Semantics of Performance in Don Giovanni/Juan, SonatOpera in due atti per violino e piano op. 53, by Dan Dediu
Semantics of Performance in Don Giovanni/Juan, SonatOpera in due atti per violino e piano op. 53, by Dan Dediu

Summary/Abstract: Don Giovanni/Juan, SonatOpera in due atti per violino e piano, written by composer Dan Dediu in 1995, represents a union, in a postmodern manner, of two musical genres, instrumental sonata and opera. The dramaturgical treatment of the instrumental “characters”, with allusions and quotes taken from Mozart’s operas and Strauss’s symphonic poems, follows the realization of portraits that capture, in a dynamic manner, the psychology of characters (Don Giovanni, Donna Anna, Commendatore, Leporello, Don Ottavio, Donna Elvira, Zerlina, Masetto). SonatOpera proposes an organization of the musical material according to the structure of the opera, with Ouvertura, Atto primo and Atto Secondo. The complex writing of the score for the two instruments references both the rich palette of technical-instrumental means that performers employ, as well as their availability to notice and convincingly convey the inner states of the presented characters, but reinterpreted (usually in an ironic manner), from a postmodern perspective.

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