Editing Don Giovanni (section)

== Cultural influence ==
[[File:Disegno per copertina di libretto, disegno di Peter Hoffer per Don Giovanni (s.d.) - Archivio Storico Ricordi ICON012442.jpg|thumb|Drawing for the coverpage of a libretto (19th century)]]
The Danish philosopher [[Søren Kierkegaard]] wrote a long essay in his book ''[[Either/Or (Kierkegaard book)|Enten – Eller]]'' in which he argues, writing under the pseudonym of his character "A", that "among all classic works ''Don Giovanni'' stands highest."{{sfn|Kierkegaard|1992|p=135}} [[Charles Gounod]] wrote that Mozart's ''Don Giovanni'' is "a work without blemish, of uninterrupted perfection."{{sfn|Gounod|1970|pp=v–vi}} The finale, in which Don Giovanni refuses to [[Repentance|repent]], has been a captivating philosophical and artistic topic for many writers including [[George Bernard Shaw]], who in ''[[Man and Superman]]'' parodied the opera (with explicit mention of the Mozart score for the finale scene between the Commendatore and Don Giovanni). [[Gustave Flaubert]] called ''Don Giovanni'', along with ''[[Hamlet]]'' and the sea, "the three finest things God ever made."<ref>{{cite book|last=Flaubert|first=Gustave|title=[[Flaubert's letters|The Letters of Gustave Flaubert]]}}{{page needed|date=January 2022}}</ref> [[E. T. A. Hoffmann]] also wrote a short story derived from the opera, [[Don Juan (Hoffmann)|"Don Juan"]], in which the narrator meets Donna Anna and describes Don Juan as an aesthetic hero rebelling against God and society.<ref>{{Wikisourcelang-inline|de|Don Juan|"Don Juan" (E. T. A. Hoffmann, in German)}}</ref>

In some Germanic and other languages, Leporello's "[[Madamina, il catalogo è questo|Catalogue Aria]]" provided the name "{{ill|Leporello (leaflet)|de|Leporello (Heft)|lt=Leporello|vertical-align=sup}} list" for [[Folded leaflet|concertina-folded]] printed matter, as used for brochures, photo albums, computer printouts and other [[continuous stationery]].<ref>{{cite web|url=http://ordnet.dk/ddo/ordbog?query=leporelloliste|title=leporelloliste|work=Den Danske Ordbog|access-date=29 June 2014|language=da}}</ref>

Playwright [[Peter Shaffer]] used ''Don Giovanni'' for a pivotal plot point in his play ''[[Amadeus (play)|Amadeus]]'', a fictional biography of its composer. In it, [[Antonio Salieri]] notices how Mozart composed the opera while tortured by the memory of his imposing, deceased father [[Leopold Mozart|Leopold]], and uses the information to psychologically torture Mozart even further.

=== ''Don Giovanni'' and other composers ===
The sustained popularity of ''Don Giovanni'' has resulted in extensive borrowings and arrangements of the original. The most famous and probably the most musically substantial is the operatic fantasy, ''[[Réminiscences de Don Juan]]'' by [[Franz Liszt]]. The [[minuet]] from the finale of act 1 ("Signor, guardate un poco"), transcribed by [[Moritz Moszkowski]], also makes an incongruous appearance in the manuscript of Liszt's [[Fantasy on Themes from Mozart's Figaro and Don Giovanni|Fantasy on Themes from Mozart's ''Figaro'' and ''Don Giovanni'']], and [[Sigismond Thalberg]] uses the same minuet, along with "{{lang|it|Deh, vieni alla finestra|italic=no}}", in his {{lang|fr|Grand Fantaisie sur la serenade et le Minuet de Don Juan}}, Op.&nbsp;42. Thalberg also included a piano arrangement of "Il mio tesoro" in his {{lang|fr|L'art du chant appliqué au piano}}", Op. 70. This minuet was also used for sets of variations for piano by [[Franz Xaver Wolfgang Mozart]] (Op. 2), [[Fanny Hünerwadel]] and [[János Fusz]] (Op. 10, the latter for four hands). "{{lang|it|Deh, vieni alla finestra|italic=no}}" also makes an appearance in the [[Klavierübung (Busoni)|Klavierübung]] of [[Ferruccio Busoni]], under the title {{lang|de|Variations-Studie nach Mozart}} ([[Variation (music)|Variation]] study after Mozart). [[Robert Schumann|Schumann]] included a piano arrangement of "Vedrai carino" in his {{lang|de|Kleiner Lehrgang durch die Musikgeschichte}}, which was originally intended for his ''[[Album for the Young]]'', whereas [[Muzio Clementi]] wrote piano variations on Zerlina's other aria, "Batti, batti". [[Johann Wilhelm Wilms]] took a theme from the duet "O, statua gentilissima" for his set of piano variations. [[Frédéric Chopin|Chopin]] wrote [[Variations on "Là ci darem la mano" (Chopin)|Variations on "Là ci darem la mano"]] (the duet between Don Giovanni and Zerlina) for piano and orchestra. [[Ludwig van Beethoven|Beethoven]] and [[Franz Danzi|Danzi]] also wrote variations on the same theme. And Beethoven, in his ''[[Diabelli Variations]]'', cites the beginning of the opera "{{lang|it|Notte e giorno faticar|italic=no}}" in variation 22. [[Cipriani Potter]] wrote piano variations on "Fin ch'han dal vino", Op. 2 (1816). The turkeys in [[Emmanuel Chabrier|Chabrier]]'s "Ballade des gros dindons" (1889) finish each verse imitating the mandolin accompaniment of the Serenade.<ref>{{cite book|last=Bernac|first=Pierre|author-link=Pierre Bernac|title=The Interpretation of French Song|publisher=Praeger Publishers|location=New York, Washington|year=1970|at=ch. 7, p. 86}}</ref>

[[Pyotr Ilyich Tchaikovsky]] always regarded ''Don Giovanni'' – and its composer – with awe. In 1855, Mozart's original manuscript had been purchased in London by the [[mezzo-soprano]] [[Pauline Viardot]], who was the teacher of Tchaikovsky's one-time unofficial fiancée [[Désirée Artôt]] (whom Viardot may have persuaded not to go through with her plan to marry the composer). Viardot kept the manuscript in a shrine in her Paris home, where it was visited by many people. Tchaikovsky visited her when he was in Paris in June 1886,<ref>{{cite book|last=Poznansky|first=Alexander|author-link=Alexander Poznansky|title=Tchaikovsky: The Quest for the Inner Man|year=1991|page=460}}</ref> and said that when looking at the manuscript, he was "in the presence of divinity".<ref name=everist>[http://caliber.ucpress.net/doi/abs/10.1525/ncm.2001.25.2-3.165 Abstract: 19th Century Music, Mark Everist] {{webarchive |url=https://web.archive.org/web/20110724114728/http://caliber.ucpress.net/doi/abs/10.1525/ncm.2001.25.2-3.165 |date=24 July 2011 }}</ref> So it is not surprising that the centenary of the opera in 1887 would inspire him to write something honouring Mozart. Instead of taking any themes from ''Don Giovanni'', however, he took four lesser known works by Mozart and arranged them into his [[Orchestral Suite No. 4 (Tchaikovsky)|fourth orchestral suite]], which he called ''Mozarti[[-ana|ana]]''. The baritone who sang the title role in the centenary performance of ''Don Giovanni'' in Prague that year was [[Mariano Padilla y Ramos]], the man Désirée Artôt married instead of Tchaikovsky.<ref name="Elson1912">{{cite book
|author=Louis Charles Elson
|title=University Musical Encyclopedia
|url=https://archive.org/details/universitymusic14elsogoog
|access-date=5 April 2011
|year=1912
|publisher=The University Society
|page=[https://archive.org/details/universitymusic14elsogoog/page/n105 467]}}</ref>

[[Michael Nyman]]'s popular, short band piece ''In Re Don Giovanni'' (1981, with later adaptations and revisions) is constructed on a prominent 15-bar phrase in the accompaniment to Leporello's catalogue aria.{{citation needed|date=December 2020}}

In addition to instrumental works, allusions to ''Don Giovanni'' also appear in a number of operas: Nicklausse of [[Jacques Offenbach|Offenbach]]'s ''[[The Tales of Hoffmann]]'' sings a snatch of Leporello's "{{lang|it|Notte e giorno|italic=no}}", and [[Gioachino Rossini|Rossini]] quotes from the same aria in the duettino between Selim and Fiorilla following the former's ''cavatina'' in act 1 of ''[[Il turco in Italia]]''.{{efn|Leporello's F major ''e non voglio più servir'' becomes Fiorilla's A major ''così pien di civiltà'', the music being quoted verbatim.}}{{citation needed|date=December 2020}}

[[Ramón Carnicer]]'s opera ''{{ill|Don Giovanni Tenorio (Carnicer)|es|lt=Don Giovanni Tenorio}}'' (1822) is a peculiar reworking of Mozart's opera to adapt it to Rossinian fashion. It comprises new music by Carnicer on a new text (e.g. the first half of act 1), new music on Da Ponte's text (e.g. Leporello's aria) or on a mixture of both (e.g. the new trio for the scene in the cemetery); the whole collated with extensive quotations or entire sections borrowed directly from Mozart (e.g. Finale 1 and Finale 2, and even some music from ''Le nozze di Figaro''{{efn|But not in the dinner scene; here Carnicer borrows some different tunes from ''Una cosa rara'' and ''Litiganti'' and presumably some music of his own as third quotation}}), though usually slightly reworked and re-orchestrated.{{citation needed|date=December 2020}}