Don Giovanni Opera in Modern Times

Tang Qiaofanni opera of contemporary music has the ability to bring many emotions and emotions to people. Emotions such as anger, joy, sadness may occur depending on the tone and melody of music. For example, rap music often brings emotions such as anger, frustration, anger to the human mind. Celine Dion's "My heart" continues melody, Aerosmith's "things you do not want to miss" often evoke feelings of love, sorrow, hope, and the feeling of "love-duby" is past or present It reminds me of love.

In 1787, Mozart's opera "Don Giovanni" first appeared in Prague. Opera is about Don Giovanni and how he feminises a woman, and his servant does not agree with Don's lifestyle. After all, Tang received death he deserved. These three works are considered to be the culmination of Mozart's opera in opera, but at least two other works stand out in other works in different ways. In the last few years of his life, Mozza closed "Magic Flute". "Pop songs to sublime religious choruses are written with the most popular style combinations" (Tanner). It claims to be bigger than the three operas written by Lorenzo de Ponte; this is definitely a good theme for Mozart's opera career, and for him the possibility to create with one type will make him Indicates not to be restricted. Ability in other places

Don Giovanni premiered in Prague on October 29, 1787. With all the operas of Mozart, it is no doubt that Don Giovanni has the most revolutionary influence on future generation composers. Its unique malicious and destructive open code seems to spur it through the solemn balance between the latter part of the Enlightenment and the raging romantic century. Without it, the beginning of the last move of Beethoven 's 9th Symphony Orchestra Do you like it (Mozart Don Giovanni 1787, WWW.Classiccd.com).

Best recording of the greatest opera? Perhaps it is exaggerated. But Tristan and Isolde are the best operas of Don Giovanni, Barenboim's outstanding wonderful actor is also the best contemporary recording. His control, attention to details, and development are impressive. More importantly, Waltraud Meier, who did not have the same peer as Kundry (Parsifal), accompanied the studio recording in 1995. Tristan of Jerusalem is not Wenger Gerson, but he sounds beautiful, and dominates himself more than Meyer. Matti Salminen is comparable to Kurt Moll's King Marke, but Mariana Lipovek is a very unique and mature Brangäne. Mel's thrilling Liebestod is as good as I have ever heard, and in Electric Nelson her words are better than swallowing notes. Among the many Tristan people I love, this is my favorite.