Salieri had produced his opera of "Tarar" in Paris, in June, 1787, Beaumarchais having spared no pains to create DON GIOVANNI. an effect by a lively and exciting plot, by lavish decorations and costumes, and by political and philosophical allusions. The public was at first somewhat disappointed, and the music was considered inferior to that of the "Danaides," produced in 1774; but the extraordinary piece made in the end a great effect, and attracted large audiences.[ 26 ] The Emperor was exceedingly pleased with the music, and commissioned Da Ponte to prepare Italian words for it upon the occasion of the marriage of the Archduke Francis with the Princess Elizabeth. This Italian opera of "Axur" retained only the groundwork of the original, both the words and the music being completely remodelled. Da Ponte gave fresh proof of his dexterity, and Salieri, finding his task far more congenial than before, did not grudge the trouble of recomposition.[ 27 ] On January 8, 1788, the Festival opera "Axur" was performed as a "Freispektakel," the betrothal of the distinguished pair by the Archduke Maximilian having taken place on January 6.[ 28 ]At first the audience were somewhat taken aback by the traces of the French "Tarar" in the Italian "Axur," but very soon they felt the lively, brilliantly appointed plot, and the freer development of musical forms to be additional charms bestowed on the essentially Italian music. Several representations, following in quick succession, increased the favour in which this opera came to be held in Vienna,[ 29 ] especially by the Emperor Joseph,[ 30 ] and very soon on every stage in Germany.[ 31 ]
The present, therefore, was no time for "Don Giovanni." Mozart catered for the amusement of the Viennese by the dances (534-536 K.), which he wrote in January, 1788, for the balls in the Redoutensaale, and he indulged his patriotic feelings by a song on the Turkish war, which Baumann sang at the theatre in the Leopoldstadt (539 K.). He PERFORMANCE IN VIENNA, 1788. appears also to have given a concert during Lent, for which he wrote his pianoforte concerto in D major (537 K.). But Joseph II. commanded the production of "Don Giovanni," and there was no more to be said; it was given on May 7, 1788,[ 32 ] and was a failure. Everybody, says Da Ponte,[ 33 ] except Mozart, thought it a mistake; additions were made, airs were altered, but no applause followed. Nevertheless Da Ponte took Mozart's advice, and had the opera repeated several times in quick succession, so that people grew accustomed to what was unusual, and the applause increased with every representation.[ 34 ] The cast of the opera in Vienna was as follows:—[See Page Image]
There was no reason, as will be acknowledged, to ascribe the tardy success of "Don Giovanni" to the inferiority of its performance.[ 35 ] Da Ponte appears also to have DON GIOVANNI. exaggerated with respect to the frequent alterations. Mozart's Thematic Catalogue contains three pieces for insertion written before the first performance (April 24, 28, 30) and incorporated in the book of words.[ 36 ] Mdlle. Cavalieri, of whom it was said at the time[ 37 ] that, deserving to be placed in the first rank of Italian singers, and almost deified as she was in Italy, not a word in her praise was ever uttered in Vienna, insisted on having a grand scena in the part of Elvira, in order to maintain her reputation as a singer. This gave rise (April 30) to the magnificent air "Mi tradi quell' alma ingrata" (527, 25 K.).[ 38 ] Mozart could not indeed persuade himself to sacrifice so much to the "voluble organ of Mdlle. Cavalieri" as he had formerly done in the "Entführung" (Vol. II., p. 235), but even as it is, the dramatic interest has to yield to the vocal—the character of Elvira to the individuality of the singer. The tenor singer, Signor Francesco Morelia,[ 39 ] on the contrary, seems to have found Ottavio's grand air too much for him, and the air in G major "Della sua pace" (527, 27 K.), composed for him is more modest in every respect.
A stronger effort after popularity was made by the duet between Zerlina and Leporello, "Per queste tue manine" (527, 28 K.). The situation is broadly comic, and has no proper connection with the plot; Leporello is roundly abused, and finally tied hand and foot by Zerlina. It was probably intended as a sacrifice to the taste of the audience, who expected an opera buffa to make them laugh heartily. We know that Benucci was an excellent comedian in every branch of his art, and this duet leads to the conclusion that Signora Mombelli's forte was buffa. Zerlina expresses her anger and revenge volubly enough, but her own special grace CRITIQUES ON DON GIOVANNI. and roguery have quite deserted her here. In a true opera buffa the duet would have been quite in keeping; but it is out of place in "Don Giovanni," because it brings Leporello and Zerlina to the foreground in a degree which does not accord with the plot, and places them both in a harsh light, false to their character as elsewhere displayed. Mozart was right, then, in his opinion that additions and alterations were not the means to make his opera gain favour; it was altogether too unusual a phenomenon to take immediate effect upon a Viennese audience. We have already seen how Haydn was constrained to put to silence the adverse criticisms of musicians and connoisseurs assembled at Count Rosenberg's, by declaring his conviction that Mozart was the greatest composer in the world. "Don Giovanni" first made its way upon the stages of Germany in German adaptations. It was given at Mannheim with extraordinary success in October, 1789,[ 40 ] and Schroder produced it in Hamburg at about the same time; Schink, while severely criticising the libretto of the opera, expresses himself enthusiastically in praise of the music—
How can this music, so full of force, majesty, and grandeur, be expected to please the lovers of ordinary opera, who bring their ears to the theatre with them, but leave their hearts at home? The grand and noble qualities of the music in "Don Juan" will appeal only to the small minority of the elect. It is not such as to tickle the ear of the crowd, and leave the heart unsatisfied. Mozart is no ordinary composer. His music has been profoundly felt and thought out in its relation to the characters, situations, and sentiments of his personages. It is a study in language, treated musically. He never decks out his songs with unnecessary and meaningless passages. That is the way in which expression is banished from music: expression consisting not in particular words, but in the skilful and natural combination of sounds as a medium of real emotion. Of this method of expression Mozart is a consummate master. Each sound which he produces has its origin in emotion, and overflows with it. His expression is glowing with life and picturesqueness, yet without the taint of voluptuousness. He has the richest, and at the same time the most temperate imagination. He is a true virtuoso, never allowing his creative impulse to run away with his judgment; his inspiration is guided by reason, his impersonations are the result of calm deliberation.[ 41 ]
The Berlin criticism was not quite so favourable, the opera having been there performed for the first time in the presence of the King on December 20, 1790:[ 42 ]—
If ever an opera was looked forward to with curiosity, if ever a composition of Mozart's was lauded to the skies before its performance, it was surely this "Don Juan." Every one will allow that Mozart is a great and admirable composer, but that nothing good or great has been written before this opera, or will be written after it, is a point on which we may be allowed to doubt. Theatrical music admits of no rules, of no appeal but to the heart, and its worth is in proportion to its effect thereon. No amount of art in heaping up instrumental effects will make a great musician or render his name immortal, unless he can give utterance to the passions and emotions of the heart. Grétry, Monsigny, and Philidor are instances to the point. Mozart has aimed at writing something extraordinary, something inimitably grand in his "Don Juan"; the extraordinary is there, certainly, but not the inimitably grand. Vanity, eccentricity, fancy, have created "Don Juan," not the heart; and we should have preferred being called upon to admire the highest capabilities of music in one of his oratorios or solemn church compositions than in his "Don Juan."[ 43 ]
The extraordinary success of the opera[ 44 ] is attested by a notice of it[ 45 ] which proceeds to prove that this musical drama satisfies the eye, enchants the ear, does violence to the intellect, offends against morals, and suffers vice to trample upon virtue and good feeling. The author of the criticism accounts for the popularity of the opera by the quality of the music, which is beyond all expression grand:—
If ever a nation might be proud of one of its children, Germany may be proud of Mozart, the composer of this opera. Never was the greatness of the human mind more perceptible, never did music reach so high a level! Melodies which an angel might have conceived are accompanied by divinest harmonies, and those whose souls are in any degree susceptible to what is truly beautiful will agree with me in saying the ear is bewitched.