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Semiótica de la ausencia: rasgar el velo de la transcendencia en Don Giovanni (W. A. Mozart, L. Da Ponte)

 

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Author: Broullón-Lozano, Manuel A.
Department: Universidad de Sevilla. Departamento de Comunicación Audiovisual y Publicidad
Date: 2016
Published in: Cauce, 39, 297-328.
Document type: Article
Abstract: La ópera Don Giovanni K. 527 con música de Wolfgang Amadeus Mozart y libreto de Lorenzo Da Ponte suscita un gran interés a la vista de su ambigüedad. Los dos estrenos de la ópera (Praga, 1787; Viena, 1788), con finales completamente distintos, muest...
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The opera Don Giovanni K. 527 composed by Wolfgang Amadeus Mozart on Lorenzo Da Ponte’s poems arises as an interesting object of study due to its ambiguity. The fact the first two releases of the opera (Prague, 1787; Viena, 1788) have two different endings support this ambiguity on the interpretation. This essay will analize the staging of the opera at Teatro alla Scala (Milano) on December the 7th 2011 with Michel Levine’s scenary, under Robert Carsen’s direction and with Daniel Barenboim conducting the orchestra within the approach of semiotics and hermeneutics of the work of art and considering the sign on its effectual history. Besides, this paper analyzes the representation of horror in Don Giovanni in two different ways: 1) as a transgression of limits and 2) as the breaking in of transcendence on stage due to the circular structure of the opera.
Cite: Broullón Lozano, M. (2016). Semiótica de la ausencia: rasgar el velo de la transcendencia en Don Giovanni (W. A. Mozart, L. Da Ponte). Cauce, 39, 297-328.
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URI: http://hdl.handle.net/11441/67038

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