How long is don giovanni mozart

This recording in on 3 cds -- London Is this a fairly typical duration for an opera? Tonight is my very first visit to the opera and I am just wondering what to expect. I picked Don Giovanni because I'd rather see Carmen, actually, but no such luck. I know that Wagner has a reputation for being extremely long-winded, but is three hours typical?

Does this mean that there is some sort of intermission at some point? If so, how long does the intermission usually last? Figure on the first act lasting, oh, an hour and 40 minutes, a minute intermission or longer, depending on the female-to-facility ratio in the powder room , and a second act of about 90 minutes that will seem longer because there is so little action and it mostly takes place at night.

Okay, I'm game. In what context was this assertion made? If you want to feel superior, watch Jerry Springer. As I recall, Ms. Naked singers do not substitute for the erotic thrill of a blazing high C. Three glorious hours. Figure in maybe 20 or 30 minutes intermission. Tepper: WWW, science fiction, classical music, ducks! Actual time may not correlate well to perceived time, hovwever. Aage J. Opera, for the most part, was an "entertainment" designed for people who had no other diversions It was not uncommon for long operas to be combined with other, sometimes textual, pieces for a complete evening lasting some hours.

As a director, I have an "hour-in-the-chair" rule. Modern audiences start to fidget at an hour I try to keep my acts below or at an hour -- of course that's not always possible, but it's nice to try -- which often means judicious cutting. Giovanni and Leporello come across a distressed woman and her young maid. She turns out to be Donna Elvira, who has come from a nearby town determined to find Giovanni.

He had married her there, but then abandoned her. Zerlina attempts to calm Masetto, whose jealousy has been aroused. Giovanni arrives and whips up the party, which is joined by Zerlina and Masetto.

Anna, Ottavio and Elvira appear; they are wearing masks to disguise their identities. Leporello invites them to join in the dancing. Giovanni manoeuvres Zerlina away. When Zerlina cries out for help, Giovanni puts the blame on Leporello and threatens to kill him.

Anna, Ottavio and Elvira unmask and denounce Giovanni for his crimes. Giovanni forces Leporello to exchange identities with him, leading Elvira to believe that Leporello is in fact her lost husband. Of death. His life realizes itself in pure immanence, beyond good and evil.

That makes him highly dangerous. Don Giovanni does not acknowledge any rules of social coexistence; he recognizes no law — whether the law of morality, justice or religion. He rebels against the Law of the Father. Although he represents a smouldering energy that magnetizes the people around him and sets them in motion, Don Giovanni isolates himself radically from society albeit not without exploiting his privileged status.

He brings confusion, chaos and destruction to everything he touches. Even more, he is someone who actively loosens, separates and divides. Now for the first time society turns against the culprit — soon to be identified by Donna Anna — with a call for vengeance.