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  关于本歌剧主角背后的传说，请见“唐璜”。

莫扎特歌剧作品
第一诫的义务（1767年） 阿波罗与雅辛托斯（1767年） 巴斯蒂安与巴斯蒂妮（1768年） 善意的谎言（1768年） 本都王米特里达梯（1770年） 阿斯卡尼俄斯在阿尔巴（1771年） 西庇阿之梦（1772年） 卢基乌斯·苏拉（1772年） 假扮园丁的姑娘（1774年） 牧羊王（1775年） 埃及王塔莫斯（1779年） 赛蒂（1780年） 依多美尼欧（1781年） 后宫诱逃（1782年） 开罗之鹅（1784年） 失望的新郎（1784年） 剧院经理（1786年） 费加罗的婚礼（1786年） 唐·乔望尼（1787年） 女人皆如此（1790年） 魔笛（1791年） 狄托的仁慈（1791年）

《唐·乔望尼》（意大利语：Don Giovanni；全名《浪子终受罚，或唐·乔望尼》，Il dissoluto punito, ossia il Don Giovanni，作品号K.527；又译乔望尼先生），是一部由著名作曲家沃尔夫冈·阿马多伊斯·莫扎特谱曲，洛伦佐·达·彭特作词的二幕意大利语歌剧，首演于1787年10月29日的布拉格城邦剧院，由莫札特本人亲自指挥。

《唐·乔望尼》虽然和很多其他歌剧一样，以唐璜为主要人物，但这个版本被普遍认为是在众多版本中最为出类拔萃的。而达·彭特为歌剧准备的剧本，把该剧归类为“诙谐戏剧(dramma giocoso)”，而莫札特自己则把该剧收入“喜歌剧(Opera buffa)”的分类下。虽然常常被归类为喜剧，但是实际上该剧融合了喜剧、悲剧甚至超自然事件的元素。

丹麦哲学家索伦·奥贝·克尔凯郭尔在《非此即彼(Enten-Eller)》里的一篇长篇论文中，引用夏尔·古诺的说话，指出《唐·乔望尼》是一套“没有瑕疵，毫无间断的完美(作品)”。该剧的终曲，当中唐·乔望尼拒绝悔改，引起了成为不少作家笔下的哲学性和艺术性主题，当中包括萧伯纳在《人与超人(Man and Superman)》当中反讽地模仿这一幕，还详细地列出最后这一幕的乐谱。

1979年，约瑟夫·罗西 (Joseph Losey)，曾将整套歌剧搬上大萤幕。著名的唐·乔望尼扮演者包括男低音艾齐欧·平扎 (Ezio Pinza)、西萨·西艾皮 (Cesare Siepi)、诺曼·特雷哥(Norman Treigle)以及男中音迪特里希·费雪尔-迪斯考、托马斯·汉普逊和托马士·阿伦等等。

根据美国歌剧协会的数据显示，现时《唐·乔望尼》在北美地区上演的频率，名列第七。

创作历程和首演

自1787年6月剧本完成后，莫札特便开始开始谱曲，直至同年10月28日完成。而在莫札特作曲的同时便开始彩排，作词和作曲同时在场，以便即场作出修改，但首演也因此延迟。一般相信，莫札特最后才完成序曲的创作，传抄人员在首演前一刻才完成抄写，谱上墨水才刚刚干，就拿去给乐团，即场试读演奏。

整套歌剧，以全名“Il Dissoluto Punito ossia il Don Giovanni Dramma giocoso in due atti”于1787年10月29日在布拉格首演，一如既往，反应狂热。《布拉格邸报 (Prager Oberamtszeitung)》报导中指出：“音乐行家和演奏家都说，布拉格从未听过这样的(音乐)”，还指出“这套歌剧……表演难度极高。”维也纳《省内新闻报(Provincialnachrichten)》指出：“莫札特先生亲自指挥，并获得来自各个阶层愉悦地欢迎。”

1788年5月7日的维也纳首演，莫札特也是亲自督阵。为了这次首演，莫札特分别为两位独唱家，增写了两首咏叹调和其相关的宣叙调：第一首为扮演唐·奥塔维奥的男高音范切斯科·莫瑞拉(Francesco Morella)，写于4月24日“我的快乐建筑在她的安好之上(Dalla sua pace)” (作品号 K. 540a)；另一首则是4月30日落笔，为扮演艾维拉的女高音卡塔里娜·卡拉利耶里(Catarina Cavalieri)的“多深的罪孽……这个坏人背叛了我(In quali eccessi … Mi tradì quell'alma ingrata)” (作品号 K.540c) ；另外在4月28日，还增写了利波雷洛和泽林娜的二重唱“你这对纤纤小玉手 (Per queste tue manine)” (作品号 K.540b)。

演出安排

莫札特的原谱中要求，宣叙调中使用的木管、圆号、小号、定音鼓和低音羽管键琴都是一般配置的双倍，而弦乐部则保持一般配置。同时，莫札特在不少地方要求一些特别音效，如在第一幕尾的舞会场景，莫札特就要求三支乐队同时在台上演奏不同的舞曲，而不同主角则于此时在台上跳不同的舞蹈。而在第二幕，观众将看到唐·乔望尼在台上演奏曼陀林(mandolin)，弦乐部则以拨奏(pizzicato)加以伴奏。而该幕稍后部分，骑士长的石像首次发话之时，莫札特另加三支长号，增加气势。

演出安排

莫札特的原谱中要求，宣叙调中使用的木管、圆号、小号、定音鼓和低音羽管键琴都是一般配置的双倍，而弦乐部则保持一般配置。同时，莫札特在不少地方要求一些特别音效，如在第一幕尾的舞会场景，莫札特就要求三支乐队同时在台上演奏不同的舞曲，而不同主角则于此时在台上跳不同的舞蹈。而在第二幕，观众将看到唐·乔望尼在台上演奏曼陀林（mandolin），弦乐部则以拨奏（pizzicato）加以伴奏。而该幕稍后部分，骑士长的石像首次发话之时，莫札特另加三支长号，增加气势。

而直至20世纪中叶，该剧的终曲都会在演出中删去，而且在1788年供维也纳首演的辞本。但今时今日，终曲总会足本上演。

而另一个现代处理，就是要求扮演唐·奥塔维奥的男高音，都要演唱“我的宝贝(Il mio tesoro)”和“我的快乐建筑在她的安好之上”两首咏叹调，但事实上莫札特因当时歌手能力问题，在维也纳首演以后者取代前者，以降低难度。以另一方面，“你这对纤纤小玉手”在现代的制作往往会被忽略。

角色

角色	音域	世界首演 - 1787年10月29日 (莫札特指挥)	维也纳首演 -1788年[5月7日]] (莫札特指挥)
唐·乔望尼 (Don Giovanni)，极度放荡的年轻贵族	男中音或男中低音	巴斯(Luigi Bassi)	阿伯塔雷利 (Francesco Albertarelli)
骑士长唐佩德洛 (Il Commendatore, Don Pedro)	男中音	罗利(Giuseppe Lolli)	布山尼(Francesco Busani)
Donna Anna, his daughter, betrothed to Don Ottavio	soprano	Teresa Saporiti	Aloysia Weber
Don Ottavio	tenor	Antonio Baglioni	Francesco Morella
Donna Elvira, a lady of Burgos abandoned by Don Giovanni	soprano or mezzo-soprano	Katherina Micelli	Caterina Cavalieri
Leporello, Don Giovanni's servant	bass or bass-baritone	Felice Ponziani	Francesco Benucci
Masetto, a peasant	baritone or bass	Giuseppe Lolli	Francesco Busani
Zerlina, Masetto's Fiancee	soprano	Caterina Bondini	Luisa Mombelli
Chorus: peasants, servants, young ladies, musicians

Cavalieri (Donna Elvira) had been the first Konstanze in Die Entführung aus dem Serail; Benucci (Leporello) the first Figaro in Le nozze di Figaro, and Weber, Mozart's sister-in-law, frequently sang in his works.

Synopsis

Don Giovanni, a young nobleman, after a life of amorous conquests, meets defeat in three encounters. The first is with Donna Elvira, whom he has deserted but who still follows him. The second is with Donna Anna, who must postpone her marriage to Don Ottavio after Don Giovanni tries to rape her and kills her father, the Commendatore, while escaping afterwards. The third is with Zerlina, whom he vainly tries to lure from her fiancé, the peasant Masetto. All vow vengeance on Don Giovanni and his harassed servant Leporello. Elvira alone weakens in her resolution and attempts reconciliation in the hope that Giovanni will reform. Don Giovanni's destruction and deliverance to hell are effected by the cemetery statue of the Commendatore, who had accepted the libertine's invitation to supper.

Act 1

The garden of the Commendatore

Leporello is keeping watch outside Donna Anna's house. Don Giovanni, Leporello's master, has crept into the house in order to seduce Donna Anna. (Leporello aria: "Notte e giorno faticar — I work night and day"). Donna Anna appears, chasing a masked Giovanni. She wishes to know who he is and she cries for help. (Trio: "Non sperar, se non m'uccidi — You shan't flee, unless you kill me"). The Commendatore, Anna's father, appears and challenges Giovanni to a duel while Donna Anna flees for help. Giovanni stabs the Commendatore, kills him, and escapes unrecognized. Anna, upon returning with her fiancé, Don Ottavio, is horrified, and Don Ottavio swears to avenge his betrothed's father. (Duet: "Fuggi, crudele fuggi — Flee, cruel one, flee").

A public square outside Don Giovanni's palace

Giovanni and Leporello arrive and hear a woman (Donna Elvira) speaking of having been recently spurned and calling for revenge (Elvira aria: "Ah, chi mi dice mai — Ah, who could tell me"). Giovanni starts to flirt with her, but as she turns to look at him, recognizes her as a recent conquest. At this, he shoves Leporello forward, ordering him to tell Elvira the truth, and then hurries away.

Leporello endeavours to console Elvira and unrolls a list of Don Giovanni's lovers. Comically, he rattles off their number and their country of origin: 640 in Italy, 231 in Germany, 100 in France, 91 in Turkey, and 1,003 in Spain. (Leporello aria: "Madamina, il catalogo è questo — My little lady, this is the catalogue"). In a frequently-cut recitative, Elvira vows vengeance.

When she leaves, a marriage procession with Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Giovanni immediately is attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realizing that Giovanni means to remain behind with Zerlina, Masetto becomes angry (Masetto aria: "Ho capito! Signor, sì — I understand! Yes, dear sir"). Don Giovanni and Zerlina are soon alone and he immediately begins his seductive arts. (Duet: "Là ci darem la mano — There we will entwine our hands").

Elvira arrives and thwarts the seduction (Elvira aria: "Ah, fuggi il traditor — Flee from the traitor!"), followed shortly by Ottavio and Anna who are plotting vengeance on the still unknown murderer of Anna's father, when they run into Giovanni. Anna, unaware that she is speaking to her attacker, pleads for his help. Giovanni readily promises it, and asks —with great concern— what cruel man would dare to disturb her peace; obviously, he still sees a chance with Anna. But Don Giovanni is out of luck again: Elvira returns and announces Giovanni's recent betrayal of her. Giovanni answers her reproaches by declaring to Ottavio and Anna that Elvira is insane. (Quartet: "Non ti fidar, o misera — Don't trust him, oh sad one"). With Giovanni's departing oath to help find the Commendatore's murderer, Anna suddenly recognizes Giovanni as her seducer and also his murderer. (Anna aria: "Or sai chi l'onore — He is the one who robbed me of my honour"). Ottavio, not convinced, determines to keep an eye on his friend. (Ottavio aria: "Dalla sua pace — On her peace.")

Leporello, still half-determined to leave Don Giovanni, informs him that all the guests of the peasant wedding are in Giovanni's house, that he distracted Masetto from his jealousy, but that Zerlina's post-seduction return had spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organize a party. (Giovanni's champagne aria: "Fin ch'han dal vino — Finally, with the wine."). He hurries off to his palace.

Zerlina follows the jealous Masetto and tries to pacify him. (Zerlina's aria: "Batti, batti o bel Masetto — Beat me, oh lovely Masetto"), but just as she manages to persuade him of her innocence, Don Giovanni's voice startles her, making her want to flee. Masetto's trust evaporating in an instant, the jealous groom hides and wants to see for himself what Zerlina will do when Giovanni arrives. In vain, Zerlina hides from Don Giovanni, but he continues the seduction before stumbling upon Masetto. Confused but quickly recovering, Giovanni claims Zerlina was very sad that Masetto was away from her, and he returns her temporarily. He then leads both to the bridal chamber, which has been lavishly decorated. Leporello has also invited three masked guests (the disguised Elvira, Ottavio, and Anna) who plan to catch Giovanni red-handed, if possible.

Ballroom

As the merriment proceeds, Don Giovanni leads Zerlina away, while Leporello distracts Masetto. When Zerlina's cry for help is heard, Leporello dashes off to warn his master. Don Giovanni tries to fool the onlookers by dragging his servant into the room with drawn sword and accuses him of seducing Zerlina. Elvira, Ottavio and Anna unmask, claiming that they now know all. The guests do not believe Giovanni and attack him, but he fights his way through the crowd and escapes...

Act 2

Outside Elvira's house

Leporello threatens to leave Giovanni, but his master calms him with a peace offering of money. (Duet: "Eh via buffone — Come on, buffoon"). Wanting to seduce Elvira's maid, Giovanni persuades Leporello to exchange cloak and hat with him. Elvira comes to her window. (Trio: "Ah taci, ingiusto core — Ah, be quiet unjust heart"). Seeing an opportunity for a game, Giovanni hides, sending Leporello out in the open dressed as Giovanni and, from his hiding place sings a promise of repentance, expressing a desire to return to her. Elvira is convinced and descends to the street. She thinks that Leporello (who is wearing his master's clothes) is actually Giovanni. Leporello leads her away to keep her occupied while Giovanni attempts to seduce her maid while accompanying himself on the mandolin. (Giovanni aria: "Deh vieni alla finestra — Come to the window").

Before Giovanni can complete his seduction of the maid, Masetto and his friends arrive, searching for Giovanni. Giovanni (dressed as Leporello) convinces the posse that he also wants Giovanni dead, and joins the hunt. After separating the group (Giovanni aria: "Metà di voi qua vadano — Half of you go this way"), Giovanni "confiscates" all the firearms and beats up the unarmed Masetto, then flees laughing. Zerlina arrives and consoles Masetto. (Zerlina aria: "Vedrai carino — Come dear one").

A dark courtyard

Leporello abandons Elvira. (Sextet: "Sola, sola in buio loco — Alone in this dark place"). As he tries to escape, Ottavio arrives with Anna, consoling her in her grief. Just as Leporello is about to slip through the door, which he has difficulty finding, Zerlina and Masetto open it and, seeing him in his Giovanni regalia, catch him before he can escape. When Anna and Ottavio notice what is going on all move to surround Leporello, threatening him with death. Elvira tries to protect the man whom she thinks is Giovanni, claiming that he is her husband and begging for pity. The other four ignore her, and Leporello removes his cloak to reveal his true identity. While everyone is so taken aback in the confusion, Leporello is able to escape (Leporello aria: "Ah pietà signori miei — Ah, pity me, my lords"). Given the circumstances, Ottavio is convinced of Giovanni's guilt and swears vengeance (Ottavio aria: "Il mio tesoro — My treasure") while Elvira is furious at Giovanni for betraying her. (Elvira aria: "Mi tradì quell'alma ingrata — That ungrateful wretch betrayed me").

A graveyard with the statue of the Commendatore.

Leporello tells Don Giovanni of his near-death experience, and Giovanni taunts him, throwing in a story of his own, one of a near-success with a woman in love with Leporello. But the servant is not amused, suggesting it could have been his wife, and Don Giovanni laughs aloud at his servant's protests. The voice of the statue warns Giovanni that his laughter will not last beyond sunrise. At the request of his master, Leporello reads the inscription upon the statue's base: "Vengeance here awaits my murderer." The servant trembles, but the unabashed Giovanni orders him to invite the statue to dinner, threatening to kill him if he does not. (Duet: "Oh, statua gentilissima — Oh most kind statue"). Leporello makes several attempts to invite the statue to dinner but for fear cannot complete the task. It falls upon Don Giovanni himself to complete the invitation thereby sealing his own doom. The statue nods its head and responds affirmatively.

Donna Anna's room.

Ottavio pressures Anna to marry him, but she thinks it inappropriate so soon after her father's death. He accuses her of being cruel, and she assures him that she loves him, and is faithful. (Anna aria: "Non mi dir — Tell me not").

Don Giovanni's chambers

Giovanni revels in the luxury of a great meal and musical entertainment (during which the orchestra plays then-contemporary late 18th century music — including a reference to the aria "Non più andrai" from Mozart's own Le nozze di Figaro), while Leporello serves. (Finale "Già la mensa preparata — Already the meal is prepared"). Elvira appears, saying that she no longer feels resentment for Giovanni, only pity. ("L'ultima prova dell'amor mio — The final proof of my love"). Surprised by her lack of hatred, Giovanni asks what it is that she wants, and there follows her desperate plea that he change his life. This is met only with one reply: "Brava!", as Giovanni taunts her and then ignores her, praising wine and women as the "essence and glory of humankind". Hurt and angered, Elvira gives up and leaves. A moment later, her scream is heard from outside the walls of the palace, and she returns only to flee through another door. Giovanni orders Leporello to see what has upset her; upon peering outside, the servant also cries out, and runs back into the room with the news that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Giovanni opens it himself, revealing the statue of the Commendatore. ("Don Giovanni! a cenar teco m'invitasti — Don Giovanni! You've invited me to dine with you"). It exhorts the careless villain to repent of his wicked lifestyle, but Giovanni adamantly refuses. The statue sinks into the earth and drags Giovanni down with him. Hellfire surrounds Don Giovanni as he is carried below.

Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for the villain. They find instead Leporello under the table, shaken by the horrors he has witnessed and which he describes to the others. Since the conflict is over, Anna and Ottavio choose to wait until Anna's year of grieving is over before marrying; Elvira will spend the rest of her life in a convent; Zerlina and Masetto will finally go home for dinner; and Leporello will find a new master at a tavern.

The concluding chorus delivers the moral of the opera — "So ends he who evil did. The death of a sinner always reflects his life" (Questo è il fin). In the past, this ensemble was sometimes omitted by conductors who claimed that this concluding chorus was never really considered to be a part of the opera. However, this approach has not survived, and today's conductors almost always perform the complete opera as composed by Mozart.

Noted arias

• "Notte e giorno faticar" — Leporello in Act I, Scene I
• "Ah! chi mi dice mai" — Donna Elvira in Act I, Scene V
• "Madamina, il catalogo è questo" — Leporello in Act I, Scene V
• "Ho capito, signor, sì" — Masetto in Act I, Scene VIII
• "Là ci darem la mano" — Don Giovanni & Zerlina in Act I, Scene IX
• "Ah, fuggi il traditor" — Donna Elvira in Act I, Scene X
• "Don Ottavio... Or sai chi l'onore" — Donna Anna in Act I, Scene XIII
• "Dalla sua pace" — Don Ottavio in Act I, Scene XIV
• "Fin ch'han dal vino" — Don Giovanni in Act I, Scene XV
• "Batti, batti, o bel Masetto" — Zerlina in Act I, Scene XVI
• "Deh, vieni alla finestra" — Don Giovanni in Act II, Scene III
• "Metà di voi qua vadano" — Don Giovanni in Act II, Scene IV
• "Vedrai, carino" — Zerlina in Act II, Scene VI
• "Ah, pietà! Signori miei!" — Leporello in Act II, Scene IX
• "Il mio tesoro" — Don Ottavio in Act II, Scene X
• "In quali... Mi tradì quell'alma ingrata" — Donna Elvira in Act II, Scene X
• "Troppo mi... Non mi dir" — Donna Anna in Act II, Scene XII
• "Don Giovanni, a cenar teco m'invitasti" — Don Giovanni, Leporello & Commendatore in Act II, scene XV

Don Giovanni and other composers

The sustained popularity of Don Giovanni has resulted in extensive borrowings and arrangements of the original. The most famous and probably the most musically substantial is the operatic fantasy, Réminiscences de Don Juan by Franz Liszt. The minuet from the Finale of Act I makes an incongruous appearance in the manuscript of Liszt's Fantasie on Two Motives from Mozart's "Marriage of Figaro", and Sigismond Thalberg uses the same minuet, along with Deh vieni alla finestra, in his Grand Fantaisie sur la serenade et le Minuet de Don Juan, Op. 42. Deh vieni alla finestra also makes an appearance in the Klavierübung of Ferruccio Busoni, under the title "Variations-Studie nach Mozart" (Variation-study after Mozart). Beethoven, Danzi and Chopin each wrote a series of variations on the duet between Don Giovanni and Zerlina, Là ci darem la mano. And Beethoven, in his Diabelli Variations, alludes to Leporello's aria "Notte e giorno faticar" in Variation 30.

The music from Don Giovanni has also featured in a number of movie soundtracks, including Amadeus, It Happened in Brooklyn, Parting Glances, Some Girls, Madagascar Skin, Il Cermonie, and The Bonfire of the Vanities. The aria Il mio tesoro is used as the main theme to the classic Ealing comedy Kind Hearts and Coronets. In addition, Là ci darem la mano is performed in Babette's Feast between one virginal female lead, Philippa, and her suitor, the opera singer Achille Papin, at a moment of romantic indecision that mirrors the circumstances of the opera.

Selected recordings

Although not recorded as often as Figaro, there is no shortage of recordings of Don Giovanni, so a small sampling will suffice.

One of the most critically acclaimed recordings is Carlo Maria Giulini's (1959) recording for EMI, with Eberhard Wachter (Don Giovanni), Giuseppe Taddei (Leporello), Elisabeth Schwarzkopf (Donna Elvira), Joan Sutherland (Donna Anna), Luigi Alva (Don Ottavio) and the London Philharmonia Orchestra.

Other notable efforts include: Bernard Haitink's 1993 recording for EMI with Thomas Allen, Stafford Dean, Carol Vaness and Maria Ewing; and Colin Davis' 1992 recording for Philips with Ingvar Wixell, Mirella Freni, Kiri Te Kanawa and Wladimiro Ganzarolli.

More recent critically praised recordings include René Jacobs' (2007) recording for Harmonia Mundi with Johannes Weisser (Don Giovanni), Lorenzo Regazzo (Leporello), Alexandrina Pendatchanska (Donna Elvira), Olga Pasichnyk (Donna Anna), Kenneth Tarver (Don Ottavio), and the Freiburg Baroque Orchestra.

Don Giovanni has also been recorded in languages other than Italian, for example, David Parry's 2000 recording for Chandos with the Philharmonia Orchestra and Gary Magee in the title role.

External links

• 《Yuyu/Sandbox:Don Giovanni》：谱子和报道（德语），《莫扎特全集》
• Don Giovanni的免费乐谱，由国际乐谱典藏计划提供
• Opera Guide Synopsis — Libretto — Highlights
• Opera in a nutshell Soundfiles (MIDI)
• （意大利文） Original libretto
• Libretto in English
• Piano-Vocal Score of Don Giovanni from Indiana University
• The 1979 film's entry at IMDB
• Video Performances of Don Giovanni A free selection of videos to view online.
• Don Giovanni — Harmonia Mundi 2007 The new recording of Don Giovanni

备注及参考资料

• Deutsch, Otto Erich, Mozart: A Documentary Biography. Stanford: Stanford University Press, 1965.
• Synopsis taken from The Opera Goer's Complete Guide by Leo Melitz, 1921 version.
• Preface by Schünemann to a complete orchestral and vocal score published in 1974 by Dover publications, Inc., NY

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