about cosi fan tutte? Wonderful opera with da ponte - intelligent and sublime!
Pretty brutal that Giovani's end hah
Eighty percent of the music I listen to is Mozart. Ninety percent of that is his operas.
Great video.
"Might" root for him ?! The guy stands up to a supernatural statue of a living-dead ! Don Juan is a humanist hero in my book
At a certain point I realized i'm not much of a classical fan, but fuck do I love Mozart. Die Zauberflote is chef's kiss too.
I remember seeing Verdi's opera "La Forza del Destino" and being struck by both the similarities and the differences between its first scene and that of "Don Giovanni." In both, a young rake breaks into the bedroom of a woman he intends to seduce, is surprised by her father, and he dies. Only in "Forza" the death is an accident: the young man threw down his gun and it went off. In the world of Mozart and da Ponte, actions have consequences and individuals are responsible for what they do. In the world of Verdi and his librettist, Piave, it is all "the force of destiny."
I think that more than anything it's that technology has rewired how our brains work. You talked about it: it's the short form content and the inability of our brains at this point to exert the effort it takes to consume longer works. Youngsters of today are unable to watch LOTR for God's sake! I think everything you mentioned is a part of it, but nothing is going to beat mental reprogramming. At the end of the day it is just something that each person will have to come to realize on their own and will have to make a choice between being a short form content addict, who has no say in what is consumed, or putting the effort into quitting screen dependency and opening infinite doors into worlds of imagination, pleasure, adventure, and sometimes even wisdom. Music is only the second step in this tragedy. The first step is to regain ownership of the human brain that has been hijacked. And yes, I deliberately write long sentences.
Great video, but the clips you showed didn’t actually synch up to what you were talking about. When you recap the figaro act 2 finale the clips are from the act 3 finale.
Lorenzo di Ponte had met Giacomo Casanova, and there's probably a lot of him in Don Giovanni!
Despite the hero's infernal fate, DON GIOVANNI is basically a comedy! (It was more popular in Prague than in Vienna--Czechs like a comedy with a tragic ending...)
Le GOAT
8:53 i don't get him saying the image is a photo of the premiere, photography wasn't invented at that time. Great video otherwise
What is the piano song playing at the very end of the video? It sounds familiar but I can't remember the name.
uh oh, the beginning got cut off
Where is Mozart's Kv 588 Cosi fan tutte? Le nozze di Figaro, Don Giovanni and Cosi fan tutte are like Father, Son and Holy Ghost of the all operas. You certainly missed the Eiffel Tower in Paris!
Totally Agree with you😊😊😊😊
The voice of God
There is an awkward and confusing cut between 12:45 and 12:50, a jump from the “Finale” of Act I (the costume party in Don Giovanni’s house, where he tries to rape Zerlina) and the Finale of Act II (The private dinner to which the Commendatore is invited). I suppose it is because of editing problems, but it can have a very puzzling effect in audience.
It is not „prima nocta“ but „ius primae noctis“, the right of the first night. The Latin word for night is not, „noctis“ is the Genitiv meaning „of the night“.
The portrait was of king Louis the XV, not XVI
Why is it only two? You can't rank Die Zauberflöte lower than these two. The best opera ever written is one of these three, probably the one I have just listened to.
16:00 whats the name of this music? I cant remember it's name damnn
Nice content! Abbey Road reaction - or just a few words at least, when it comes to melody and harmony in "modern music".
Pretty sure 1:23 is Tristan und Isolde
8:53 I'm guessing this is a joke, because this premiere happened in 1786 and photography was invented in 1822. Not to mention, the way people are dressed here seems more 19th century than 18th century to me.
Honestly, the more I'm looking at it, the more it looks like AI art.
I think it's a mistake and yeah looks like the 19th century.
Please please please make a: why listen to video about Prokofjev!!!
Enjoyable description of Mozart's wk. Interesting to know Haydn "gave up" writing Operas....Now, I don't see any contemporary composer giving up writing specific genre just because someone else is simply brilliant as it is described here. Even mediocre musicians in any style will record/post anything as they are surrounded by virtuosos. Just an observation.
2065 is the actual number of women in Don G's list lol
Opera Recapped
So his basically the Shakespeare for classical music? Yeah wich all known.
Exactly