Opera / "Don Giovanni" suspended between the Zealots and Herodians Velino March 2
CLT - Opera / "Don Giovanni" suspended between Zealots and Herodians
Wednesday, March 2, 2011
Black & White Sensoual Sketches
Bologna, 2 March (Il Velino) - "Don Giovanni" is one of the works Mozart represented the most ever. It was chosen for inaugurate the new season at La Scala and is on the scene until 13 March in a beautiful edition in Bologna, after the "running" in Macerata in 2009 (where it debuted) and Ancona. The representation Emilia suggests a reflection in the key of "political economy" combined with elements of musical culture. The success of this dramatized version of the myth and music by Mozart and Da Ponte, due to the fact that the work, despite having about 220 years behind him, better than others reflects the tension between the "zealots" (stuck in the past and its rules, both written and implied) and "Herodians" (directed, instead, to modernization). A scheme like this has been suggerito, alcuni anni fa, in un breve saggio da Antonio Cognata, oggi Sovrintendente del Teatro Massimo di Palermo, e Pasquale Lucio Scandizzo dell’università di Tor Vergata. Lo studio di Cognata e Scandizzo analizza i comportamenti di Don Giovanni e del Commendatore secondo i paradigmi di base della teoria dei giochi (il “dilemma del prigio1iero”) e inquadra il protagonista e il suo dueteragonista in un contesto di analisi economica per giungere a generalizzazioni sui “falchi” e sulle “colombe” come categorie economico-sociali di fronte al cambiamento. Altro punto è l’ineluttabilità che, in una fase di transizione (quasi da “die verwandlung” della tradizione tedesca), ci sia an economic agent willing to do the "hawk" to the extreme-that is to die - to facilitate the emergence of the new rules.
The Don and the Commander, the "hawks", must reach the double death (and fall into hell) to advance the modernization held back by "doves" (of which Don Ottavio is the stereotype). However, while the "hawks" and "doves" differ on when and how to deal with change, the hypothesis proposed in this paper the "zealots" do not want change at all and the "Herodians" are ready to accept "habits and rules" altrui pur di favorire il cambiamento. Ci sono, dunque, differenze sostanziali tra i due schemi. La distinzione tra “zeloti” ed “erodiani” viene dai Vangeli ed è stato utilizzata da Luciano Pellicani in analisi sociologiche stimolanti. Non funziona per tutte le interpretazioni del mito di Don Giovanni. Non per quelle di Tirso da Molina o di José Zorilla - due moralisti bigotti che mettevano a nudo “la malvagità punita” del “burlador”. Non per quella di Molière, “immoralista”, invece, per eccellenza. Forse neppure a quella di Da Ponte (se privata della musica di Mozart), che nella vita privata era un abate “immoralista ben temperato” e sempre in bolletta che versificò a "contaminatio" the best known earlier when he threw in a few weeks down the text for Mozart vaguely didactic intentions. Old and sick, but returned to the Holy Roman Church and the Sacraments, he chose the "Don Giovanni" (not her real theatrical masterpiece, the 'immoralissimo "" So does all). The explanatory scheme of the "zealots" and "Herodians" is, however, appropriate for most recent interpretations of the myth of Don, from Kierkegaard to those developed in the period between the two world wars - in the name of "Verwandlung" for excellence .
"Don Giovanni" has specificity music that make it much more meaningful the book (imagine what it would do a Piccini, Paisiello or a Salieri). First, since the overture we feel that we are faced with something that is very different from a 'comic opera "or a" dramma giocoso ": the first measures we feel the fire of hell in F (which, more than three hours Later, the work completed), the picture is cosmic. Second, the musical treatment of the protagonist does not make either of the libertine or a caricature or a proto-Enlightenment Molier. The notes of Mozart's Don Giovanni wrap devious in that atmosphere that we find, for example, some decades later in the 'work National German. Lucifer is the same toast to freedom of the "first end" juxtaposed symmetrically, to the scene, it also luciferin, with the Commendatore in "the final seconds." Luceferianamente, neither Don nor the Commander has a "Cavatina" (air entry into the operatic conventions of the time) or "cabalettas" and "tied".
Don Giovanni wants to go back to hell where he came from - as told from the first notes of the overture. The Commander is a tool to make this march, the more effective the attempts of seduction (all "white", as explained by the "Decrease" close to each other). Also belongs to the Commander, as the Don, the musical world of the future work with the eighth German national who tend towards low never experienced before. He too is marked by fate since "do" which appears on the scene - the forced "to play ultimatum" from the beginning of the work. Also, the "ultimatum game to" is repeated - with role reversal. The "game theory" helps to understand the institutional context in which they operate and musical Don Giovanni and the Commendatore - a context straining toward what would become the German opera up to its development in the 20th century. It is the striving of the new "Herodians" which often succumb to their excessive modernization. It is an environment very different from that in which they live the other characters in the play: the musical world of the opera "Italian" made of Cavatina, arias, cabalettas, duets, trios and cooperatively. Well-defined rules that ensure certainty, symmetric information and transaction costs relatively low. (Hans Sachs) March 2, 2011 19:11
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