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Viking program

The Viking program consisted of a pair of identical American space probes, Viking 1 and Viking 2, which landed on Mars in 1976. The mission effort began in 1968 and was managed by the NASA Langley Research Center. Each spacecraft was composed of two main parts: an orbiter designed to photograph the surface of Mars from orbit, and a lander designed to study the planet from the surface. The orbiters also served as communication relays for the landers once they touched down.

The Viking program grew from NASA's earlier, even more ambitious, Voyager Mars program, which was not related to the successful Voyager deep space probes of the late 1970s. Viking 1 was launched on August 20, 1975, and the second craft, Viking 2, was launched on September 9, 1975, both riding atop Titan IIIE rockets with Centaur upper stages. Viking 1 entered Mars orbit on June 19, 1976, with Viking 2 following on August 7.

After orbiting Mars for more than a month and returning images used for landing site selection, the orbiters and landers detached; the landers then entered the Martian atmosphere and soft-landed at the sites that had been chosen. The Viking 1 lander touched down on the surface of Mars on July 20, 1976, more than two weeks before Viking 2's arrival in orbit. Viking 2 then successfully soft-landed on September 3. The orbiters continued imaging and performing other scientific operations from orbit while the landers deployed instruments on the surface.

The project cost was roughly US$1 billion at the time of launch, equivalent to about $ billion in dollars. The mission was considered successful and is credited with helping to form most of the body of knowledge about Mars through the late 1990s and early 2000s.

Science objectives

 * Obtain high-resolution images of the Martian surface
 * Characterize the structure and composition of the atmosphere and surface
 * Search for evidence of life on Mars

Viking orbiters
The primary objectives of the two Viking orbiters were to transport the landers to Mars, perform reconnaissance to locate and certify landing sites, act as communications relays for the landers, and to perform their own scientific investigations. Each orbiter, based on the earlier Mariner 9 spacecraft, was an octagon approximately 2.5 m across. The fully fueled orbiter-lander pair had a mass of 3527 kg. After separation and landing, the lander had a mass of about 600 kg and the orbiter 900 kg. The total launch mass was 2328 kg, of which 1445 kg were propellant and attitude control gas. The eight faces of the ring-like structure were 0.457 m high and were alternately 1.397 and 0.508 m wide. The overall height was 3.29 m from the lander attachment points on the bottom to the launch vehicle attachment points on top. There were 16 modular compartments, 3 on each of the 4 long faces and one on each short face. Four solar panel wings extended from the axis of the orbiter, the distance from tip to tip of two oppositely extended solar panels was 9.75 m.

Propulsion
The main propulsion unit was mounted above the orbiter bus. Propulsion was furnished by a bipropellant (monomethylhydrazine and nitrogen tetroxide) liquid-fueled rocket engine which could be gimballed up to 9 degrees. The engine was capable of 1323 N thrust, providing a change in velocity of 1480 m/s. Attitude control was achieved by 12 small compressed-nitrogen jets.

Navigation and communication
An acquisition Sun sensor, a cruise Sun sensor, a Canopus star tracker and an inertial reference unit consisting of six gyroscopes allowed three-axis stabilization. Two accelerometers were also on board.

Communications were accomplished through a 20 W S-band (2.3 GHz) transmitter and two 20 W TWTAs. An X band (8.4 GHz) downlink was also added specifically for radio science and to conduct communications experiments. Uplink was via S band (2.1 GHz). A two-axis steerable parabolic dish antenna with a diameter of approximately 1.5 m was attached at one edge of the orbiter base, and a fixed low-gain antenna extended from the top of the bus. Two tape recorders were each capable of storing 1280 megabits. A 381-MHz relay radio was also available.

Power
The power to the two orbiter craft was provided by eight 1.57 × solar panels, two on each wing. The solar panels comprised a total of 34,800 solar cells and produced 620 W of power at Mars. Power was also stored in two nickel-cadmium 30-A·h batteries.

The combined area of the four panels was 15 m2, and they provided both regulated and unregulated direct current power; unregulated power was provided to the radio transmitter and the lander.

Two 30-amp·hour, nickel-cadmium, rechargeable batteries provided power when the spacecraft was not facing the Sun, during launch, while performing correction maneuvers and also during Mars occultation.

Main findings
By discovering many geological forms that are typically formed from large amounts of water, the images from the orbiters caused a revolution in our ideas about water on Mars. Huge river valleys were found in many areas. They showed that floods of water broke through dams, carved deep valleys, eroded grooves into bedrock, and travelled thousands of kilometers. Large areas in the southern hemisphere contained branched stream networks, suggesting that rain once fell. The flanks of some volcanoes are believed to have been exposed to rainfall because they resemble those caused on Hawaiian volcanoes. Many craters look as if the impactor fell into mud. When they were formed, ice in the soil may have melted, turned the ground into mud, then flowed across the surface. Normally, material from an impact goes up, then down. It does not flow across the surface, going around obstacles, as it does on some Martian craters. Regions, called "Chaotic Terrain," seemed to have quickly lost great volumes of water, causing large channels to be formed. The amount of water involved was estimated to ten thousand times the flow of the Mississippi River. Underground volcanism may have melted frozen ice; the water then flowed away and the ground collapsed to leave chaotic terrain.

Viking landers
Each lander comprised a six-sided aluminium base with alternate 1.09 and 0.56 m long sides, supported on three extended legs attached to the shorter sides. The leg footpads formed the vertices of an equilateral triangle with 2.21 m sides when viewed from above, with the long sides of the base forming a straight line with the two adjoining footpads. Instrumentation was attached inside and on top of the base, elevated above the surface by the extended legs.

Each lander was enclosed in an aeroshell heat shield designed to slow the lander down during the entry phase. To prevent contamination of Mars by Earth organisms, each lander, upon assembly and enclosure within the aeroshell, was enclosed in a pressurized "bioshield" and then sterilized at a temperature of 111 °C for 40 hours. For thermal reasons, the cap of the bioshield was jettisoned after the Centaur upper stage powered the Viking orbiter/lander combination out of Earth orbit.

Astronomer Carl Sagan helped to choose landing sites for both Viking probes.

Entry, Descent and Landing (EDL)
Each lander arrived at Mars attached to the orbiter. The assembly orbited Mars many times before the lander was released and separated from the orbiter for descent to the surface. Descent comprised four distinct phases, starting with a deorbit burn. The lander then experienced atmospheric entry with peak heating occurring a few seconds after the start of frictional heating with the Martian atmosphere. At an altitude of about 6 km and traveling at a velocity of 900 kilometers per hour (600 mph), the parachute deployed, the aeroshell released and the lander's legs unfolded. At an altitude of about 1.5 kilometers (5,000 feet), the lander activated its three retro-engines and was released from the parachute. The lander then immediately used retrorockets to slow and control its descent, with a soft landing on the surface of Mars. At landing (after using rocket propellant) the landers had a mass of about 600 kg.

Propulsion
Propulsion for deorbit was provided by the monopropellant hydrazine (N2H4), through a rocket with 12 nozzles arranged in four clusters of three that provided 32 N thrust, translating to a change in velocity of 180 m/s. These nozzles also acted as the control thrusters for translation and rotation of the lander.

Terminal descent (after use of a parachute) and landing used three (one affixed on each long side of the base, separated by 120 degrees) monopropellant hydrazine engines. The engines had 18 nozzles to disperse the exhaust and minimize effects on the ground, and were throttleable from 276 to 2667 N. The hydrazine was purified in order to prevent contamination of the Martian surface with Earth microbes. The lander carried 85 kg of propellant at launch, contained in two spherical titanium tanks mounted on opposite sides of the lander beneath the RTG windscreens, giving a total launch mass of 657 kg. Control was achieved through the use of an inertial reference unit, four gyros, a radar altimeter, a terminal descent and landing radar, and the control thrusters.

Power
Power was provided by two radioisotope thermoelectric generator (RTG) units containing plutonium-238 affixed to opposite sides of the lander base and covered by wind screens. Each Viking RTG was 28 cm tall, 58 cm in diameter, had a mass of 13.6 kg and provided 30 watts of continuous power at 4.4 volts. Four wet cell sealed nickel-cadmium 8 Ah (28,800 coulombs), 28 volt rechargeable batteries were also on board to handle peak power loads.

Communications
Communications were accomplished through a 20-watt S-band transmitter using two traveling-wave tubes. A two-axis steerable high-gain parabolic antenna was mounted on a boom near one edge of the lander base. An omnidirectional low-gain S-band antenna also extended from the base. Both these antennae allowed for communication directly with the Earth, permitting Viking 1 to continue to work long after both orbiters had failed. A UHF (381 MHz) antenna provided a one-way relay to the orbiter using a 30 watt relay radio. Data storage was on a 40-Mbit tape recorder, and the lander computer had a 6000-word memory for command instructions.

Instruments
The lander carried instruments to achieve the primary scientific objectives of the lander mission: to study the biology, chemical composition (organic and inorganic), meteorology, seismology, magnetic properties, appearance, and physical properties of the Martian surface and atmosphere. Two 360-degree cylindrical scan cameras were mounted near one long side of the base. From the center of this side extended the sampler arm, with a collector head, temperature sensor, and magnet on the end. A meteorology boom, holding temperature, wind direction, and wind velocity sensors extended out and up from the top of one of the lander legs. A seismometer, magnet and camera test targets, and magnifying mirror are mounted opposite the cameras, near the high-gain antenna. An interior environmentally controlled compartment held the biology experiment and the gas chromatograph mass spectrometer. The X-ray fluorescence spectrometer was also mounted within the structure. A pressure sensor was attached under the lander body. The scientific payload had a total mass of approximately 91 kg.

Biological experiments
The Viking landers conducted biological experiments designed to detect life in the Martian soil (if it existed) with experiments designed by three separate teams, under the direction of chief scientist Gerald Soffen of NASA. One experiment turned positive for the detection of metabolism (current life), but based on the results of the other two experiments that failed to reveal any organic molecules in the soil, most scientists became convinced that the positive results were likely caused by non-biological chemical reactions from highly oxidizing soil conditions.

Although there was a pronouncement by NASA during the mission saying that the Viking lander results did not demonstrate conclusive biosignatures in soils at the two landing sites, the test results and their limitations are still under assessment. The validity of the positive 'Labeled Release' (LR) results hinged entirely on the absence of an oxidative agent in the Martian soil, but one was later discovered by the Phoenix lander in the form of perchlorate salts. It has been proposed that organic compounds could have been present in the soil analyzed by both Viking 1 and Viking 2, but remained unnoticed due to the presence of perchlorate, as detected by Phoenix in 2008. Researchers found that perchlorate will destroy organics when heated and will produce chloromethane and dichloromethane, the identical chlorine compounds discovered by both Viking landers when they performed the same tests on Mars.

The question of microbial life on Mars remains unresolved. Nonetheless, on April 12, 2012, an international team of scientists reported studies, based on mathematical speculation through complexity analysis of the Labeled Release experiments of the 1976 Viking Mission, that may suggest the detection of "extant microbial life on Mars." In addition, new findings from re-examination of the Gas Chromatograph Mass Spectrometer (GCMS) results were published in 2018.

Camera/imaging system
The leader of the imaging team was Thomas A. Mutch, a geologist at Brown University in Providence, Rhode Island. The camera uses a movable mirror to illuminate 12 photodiodes. Each of the 12 silicon diodes are designed to be sensitive to different frequencies of light.

Several broad band diodes (designated BB1, BB2, BB3, and BB4) are placed to focus accurately at distances between six and 43 feet away from the lander. A low resolution broad band diode was named SURVEY. There are also three narrow band low resolution diodes (named BLUE, GREEN and RED) for obtaining color images, and another three (IR1, IR2, and IR3) for infrared imagery.

The cameras scanned at a rate of five vertical scan lines per second, each composed of 512 pixels. The 300 degree panorama images were composed of 9150 lines. The cameras' scan was slow enough that in a crew shot taken during development of the imaging system several members show up several times in the shot as they moved themselves as the camera scanned.

Control systems
The Viking landers used a Guidance, Control and Sequencing Computer (GCSC) consisting of two Honeywell HDC 402 24-bit computers with 18K of plated-wire memory, while the Viking orbiters used a Command Computer Subsystem (CCS) using two custom-designed 18-bit serial processors.

Financial cost of the Viking program
The two orbiters cost US$217 million at the time, which is about $ billion in dollars. The most expensive single part of the program was the lander's life-detection unit, which cost about $60 million then or $ million in dollars. Development of the Viking lander design cost $357 million. This was decades before NASA's "faster, better, cheaper" approach, and Viking needed to pioneer unprecedented technologies under national pressure brought on by the Cold War and the aftermath of the Space Race, all under the prospect of possibly discovering extraterrestrial life for the first time. The experiments had to adhere to a special 1971 directive that mandated that no single failure shall stop the return of more than one experiment—a difficult and expensive task for a device with over 40,000 parts.

The Viking camera system cost $27.3 million to develop, or about $ million in dollars. When the Imaging system design was completed, it was difficult to find anyone who could manufacture its advanced design. The program managers were later praised for fending off pressure to go with a simpler, less advanced imaging system, especially when the views rolled in. The program did however save some money by cutting out a third lander and reducing the number of experiments on the lander.

Overall NASA says that $1 billion in 1970s dollars was spent on the program, which when inflation-adjusted to  dollars is about $ billion.

Mission end
The craft all eventually failed, one by one, as follows: The Viking program ended on May 21, 1983. To prevent an imminent impact with Mars the orbit of Viking 1 orbiter was raised on August 7, 1980, before it was shut down 10 days later. Impact and potential contamination on the planet's surface is possible from 2019 onwards.

The Viking 1 lander was found to be about 6 kilometers from its planned landing site by the Mars Reconnaissance Orbiter in December 2006.

Message artifact
Each Viking lander carried a tiny dot of microfilm containing the names of several thousand people who had worked on the mission. Several earlier space probes had carried message artifacts, such as the Pioneer plaque and the Voyager Golden Record. Later probes also carried memorials or lists of names, such as the Perseverance rover which recognizes the almost 11 million people who signed up to include their names on the mission.

title: Viking program


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Powaqqatsi

Powaqqatsi is a 1988 American non-narrative film directed by Godfrey Reggio and the sequel to Reggio's experimental 1982 film, Koyaanisqatsi. It is the second film in The Qatsi Trilogy, which was followed by Naqoyqatsi (2002).

The film's title is a Hopi neologism coined by Reggio meaning "parasitic way of life" or "life in transition". While Koyaanisqatsi focused on modern life in industrial countries, Powaqqatsi, which similarly has no dialogue, focuses more on the conflict in Third World countries between traditional ways of life and the new ways of life introduced with industrialization. As with Koyaanisqatsi and the third and final part of the 'Qatsi' trilogy, Naqoyqatsi, the film is strongly related to its soundtrack, written by Philip Glass.

Synopsis

In the beginning chapter, Serra Pelada, men from Serra Pelada (a gold mine in Brazil) are seen carrying bags of dirt up to a destination. In the middle of the chapter, various shots outside of Serra Pelada are shown. Near the end of the chapter, a few men are carrying another man who was struck by a falling rock (mentioned in the "Impact of Progress" feature on the DVD/Blu-ray) uphill along a procession of workers who are carrying dirt-filled sacks. After that, several discordant layered exposures of the dirt carriers are shown. The scene cross fades to show the image of a head, with multiple exposures of the same head rapidly rotating and layered upon to give a manifold appearance. This is an apparent allusion to Janus, the god of beginnings, endings and transitions, keeping with the film's central themes of progress and change.

In Anthem: Part 1, the sun rises up above an African village. Later, a man raises a sail for a boat. The next chapter, That Place, starts zooming out from a waterfall. Children can be heard laughing. Villages are shown as well as children and upside down water reflections. Anthem: Part 2 has various shots of villages and islands shown.

Mosque and Temple shows various natural shots as well as religious scenes. Some of these scenes are a transparent inside a church with someone walking by, a man praying, a monk sitting while a bird flies off his stick, the same monk walking by the river, a bird flying by a sunset, more children, crows flying above a river, two men rowing their boat in that river, a woman praying in the Ganges river, two men practicing yoga, another monk, and a temple in Nepal.

Anthem: Part 3 shows masses of people in motion, working together and celebrating traditional rituals, in Africa and South America, all in slow-motion.

Video Dream blends together colorful television advertisements and news programs from the US, Western Europe, the Soviet Union and Japan.

New Cities In Ancient Lands has views of people on the move, and traffic in three parts: China, Africa and India.

The Unutterable/Caught! People in large groups in the developing world, moving together, at work; views of traffic from above.

Mr. Suso / From Egypt Sometimes-unfocused people in motion, to the muezzin's call, ghostly double-images of traffic, close-ups of faces, reflections in water.

Music
A soundtrack was produced in 1988 that was composed by Philip Glass.

Reception
Rotten Tomatoes reported that 56% out of 9 reviews were positive with the average score of 6.5 out of 10 and said it "wasn't as eagerly embraced by viewers and critics as its popular predecessor."

The New York Times said "There are two kinds of dirt to be found in Powaqqatsi: good dirt and bad. ... [the director] magnifies this distinction until it achieves mountainous proportions, yet still he manages to see it in starkly one-dimensional terms." Roger Ebert said "There are images of astonishing beauty in Godfrey Reggio's "Powaqqatsi," sequences when we marvel at the sights of the Earth, and yet when the film is over there is the feeling that we are still waiting for it to begin. ... Reggio seemed to think that man himself is some kind of virus infecting the planet - that we would enjoy Earth more, in other words, if we weren't here." On Siskel and Ebert at the Movies with he and Gene Siskel each agreed to give the film a thumbs down, he also called it a "New Age music video".

Time Out said that it is "visually stunning, but undermined by a fairly serious flaw. ... At best the message is a fairly obvious criticism of First World domination of the Third, and at worst a hippy celebration of the Dignity of Labour." Greg Klymkiw said "... the trilogy, [of which Powaqqatsi is the second part] while a stoner experience of the first order, can be equally appreciated by those who remain straight. Much of it is mind-blowingly mind-fucking without mind-altering substances."

Influence and legacy

 * The music from Anthem: Part 2 was used in and is now best associated with the 1998 film The Truman Show. it was also used in several film trailers, including that of Dead Man Walking.
 * The Criterion Collection released it as part of the Qatsi trilogy set.
 * Footage from the film — the same that was used for its poster — was used in the 1990 television special The Earth Day Special during a sequence in which Dr. Emmett Brown from the Back to the Future shows Doogie Howser, M.D. what the Earth's future looks like unless something is done about pollution.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Powaqqatsi


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Gender changer

A gender changer is a hardware device placed between two cable connectors of the same type and gender. An example is a cable connector shell with either two female or two male connectors on it (male-to-male or female-to-female), used to correct the mismatches that result when interconnecting two devices or cables with the same gender of connector.

Gender changers are used for RS-232C ports in either the original DB-25 or the IBM AT DE-9 format. They are also used when extending any sort of cable that normally has plugs on both ends (rather than a socket on one and plug on the other), however in this case it is usually called just an "extender", such as with F connectors, BNC connectors, and various RJ connectors used in telephony and computer networking.

Gender changers are used in professional audio to adapt XLR connectors, RCA connectors, Speakon connectors and TRS phone connectors.

The null modem is a computer communications adapter which may appear to be a gender changer, but it reroutes the wiring. The "transmit" pair from each side is routed into the "receive" pair of the other side, in the manner of a crossover cable.

Many different types of small hardware can be considered gender changers. For instance, there are a variety of small adapters sold for quarter-inch audiovisual cables that serve the role of connecting gendered cables. Other kinds of gender changers are available for coaxial cable, Ethernet cabling or any other type of modern data or audiovisual cables.

title: Gender changer


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Così fan tutte

Così fan tutte, ossia La scuola degli amanti (Women are like that, or The School for Lovers), K. 588, is an opera buffa in two acts by Wolfgang Amadeus Mozart. It was first performed on 26 January 1790 at the Burgtheater in Vienna, Austria. The libretto was written by Lorenzo Da Ponte who also wrote Le nozze di Figaro and Don Giovanni.

Although it is commonly held that Così fan tutte was written and composed at the suggestion of the Emperor Joseph II, recent research does not support this idea. There is evidence that Mozart's contemporary Antonio Salieri tried to set the libretto but left it unfinished. In 1994, John Rice uncovered two terzetti by Salieri in the Austrian National Library.

The short title, Così fan tutte, literally means "So do they all", using the feminine plural (tutte) to indicate women. It is usually translated into English as "Women are like that". The words are sung by the three men in act 2, scene 3, just before the finale; this melodic phrase is also quoted in the overture to the opera. Da Ponte had used the line "Così fan tutte le belle" earlier in Le nozze di Figaro (in act 1, scene 7).

Performance history
The first performance of Mozart's setting took place at the Burgtheater in Vienna on 26 January 1790. It was given only five times before the run was stopped by the death of the Emperor Joseph II and the resulting period of court mourning. It was performed twice in June 1790 with the composer conducting the second performance, and again in July (twice) and August (once). After that it was not performed in Vienna during Mozart's lifetime. The first British performance was in May 1811 at the King's Theatre, London. Così fan tutte was not performed in the United States until 1922, when it was given at the Metropolitan Opera.

According to William Mann, Mozart disliked prima donna Adriana Ferrarese del Bene, da Ponte's arrogant mistress for whom the role of Fiordiligi had been created. Knowing her idiosyncratic tendency to drop her chin on low notes and throw back her head on high ones, Mozart filled her showpiece aria "Come scoglio" with constant leaps from low to high and high to low in order to make Ferrarese's head "bob like a chicken" onstage.

The subject matter (see synopsis below) did not offend Viennese sensibilities of the time, but in the 19th and early 20th centuries was considered risqué, vulgar, and even immoral. The opera was rarely performed, and when it did appear it was presented in one of several bowdlerised versions.

After World War II it regained a place in the standard operatic repertoire and is now frequently performed.

A comedic adaptation, Covid fan tutte, (also using other music by Mozart) depicting life during the first several months of the COVID-19 pandemic was produced by the Finnish National Opera in 2020.

Roles
While the use of modern fach titles and voice categories for these roles has become customary, Mozart was far more general in his own descriptions of the voice types, as shown above. Occasionally these voice types are varied in performance practice. Don Alfonso is more frequently performed by baritones such as Thomas Allen and Bo Skovhus and Dorabella is almost always performed by a mezzo-soprano. Despina is occasionally performed by a mezzo, such as Cecilia Bartoli, Frederica von Stade, Agnes Baltsa, Ann Murray and Ginger Costa-Jackson. Ferrando and Fiordiligi, however, can only be sung by a tenor and a soprano because of the high tessitura of their roles.

Instrumentation
The instrumentation is as follows:

 * Woodwinds: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. Fiordiligi's aria "Per pietà, ben mio, perdona", act 2, contains a rare instance of clarinets in B-natural (key of the aria is E major which transposes to F major for the clarinet part, explaining the use of B♮ clarinets). In most modern editions this is made into a part for A clarinets. The NMA keeps the notation for the B clarinet. There is evidence that some of the clarinet writing was intended for basset clarinet due to its low range.
 * Brass: 2 horns, 2 trumpets.
 * Percussion: 2 timpani – an additional military drum is used on stage.
 * Strings: first violins, second violins, violas, violoncellos, double basses.
 * Basso continuo in secco recitatives of harpsichord and violoncello (period performance practice often uses a fortepiano only).

Synopsis
Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century; notable earlier versions are found in Boccaccio's Decameron and Shakespeare's play Cymbeline. Elements from Shakespeare's The Merchant of Venice and The Taming of the Shrew are also present. Furthermore, it incorporates elements of the myth of Procris as found in Ovid's Metamorphoses, vii.
 * Place: Naples
 * Time: the 18th century

Scene 1: A coffeehouse
In a cafe, Ferrando and Guglielmo (two officers) express certainty that their fiancées (Dorabella and Fiordiligi, respectively) will be eternally faithful. Don Alfonso expresses skepticism and claims that there is no such thing as a faithful woman. He lays a wager with the two officers, claiming he can prove in a day's time that those two, like all women, are fickle. The wager is accepted: the two officers will pretend to have been called off to war; soon thereafter they will return in disguise and each attempt to seduce the other's lover. The scene shifts to the two women, who are praising their men (duet: "Ah guarda sorella"—"Ah look sister"). Alfonso arrives to announce the bad news: the officers have been called off to war. Ferrando and Guglielmo arrive, brokenhearted, and bid farewell (quintet: "Sento, o Dio, che questo piede è restio"—"I feel, oh God, that my foot is reluctant"). As the boat with the men sails off to sea, Alfonso and the sisters wish them safe travel (trio: "Soave sia il vento"—"May the wind be gentle"). Alfonso, left alone, gloatingly predicts that the women (like all women) will prove unfaithful (arioso: "Oh, poverini, per femmina giocare cento zecchini?"—"Oh, poor little ones, to wager 100 sequins on a woman").

Scene 2: A room in the sisters' home
Despina, the maid, arrives and asks what is wrong. Dorabella bemoans the torment of having been left alone (aria: "Smanie implacabili"—"Torments implacable"). Despina mocks the sisters, advising them to take new lovers while their betrotheds are away (aria: "In uomini, in soldati, sperare fedeltà?"—"In men, in soldiers, you hope for faithfulness?"). After they leave, Alfonso arrives. He fears Despina will recognize the men through their disguises, so he bribes her into helping him to win the bet. The two men then arrive, dressed as mustachioed Albanians (sextet: "Alla bella Despinetta"—"Meet the pretty Despinetta"). The sisters enter and are alarmed by the presence of strange men in their home. The "Albanians" tell the sisters that they were led by love to them (the sisters). However, the sisters refuse to give in. Fiordiligi asks the "Albanians" to leave and pledges to remain faithful (aria: "Come scoglio"—"Like a rock"). The "Albanians" continue the attempt to win over the sisters' hearts, Guglielmo going so far as to point out all of his manly attributes (aria: "Non siate ritrosi"—"Don't be shy"), but to no avail. Ferrando, left alone and sensing victory, praises his love (aria: "Un'aura amorosa"—"A loving breath").

Scene 3: A garden

The sisters are still pining. Despina has asked Don Alfonso to let her take over the seduction plan. Suddenly, the "Albanians" burst in the scene and threaten to poison themselves if they are not allowed the chance to woo the sisters. As Alfonso tries to calm them, they drink the "poison" and pretend to pass out. Soon thereafter, a "doctor" (Despina in disguise) arrives on the scene and, using magnet therapy, is able to revive the "Albanians". The men, pretending to hallucinate, demand a kiss from Dorabella and Fiordiligi (whom the "Albanians" call goddesses) who stand before them. The sisters refuse, even as Alfonso and the doctor (Despina) urge them to acquiesce.

Scene 1: The sisters' bedroom
Despina urges them to succumb to the "Albanians overtures (aria: "Una donna a quindici anni"—"A fifteen year old woman"). After she leaves, Dorabella confesses to Fiordiligi that she is tempted, and the two agree that a mere flirtation will do no harm and will help them pass the time while they wait for their lovers to return (duet: "Prenderò quel brunettino"—"I will take the dark haired one").

Scene 2: The garden
Dorabella and the disguised Guglielmo pair off, as do Ferrando and Fiordiligi. The conversation is halting and uncomfortable, and Ferrando departs with Fiordiligi. Now alone with Dorabella, Guglielmo attempts to woo her. She puts up a token resistance, and soon she has given him a medallion (with Ferrando's portrait inside) in exchange for a heart-shaped locket (duet: "Il core vi dono"—"I give you my heart"). Ferrando is less successful with Fiordiligi (Ferrando's aria: "Ah, lo veggio"—"Ah, I see it" and Fiordiligi's aria: "Per pietà, ben mio, perdona"—"Please, my beloved, forgive"), so he is enraged when he later finds out from Guglielmo that the medallion with his portrait has been so quickly given away to a new lover. Guglielmo at first sympathises with Ferrando (aria: "Donne mie, la fate a tanti"—"My ladies, you do it to so many"), but then gloats, because his betrothed is faithful.

Scene 3: The sisters' room
Dorabella admits her indiscretion to Fiordiligi ("È amore un ladroncello"—"Love is a little thief"). Fiordiligi, upset by this development, decides to go to the army and find her betrothed. Before she can leave, though, Ferrando arrives and continues his attempted seduction. Fiordiligi finally succumbs and falls into his arms (duet: "Fra gli amplessi"—"In the embraces"). Guglielmo is distraught while Ferrando turns Guglielmo's earlier gloating back on him. Alfonso, winner of the wager, tells the men to forgive their fiancées. After all: "Così fan tutte"—"All women are like that".

Scene 4
The scene begins as a double wedding for the sisters and their "Albanian" grooms. Despina, in disguise as a notary, presents the marriage contract, which only the ladies sign. (The men, of course, realise that this wedding is a sham, and are only playing along with it in order to teach their unfaithful lovers a lesson.) Directly thereafter, military music is heard in the distance, indicating the return of the officers. Alfonso confirms the sisters' fears: Ferrando and Guglielmo are on their way to the house. The "Albanians" hurry off to hide (actually, to change out of their disguises). They return as the officers, professing their love. Alfonso drops the marriage contract in front of the officers, and, when they read it, they become enraged. They then depart and return moments later, half in Albanian disguise, half as officers. Despina has been revealed to be the notary, and the sisters realize they have been duped. All is ultimately forgiven, as the entire group praises the ability to accept life's unavoidable good times and bad times.

title: Così fan tutte


text:
Charles University

Charles University (CUNI; Univerzita Karlova, UK; Universitas Carolina; Karls-Universität), also known as Charles University of Prague or historically as the University of Prague (Universitas Pragensis), is the largest and best-ranked university in the Czech Republic. It is one of the oldest universities in the world in continuous operation, the first university north of the Alps and east of Paris, the second university established in the Holy Roman Empire after Bologna. Today, the university consists of 17 faculties located in Prague, Hradec Králové, and Plzeň. Charles University ranks 1st in Eastern Europe in the QS ranking and 248 globally.

Medieval university (1349–1419)
The establishment of a medieval university in Prague was inspired by Holy Roman Emperor Charles IV. He requested his friend and ally, Pope Clement VI, to create the university. On 26 January 1347, the pope issued the bull establishing a university in Prague, modeled on the University of Paris, with all four faculties, including theology. On 7 April 1348 Charles, the king of Bohemia, gave to the established university privileges and immunities from the secular power in a Golden Bull and on 14 January 1349 he repeated that as the King of the Romans. Most Czech sources since the 19th century—encyclopedias, general histories, materials of the university itself—prefer to give 1348 as the year of the founding of the university, rather than 1347 or 1349. That was caused by an anticlerical shift in the 19th century, shared by both Czechs and Germans.

The university was opened in 1349. The university was sectioned into parts called nations: the Bohemian, Bavarian, Polish and Saxon. The Bohemian natio included Bohemians, Moravians, southern Slavs, and Hungarians; the Bavarian included Austrians, Swabians, natives of Franconia and of the Rhine provinces; the Polish included Silesians, Poles, Ruthenians; the Saxon included inhabitants of the Margravate of Meissen, Thuringia, Upper and Lower Saxony, Denmark, and Sweden. Ethnically Czech students made 16–20% of all students. Archbishop Arnošt of Pardubice took an active part in the foundation by obliging the clergy to contribute and became a chancellor of the university (i.e., director or manager).

The first graduate was promoted in 1359. The lectures were held in the colleges, of which the oldest was named for the king the Carolinum, established in 1366. In 1372 the Faculty of Law became an independent university.

In 1402 Jerome of Prague in Oxford copied out the Dialogus and Trialogus of John Wycliffe. The dean of the philosophical faculty, Jan Hus, translated Trialogus into the Czech language. In 1403 the university forbade its members to follow the teachings of Wycliffe, but his doctrine continued to gain in popularity.

In the Western Schism, the Bohemian nation took the side of king Wenceslaus and supported the Council of Pisa (1409). The other nations of the university declared their support for the side of Pope Gregory XII, thus the vote was 1:3 against the Bohemians. Hus and other Bohemians, though, took advantage of Wenceslaus' opposition to Gregory. By the Decree of Kutná Hora (Kuttenberg) on 18 January 1409, the king subverted the university constitution by granting the Bohemian masters three votes. Only a single vote was left for all other three nations combined, compared to one vote per each nation before. The result of this coup was the emigration of foreign (mostly German) professors and students, founding the University of Leipzig in May 1409. Before that, in 1408, the university had about 200 doctors and Masters, 500 bachelors, and 30,000 students ; it now lost a large part of this number, accounts of the loss varying from 5000 to 20,000 including 46 professors.

In the autumn of 1409, Hus was elected rector of the now Czech-dominated rump university. The university became a bastion of the Hussite movement and mostly a regional institution. Soon, in 1419, the faculties of theology and law disappeared, and only the faculty of arts remained in existence.

Protestant academy (1419–1622)

The faculty of arts became a centre of the Hussite movement, and the chief doctrinal authority of the Utraquists. No degrees were given in the years 1417–30; at times there were only eight or nine professors. Emperor Sigismund, son of Charles IV, took what was left into his personal property and some progress was made. The emperor Ferdinand I called the Jesuits to Prague and in 1562 they opened an academy—the Clementinum. From 1541 till 1558 the Czech humanist Mattheus Collinus (1516–1566) was a professor of Greek language. Some progress was made again when the emperor Rudolph II took up residence in Prague. In 1609 the obligatory celibacy of the professors was abolished. In 1616 the Jesuit Academy became a university. (It could award academic degrees.)

Jesuits were expelled 1618–1621 during the early stages of the Thirty Years' War, which was started in Prague by anti-Catholic and anti-Imperial Bohemians. By 1622, the Jesuits had a predominant influence over the emperor. An Imperial decree of 19 September 1622 gave the Jesuits supreme control over the entire school system of Bohemia, Moravia, and Silesia. The last four professors at the Carolinum resigned, and all of the Carolinum and nine colleges went to the Jesuits. The right of handing out degrees, of holding chancellorships, and of appointing the secular professors was also granted to the Jesuits.

Charles-Ferdinand University (1622–1882)
Cardinal Ernst Adalbert of Harrach actively opposed the union of the university with another institution, the withdrawal of the archiepiscopal right to the chancellorship, and prevented the drawing up of the Golden Bull for the confirmation of the grant to Jesuits. Cardinal Ernst funded the Collegium Adalbertinum, and in 1638, Emperor Ferdinand III limited the teaching monopoly enjoyed by the Jesuits. He took from them the rights, properties and archives of the Carolinum making the university once more independent under an imperial protector. During the last years of the Thirty Years' War the Charles Bridge in Prague was courageously defended by students of the Carolinum and Clementinum. Since 1650, those who received any degrees took an oath to maintain the Immaculate Conception of the Blessed Virgin, which has been renewed annually.

On 23 February 1654, emperor Ferdinand III merged Carolinum and Clementinum and created a single university with four faculties—Charles-Ferdinand University. Carolinum had at that time only the faculty of arts, as the only faculty surviving the period of the Hussite Wars. Starting at this time, the university designated itself Charles-Ferdinand University (Universitatis Carolinae Ferdinandeae). The dilapidated Carolinum was rebuilt in 1718 at the expense of the state.

The rebuilding and the bureaucratic reforms of universities in the Habsburg monarchy in 1752 and 1754 deprived the university of many of its former privileges. In 1757 a Dominican and an Augustinian were appointed to give theological instruction. However, there was a gradual introduction of enlightened reforms, and this process culminated at the end of the century when even non-Catholics were granted the right to study. On 29 July 1784, German replaced Latin as the language of instruction. For the first time Protestants were allowed, and soon after Jews. The university acknowledged the need for a Czech language and literature chair. Emperor Leopold II established it by a courtly decree on 28 October 1791. On 15 May 1792, scholar and historian Franz Martin Pelzel was named the professor of the chair. He started his lectures on 13 March 1793.

In the revolution of 1848, German and Czech students fought for the addition of the Czech language at the Charles-Ferdinand University as a language of lectures. Due to the demographic changes of the 19th century, Prague ceased to have a German-language majority around 1860. By 1863, 22 lecture courses were held in Czech, the remainder (out of 187) in German. In 1864, Germans suggested the creation of a separate Czech university. Czech professors rejected this because they did not wish to lose the continuity of university traditions.

Split into Czech and German universities
It soon became clear that neither the German-speaking Bohemians nor the Czechs were satisfied with the bilingual arrangement that the university had established after the revolutions of 1848. The Czechs also refused to support the idea of the reinstitution of the 1349 student nations, instead declaring their support for the idea of keeping the university together, but dividing it into separate colleges, one German and one Czech. This would allow both Germans and Czechs to retain the collective traditions of the university. German-speakers, however, quickly vetoed this proposal, preferring a pure German university: they proposed to split Charles-Ferdinand University into two separate institutions.

After long negotiations, Charles-Ferdinand was divided into a German Charles-Ferdinand University (Deutsche Karl-Ferdinands-Universität) and a Czech Charles-Ferdinand University (Česká universita Karlo-Ferdinandova) by an act of the Cisleithanian Imperial Council, which Emperor Franz Joseph sanctioned on 28 February 1882. Each section was entirely independent of the other, and enjoyed equal status. The two universities shared medical and scientific institutes, the old insignia, aula, library, and botanical garden, but common facilities were administered by the German University. The first rector of the Czech University became Václav Vladivoj Tomek.

In 1890, the Royal and Imperial Czech Charles Ferdinand University had 112 teachers and 2,191 students and the Royal and Imperial German Charles Ferdinand University had 146 teachers and 1,483 students. Both universities had three faculties; the Theological Faculty remained the common until 1891, when it was divided as well. In the winter semester of 1909–10 the German Charles-Ferdinand University had 1,778 students; these were divided into: 58 theological students, for both the secular priesthood and religious orders; 755 law students; 376 medical; 589 philosophical. Among the students were about 80 women. The professors were divided as follows: theology, 7 regular professors, 1 assistant professor, 1 docent; law, 12 regular professors, 2 assistant professors, 4 docents; medicine, 15 regular professors, 19 assistant, 30 docents; philosophy, 30 regular professors, 8 assistant, 19 docents, 7 lecturers. The Czech Charles-Ferdinand University in the winter semester of 1909–10 included 4,319 students; of these 131 were theological students belonging both to the secular and regular clergy; 1,962 law students; 687 medical; 1,539 philosophical; 256 students were women. The professors were divided as follows: theological faculty, 8 regular professors, 2 docents; law, 12 regular, 7 assistant professors, 12 docents; medicine, 16 regular professors, 22 assistant, 24 docents; philosophy, 29 regular, 16 assistant, 35 docents, 11 lecturers.

The high point of the German University was the era preceding the First World War, when it was home to world-renowned scientists such as physicist and philosopher Ernst Mach, Moritz Winternitz and Albert Einstein. In addition, the German-language students included prominent individuals such as future writers Max Brod, Franz Kafka, and Johannes Urzidil. The "Lese- und Redehalle der deutschen Studenten in Prag" ("Reading and Lecture Hall of the German students in Prague"), founded in 1848, was an important social and scientific centre. Their library contained in 1885 more than 23,519 books and offered 248 scientific journals, 19 daily newspapers, 49 periodicals and 34 papers of entertainment. Regular lectures were held to scientific and political themes.

Even before the Austro-Hungarian Empire was abolished in late 1918, to be succeeded by Czechoslovakia, Czech politicians demanded that the insignia of 1348 were exclusively to be kept by the Czech university. The ''Act No. 197/1919 Sb. z. a n.'' established the Protestant Theological Faculty, but not as a part of the Charles University. (That changed on 10 May 1990, when it finally became a faculty of the university. )

In 1920, the so-called Lex Mareš (No. 135/1920 Sb. z. a n.) was issued, named for its initiator, professor of physiology František Mareš, which determined that the Czech university was to be the successor to the original university. Dropping the Habsburg name Ferdinand, it designated itself Charles University, while the German university was not named in the document, and then became officially called the German University in Prague (Deutsche Universität Prag).

In 1921, the German-speaking Bohemians considered moving their university to Liberec (Reichenberg), in northern Bohemia. In 1930, about 42,000 inhabitants of Prague spoke German as their native language, while millions lived in northern, southern and western Bohemia, in Czech Silesia and parts of Moravia near the borders with Austria and Germany.

In October 1932, after Naegle's death, the Czechs started again a controversy over the insignia. Ethnic tensions intensified, although some professors of the German University were members of the Czechoslovak government. Any agreement to use the insignia for both the universities was rejected. On 21 November 1934, the German University had to hand over the insigniae to the Czechs. The German University senate sent a delegation to Minister of Education Krčmář to protest the writ. At noon on 24 November 1934, several thousand students of the Czech University protested in front of the German university building. The Czech rector Karel Domin gave a speech urging the crowd to attack, while the outnumbered German students tried to resist. Under the threat of violence, on 25 November 1934 rector Otto Grosser (1873–1951) handed over the insigniae. These troubles of 1934 harmed relations between the two universities and nationalities.

The tide turned in 1938 when, following the Munich Agreement, German troops entered the border areas of Czechoslovakia (the so-called Sudetenland), as did Polish and Hungarian troops elsewhere. On 15 March 1939 Germans forced Czecho-Slovakia to split apart and the Czech lands were occupied by Nazis as the Protectorate of Bohemia and Moravia. Reichsprotektor Konstantin von Neurath handed the historical insigniae to the German University, which was officially renamed Deutsche Karls-Universität in Prag. On 1 September 1939 the German University was subordinated to the Reich Ministry of Education in Berlin and on 4 November 1939 it was proclaimed to be Reichsuniversität.

On 28 October 1939, during a demonstration, Jan Opletal was shot. His burial on 15 November 1939 became another demonstration. On 17 November 1939 (now marked as International Students' Day) the Czech University and all other Czech institutions of higher learning were closed, remaining closed until the end of the War. Nine student leaders were executed and about 1,200 Czech students were interned in Sachsenhausen and not released until 1943. About 20 or 35 interned students died in the camp. On 8 May 1940 the Czech University was officially renamed Czech Charles University (Česká universita Karlova) by government regulation 188/1940 Coll.

World War II marks the end of the coexistence of the two universities in Prague.

In 1945 the insignia of the university (the rector's chain, the scepters of the individual faculties, the university seal and also the founding documents and other historical documents) were stolen by the Nazis. None of these historical objects have been found to this day.

Present-day university (since 1945)
Although the university began to recover rapidly after 1945, it did not enjoy academic freedom for long. After the communist coup in 1948, the new regime started to arrange purges and repress all forms of disagreement with the official ideology, and continued to do so for the next four decades, with the second wave of purges during the "normalization" period in the beginning of the 1970s.

Only in the late 1980s did the situation start to improve; students organized various activities and several peaceful demonstrations in the wake of the Revolutions of 1989 abroad. This initiated the "Velvet Revolution" in 1989, in which both students and faculty of the university played a large role. Václav Havel, a writer, dramatist and philosopher, was recruited from the independent academic community and appointed president of the republic in December 1989.

Since 26 January 2022, Prof. Milena Králíčková is the first woman rector of the Charles University.

December 2023 shooting
On 21 December 2023, a mass shooting occurred at the university. 14 people were killed, and 25 others were wounded. The 24-year-old perpetrator then killed himself. Before the shooting at the university, the perpetrator killed his father at their home in Hostouň. He was also identified as the person responsible for the murders of a man and his two-month-old daughter in Klánovice Forest six days earlier on 15 December.

Location
Charles University does not have one joint campus. The academic facilities occupy many locations throughout the city of Prague and three of the faculties are located in other cities (two of them in Hradec Králové, one in Plzeň). The historical main building from the 14th century called Karolinum is situated in the Old Town of Prague and constitutes the university's center. It is the seat of the rector and of the Academic Senate of Charles university. Carolinum is also the venue for official academic ceremonies such as matriculations or graduations.

Its academic publishing house is Karolinum Press and the university also operates several museums. The Botanical Garden of Charles University, maintained by its Faculty of Science, is located in the New Town.

Faculties
Among the four original faculties of Charles University were: the faculty of law, medicine, art (philosophy) and theology (now catholic theology). Today, Charles University consists of 17 faculties, based primarily in Prague, two houses in Hradec Králové and one in Plzeň.
 * Catholic Theological Faculty
 * Protestant Theological Faculty
 * Hussite Theological Faculty
 * Faculty of Law
 * First Faculty of Medicine
 * Second Faculty of Medicine
 * Third Faculty of Medicine
 * Faculty of Medicine in Plzeň
 * Faculty of Medicine in Hradec Králové
 * Faculty of Pharmacy in Hradec Králové
 * Faculty of Arts
 * Faculty of Science
 * Faculty of Mathematics and Physics
 * Faculty of Education
 * Faculty of Social Sciences
 * Faculty of Physical Education and Sport
 * Faculty of Humanities

Academic Institutes

 * Institute of the History of Charles University and Archive of Charles University
 * Center for Theoretical Study
 * Center for Economic Research and Graduate Education (CERGE-EI) together with Czech Academy of Sciences
 * Environment Center

Other units

 * Computer Science Centre
 * Centre for Transfer of Knowledge and Technology
 * Institute for Language and Preparatory Studies
 * Central Library of Charles University
 * Agency of the Council of Higher Education Institutions

Joint research centres of Charles University and the Czech Academy of Sciences

 * BIOCEV
 * Centre for Biblical Studies
 * Centre for Medieval Studies
 * Center for Theoretical Study

Subsidiary companies

 * Charles University Innovations Prague (technology transfer office)
 * Charles Games (video game development and distribution)
 * LAM-X (nanomaterials development)
 * GeneSpector (development and distribution of kits for the diagnosis of COVID-19 and other viral agents)
 * FlexiCare (implementation of telerehabilitation systems)
 * GeneSpector Innovations (development and distribution of technologies for medical diagnostics)

Rankings
Rector of the University Václav Hampl said in 2008: "I am very pleased that Charles University achieved such a great success and I would like to thank to all who have contributed to it. An overwhelming majority of schools with a similar placement like Charles University have incomparably better financing and therefore this success is not only a reflection of professional qualities of our academics but also their personal efforts and dedication."

According to Academic Ranking of World Universities (Shanghai Ranking), Charles University ranked in the upper 1.5 percent of the world's best universities in 2011. It came 201st to 300th out of 17,000 universities worldwide. It is the best university in the Czech Republic and one of the best universities in Central and Eastern Europe only overtaken by Russian Lomonosov Moscow State University at 74th place. It was placed 31st in Times BRICS & Emerging Economies Rankings 2014 (after 23rd University of Warsaw).

It was ranked in 2013 as 201–300 best in the World among 500 universities evaluated by Academic Ranking of World Universities (Shanghai Ranking), 233rd among 500 in QS World University Rankings, 351–400 among 400 universities in Times Higher Education World University Rankings and 485th in CWTS Leiden Ranking of 500 universities. Earlier rankings are presented in following table.

Subject rankings
According to the QS Subject Ranking Charles University is among the 150 best universities in the world in geography and linguistics.

International cooperation
In Germany the Charles University in Prague cooperates with the Goethe University Frankfurt. Both cities are linked by a long-lasting partnership agreement.

title: Charles University


text:
Don Giovanni

Don Giovanni (K. 527; Vienna (1788) title: Il dissoluto punito, ossia il Don Giovanni, literally The Rake Punished, or Don Giovanni) is an opera in two acts with music by Wolfgang Amadeus Mozart to an Italian libretto by Lorenzo Da Ponte. Its subject is a centuries-old Spanish legend about a libertine as told by playwright Tirso de Molina in his 1630 play El burlador de Sevilla y convidado de piedra. It is a dramma giocoso blending comedy, melodrama and supernatural elements (although the composer entered it into his catalogue simply as opera buffa). It was premiered by the Prague Italian opera at the National Theater (of Bohemia), now called the Estates Theatre, on 29 October 1787. Don Giovanni is regarded as one of the greatest operas of all time, and has proved a fruitful subject for commentary in its own right; critic Fiona Maddocks has described it as one of Mozart's "trio of masterpieces with librettos by Da Ponte".

Composition and premiere
The opera was commissioned after the success of Mozart's trip to Prague in January and February 1787. The subject may have been chosen because the sub-genre of Don Juan opera had originated in that city. Lorenzo Da Ponte's libretto is based on Giovanni Bertati's for the opera Don Giovanni Tenorio, which premiered in Venice early in 1787. In two aspects he copied Bertati: by opening with the Commendatore's murder and by avoiding mention of Seville (for Bertati the setting was Villena, Spain; Da Ponte simply writes "city in Spain").

The opera was supposed to premiere on 14 October 1787 for Archduchess Maria Theresa of Austria’s visit, but it was not ready in time and Le nozze di Figaro was substituted. Mozart recorded its completion, finally, on 28 October, the night before the premiere (29 October).

The opera was rapturously received, as was often true of Mozart's work in Prague. The Prager Oberpostamtzeitung reported, "Connoisseurs and musicians say that Prague has never heard the like", and "the opera ... is extremely difficult to perform." The Provincialnachrichten of Vienna reported, "Herr Mozart conducted in person and was welcomed joyously and jubilantly by the numerous gathering."

Scoring
The score calls for double woodwinds, two horns, two trumpets, three trombones (alto, tenor, bass), timpani, basso continuo for the recitatives, and the usual string section. The composer also specified occasional special musical effects. For the ballroom scene at the end of the first act, Mozart calls for two onstage ensembles to play separate dance music in synchronization with the pit orchestra, each of the three groups playing in its own metre (a 3/4 minuet, a 2/4 contradanse and a fast 3/8 peasant dance), accompanying the dancing of the principal characters. In act 2, Giovanni is seen to play the mandolin, accompanied by pizzicato strings. In the same act, two of the Commendatore's interventions ("Di rider finirai pria dell'aurora" and "Ribaldo, audace, lascia a' morti la pace") are accompanied by a wind chorale of oboes, clarinets, bassoons, and trombones (with cellos and basses playing from the string section).

Revision for Vienna
Mozart also supervised the Vienna premiere of the work, which took place on 7 May 1788. For this production, he wrote two new arias with corresponding recitatives – Don Ottavio's aria "Dalla sua pace" (K. 540a, composed on 24 April for the tenor Francesco Morella), Elvira's aria "In quali eccessi ... Mi tradì quell'alma ingrata" (K. 540c, composed on 30 April for the soprano Caterina Cavalieri) – and the duet between Leporello and Zerlina "Per queste tue manine" (K. 540b, composed on 28 April). He also made some cuts in the Finale in order to make it shorter and more incisive, the most important of which is the section where Anna and Ottavio, Elvira, Zerlina and Masetto, Leporello reveal their plans for the future ("Or che tutti, o mio tesoro"). In order to connect "Ah, certo è l'ombra che l'incontrò" ("It must have been the ghost she met") directly to the moral of the story "Questo è il fin di chi fa mal" ("This is the end which befalls to evildoers"), Mozart composed a different version of "Resti dunque quel birbon fra Proserpina e Pluton!" ("So the wretch can stay down there with Proserpina and Pluto!"). These cuts are very seldom performed in theatres or recordings.

Later performance traditions
The opera's final ensemble was generally omitted until the early 20th century, a tradition that apparently began very early on. According to the 19th-century Bohemian memoirist Wilhelm Kuhe, the final ensemble was only presented at the first performance in Prague, then never heard again during the original run. It does not appear in the Viennese libretto of 1788; thus the ending of the first performance in Vienna without the ensemble as depicted in the film Amadeus may be an accurate portrayal. Nonetheless, the final ensemble is almost invariably performed in full today.

Modern productions sometimes include both the original aria for Don Ottavio, "Il mio tesoro", and its replacement from the first production in Vienna that was crafted to suit the capabilities of the tenor Francesco Morella, "Dalla sua pace". Elvira's "In quali eccessi, o Numi ... Mi tradì quell'alma ingrata" is usually retained as well. The duet "Per queste tue manine" and the whole accompanying scene involving Zerlina and Leporello from the Viennese version is almost never included.

Although the same singer played both Masetto and the Commendatore roles in both the Prague and Vienna premieres, in modern-day productions, the roles are typically taken by different singers (unless limited by such things as finance or rehearsal time and space). The final scene's chorus of demons after the Commendatore's exit gives the singer time for a costume change before entering as Masetto for the sextet, though not much time.

Instrumentation
The instrumentation is:
 * Woodwinds: two flutes, two oboes, two clarinets and two bassoons
 * Brass: two horns, two trumpets, three trombones
 * Percussion: timpani
 * Strings: first violins, second violins, violas, cellos and double basses
 * Basso continuo in secco recitatives of harpsichord and violoncello (period performance practice often uses a fortepiano only)
 * Mandolin

Synopsis
Don Giovanni, a young, arrogant, and sexually promiscuous nobleman, abuses and outrages everyone else in the cast until he encounters something he cannot kill, beat up, dodge, or outwit.

Act 1
The overture begins with a thundering D minor cadence, followed by a short misterioso sequence which leads into a light-hearted D major allegro.

 * The garden of the Commendatore

Leporello, Don Giovanni's servant, grumbles about his demanding master and daydreams about being free of him ("Notte e giorno faticar" – "Night and day I slave away"). He is keeping watch while Don Giovanni is in the Commendatore's house attempting to seduce the Commendatore's daughter, Donna Anna. Don Giovanni enters the garden from inside the house, pursued by Donna Anna. Don Giovanni is masked and Donna Anna tries to hold him and to unmask him, shouting for help. (Trio: "Non sperar, se non m'uccidi, Ch'io ti lasci fuggir mai!" – "Do not hope, unless you kill me, that I shall ever let you run away!"). He breaks free and she runs off as the Commendatore enters the garden. The Commendatore blocks Don Giovanni's path and forces him to fight a duel. Don Giovanni kills the Commendatore with his sword and escapes with Leporello. Donna Anna, returning with her fiancé, Don Ottavio, is horrified to see her father lying dead in a pool of his own blood. She makes Don Ottavio swear vengeance against the unknown murderer. (Duet: "Ah, vendicar, se il puoi, giura quel sangue ognor!" – "Ah, swear to avenge that blood if you can!")

 * A public square outside Don Giovanni's palace

Leporello tells Don Giovanni that he (Giovanni) is leading a rotten life; Don Giovanni reacts angrily. They hear a woman (Donna Elvira) singing of having been abandoned by her lover, on whom she is seeking revenge ("Ah, chi mi dice mai" – "Ah, who could ever tell me"). Don Giovanni starts to flirt with her, but it turns out he is the former lover she is seeking. The two recognize each other and she reproaches him bitterly. He shoves Leporello forward, ordering him to tell Donna Elvira the truth about him, and then hurries away.

Leporello tells Donna Elvira that Don Giovanni is not worth her feelings for him. He is unfaithful to everyone; his conquests include 640 women and girls in Italy, 231 in Germany, 100 in France, 91 in Turkey, but in Spain, 1,003 ("Madamina, il catalogo è questo" – "My dear lady, this is the catalogue"). In a frequently cut recitative, Donna Elvira vows vengeance.

 * The open country

A marriage procession with Masetto and Zerlina enters. Don Giovanni and Leporello arrive soon after. Don Giovanni is immediately attracted to Zerlina, and he attempts to remove the jealous Masetto by offering to host a wedding celebration at his castle. On realizing that Don Giovanni means to remain behind with Zerlina, Masetto becomes angry ("Ho capito! Signor, sì" – "I understand! Yes, my lord!") but is forced to leave. Don Giovanni and Zerlina are soon alone and he immediately begins his seductive arts (Duet: "Là ci darem la mano" – "There we will entwine our hands").

Donna Elvira arrives and thwarts the seduction ("Ah, fuggi il traditor" – "Flee from the traitor!"). She leaves with Zerlina. Don Ottavio and Donna Anna enter, plotting vengeance on the still unknown murderer of Donna Anna's father. Donna Anna, unaware that she is speaking to her attacker, pleads for Don Giovanni's help. Don Giovanni, relieved that he is unrecognised, readily promises it, and asks who has disturbed her peace. Before she can answer, Donna Elvira returns and tells Donna Anna and Don Ottavio that Don Giovanni is a false-hearted seducer. Don Giovanni tries to convince Don Ottavio and Donna Anna that Donna Elvira is insane (Quartet: "Non ti fidar, o misera" – "Don't trust him, oh sad one"). As Don Giovanni leaves, Donna Anna suddenly recognizes him as her father's murderer and tells Don Ottavio the story of his intrusion, claiming that she was deceived at first because she was expecting a night visit from Don Ottavio himself, but managed to fight Don Giovanni off after discovering the impostor (long recitative exchange between Donna Anna and Don Ottavio). She repeats her demand that he avenge her and points out that he will be avenging himself as well (aria: "Or sai chi l'onore Rapire a me volse" – "Now you know who wanted to rob me of my honour"). In the Vienna version, Don Ottavio, not yet convinced (Donna Anna having only recognised Don Giovanni's voice, not seen his face), resolves to keep an eye on his friend ("Dalla sua pace la mia dipende" – "On her peace my peace depends").

Leporello informs Don Giovanni that all the guests of the peasant wedding are in Don Giovanni's house and that he distracted Masetto from his jealousy, but that Zerlina, returning with Donna Elvira, made a scene and spoiled everything. However, Don Giovanni remains cheerful and tells Leporello to organize a party and invite every girl he can find. (Don Giovanni's "Champagne Aria": "Fin ch'han dal vino calda la testa" – "Till they are tipsy"). They hasten to his palace.

 * A garden outside Don Giovanni's palace

Zerlina follows the jealous Masetto and tries to pacify him ("Batti, batti o bel Masetto" – "Beat, O beat me, handsome Masetto"), but just as she manages to persuade him of her innocence, Don Giovanni's voice from offstage startles and frightens her. Masetto hides, resolving to see for himself what Zerlina will do when Don Giovanni arrives. Zerlina tries to hide from Don Giovanni, but he finds her and attempts to continue the seduction, until he stumbles upon Masetto's hiding place. Confused but quickly recovering, Don Giovanni reproaches Masetto for leaving Zerlina alone, and returns her temporarily to him. Don Giovanni then leads both offstage to his ballroom. Three masked guests – the disguised Don Ottavio, Donna Anna, and Donna Elvira – enter the garden. From a balcony, Leporello invites them to his master's party. They accept the invitation and Leporello leaves the balcony. Alone, Don Ottavio and Donna Anna pray for protection, Donna Elvira for vengeance (Trio: "Protegga il giusto cielo" – "May the just heavens protect us").

 * Don Giovanni's ballroom

As the merriment, featuring three separate chamber orchestras on stage, proceeds, Leporello distracts Masetto by dancing with him, while Don Giovanni leads Zerlina offstage to a private room and tries to assault her. When Zerlina screams for help, Don Giovanni drags Leporello onstage from the room, accuses Leporello of assaulting Zerlina himself, and threatens to kill him. The others are not fooled. Don Ottavio produces a pistol and points it at Don Giovanni, and the three guests unmask and declare that they know all. But despite being denounced and menaced from all sides, Don Giovanni remains calm and escapes – for the moment.

Act 2

 * Outside Donna Elvira's house

Leporello threatens to leave Don Giovanni, but his master calms him with a peace offering of money (Duet: "Eh via buffone" – "Go on, fool"). Wanting to seduce Donna Elvira's maid, and believing that she will trust him better if he appears in lower-class clothes, Don Giovanni orders Leporello to exchange cloak and hat with him. Donna Elvira comes to her window (Trio: "Ah taci, ingiusto core" – "Ah, be quiet unjust heart"). Seeing an opportunity for a game, Don Giovanni hides and sends Leporello out in the open wearing Don Giovanni's cloak and hat. From his hiding place Don Giovanni sings a promise of repentance, expressing a desire to return to her and threatening to kill himself if she does not take him back, while Leporello poses as Don Giovanni and tries to keep from laughing. Donna Elvira, convinced, descends to the street. Leporello, continuing to pose as Don Giovanni, leads her away to keep her occupied while Don Giovanni serenades her maid with his mandolin. ("Deh, vieni alla finestra" – "Ah, come to the window").

Before Don Giovanni can complete his seduction of the maid, Masetto and his friends arrive, looking for Don Giovanni in order to kill him. Don Giovanni poses as Leporello (whose clothes he is still wearing) and joins the posse, pretending that he also hates Don Giovanni. After cunningly dispersing Masetto's friends (Don Giovanni aria: "Metà di voi qua vadano" – "Half of you go this way. the others, go that way"), Don Giovanni takes Masetto's weapons away, beats him up, and runs off, laughing. Zerlina arrives and consoles the bruised and battered Masetto ("Vedrai carino" – "You'll see, dear one").

 * A dark courtyard

Leporello abandons Donna Elvira. (Sextet: "Sola, sola in buio loco" – "All alone in this dark place"). As he tries to escape, he bumps into Don Ottavio and Donna Anna. Zerlina and Masetto also enter the scene. Everyone mistakes Leporello for Don Giovanni, whose clothes he is still wearing. They surround Leporello and threaten to kill him. Donna Elvira tries to protect the man who she thinks is Don Giovanni, claiming him as her husband and begging the others to spare him. Leporello takes off Don Giovanni's cloak and reveals his true identity. He begs for mercy and, seeing an opportunity, runs off (Leporello aria: "Ah pietà signori miei" – "Ah, have mercy, my lords"). Don Ottavio is now convinced that Don Giovanni murdered Donna Anna's father (the deceased Commendatore). He swears vengeance ("Il mio tesoro" – "My treasure" – though in the Vienna version this was cut).

In the Vienna production of the opera, Zerlina follows Leporello and recaptures him. Threatening him with a razor, she ties him to a stool. He attempts to sweet-talk her out of hurting him. (Duet: "Per queste tue manine" – "For these hands of yours"). Zerlina goes to find Masetto and the others; Leporello escapes again before she returns. This scene, marked by low comedy, is rarely performed today. Also in the Vienna production, Donna Elvira is still furious at Don Giovanni for betraying her, but she also feels sorry for him. ("Mi tradì quell'alma ingrata" – "That ungrateful wretch betrayed me").

 * A graveyard with the statue of the Commendatore

Don Giovanni wanders into a graveyard. Leporello happens along and the two reunite. Leporello tells Don Giovanni of his brush with danger, and Don Giovanni laughingly taunts him, saying that he took advantage of his disguise as Leporello by trying to seduce one of Leporello's girlfriends. The voice of the statue interrupts and warns Don Giovanni that his laughter will not last beyond sunrise. At the command of his master, Leporello reads the inscription upon the statue's base: "Here am I waiting for revenge against the scoundrel who killed me" ("Dell'empio che mi trasse al passo estremo qui attendo la vendetta"). The servant trembles, but Don Giovanni scornfully orders him to invite the statue to dinner, and threatens to kill him if he does not. Leporello makes several attempts to invite the statue to dinner, but is too frightened to complete the invitation (Duet: "O, statua gentilissima" – "Oh most noble statue"). Don Giovanni invites the statue to dinner himself. Much to his surprise, the statue nods its head and responds affirmatively.

 * Donna Anna's room

Don Ottavio pressures Donna Anna to marry him, but she thinks it is inappropriate so soon after her father's death. He accuses her of being cruel, and she assures him that she loves him, and is faithful ("Non mi dir" – "Tell me not").

 * Don Giovanni's chambers

Don Giovanni revels in the luxury of a great meal, served by Leporello, and musical entertainment during which the orchestra plays music from popular (at the time) late-18th-century operas: "O quanto un sì bel giubilo" from Vicente Martín y Soler's Una cosa rara (1786), "Come un agnello" from Giuseppe Sarti's Fra i due litiganti il terzo gode (1782), and finally "Non più andrai" from Mozart's own The Marriage of Figaro (1786). Leporello comments that he is all too familiar with the final tune (Questa poi la conosco purtroppo) – likely a joke understandable for the original audience, as Felice Ponziani, who sang Leporello's part at the premiere, also sang Figaro's part (including "Non più andrai") earlier in Prague. (Finale "Già la mensa è preparata" – "Already the table is prepared"). Donna Elvira enters, saying that she no longer feels resentment against Don Giovanni, only pity for him. ("L'ultima prova dell'amor mio" – "The final proof of my love"). Don Giovanni, surprised, asks what she wants, and she begs him to change his life. Don Giovanni taunts her and then turns away, praising wine and women as the "support and glory of humankind" (sostegno e gloria d'umanità). Hurt and angry, Donna Elvira gives up and leaves. Offstage, she screams in sudden terror. Don Giovanni orders Leporello to see what has upset her; when he does, he also cries out, and runs back into the room, stammering that the statue has appeared as promised. An ominous knocking sounds at the door. Leporello, paralyzed by fear, cannot answer it, so Don Giovanni opens it himself, revealing the statue of the Commendatore. With the rhythmic chords of the overture, now reharmonized with diabolic diminished sevenths accompanying the Commendatore ("Don Giovanni! A cenar teco m'invitasti" – "Don Giovanni! You invited me to dine with you"), the statue asks if Don Giovanni will now accept invitation to dinner. Don Giovanni brazenly accepts, and shakes the statue's proffered hand, only to collapse as he is overcome by sudden chills. The statue offers him a final chance to repent as death draws near, but Don Giovanni adamantly refuses. The statue disappears and Don Giovanni cries out in pain and terror as he is surrounded by a chorus of demons, who carry him down to Hell. Leporello, watching from under the table, also cries out in fear.

Donna Anna, Don Ottavio, Donna Elvira, Zerlina, and Masetto arrive, searching for the villain. They find instead Leporello hiding under the table, shaken by the supernatural horror he has witnessed. He assures them that no one will ever see Don Giovanni again. The remaining characters announce their plans for the future: Donna Anna and Don Ottavio will marry when Donna Anna's year of mourning is over; Donna Elvira will withdraw from society for the rest of her life; Zerlina and Masetto will finally go home for dinner; and Leporello will go to the tavern to find a better master.

The concluding ensemble delivers the moral of the opera – "Such is the end of the evildoer: the death of a sinner always reflects his life" (Questo è il fin di chi fa mal, e de' perfidi la morte alla vita è sempre ugual). As mentioned above, productions for over a century – beginning with the original run in Prague – customarily omitted the final ensemble, but it frequently reappeared in the 20th century and productions of the opera now usually include it. The return to D major and the innocent simplicity of the last few bars conclude the opera.

Recordings
Paul Czinner directed a filming of the Salzburg Festival presentation in 1954. A screen adaptation was directed by Joseph Losey in 1979.

Cultural influence
The Danish philosopher Søren Kierkegaard wrote a long essay in his book Enten – Eller in which he argues, writing under the pseudonym of his character "A", that "among all classic works Don Giovanni stands highest." Charles Gounod wrote that Mozart's Don Giovanni is "a work without blemish, of uninterrupted perfection." The finale, in which Don Giovanni refuses to 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." E. T. A. Hoffmann also wrote a short story derived from the opera, "Don Juan", in which the narrator meets Donna Anna and describes Don Juan as an aesthetic hero rebelling against God and society.

In some Germanic and other languages, Leporello's "Catalogue Aria" provided the name "Leporello (leaflet) list" for concertina-folded printed matter, as used for brochures, photo albums, computer printouts and other continuous stationery.

Playwright Peter Shaffer used Don Giovanni for a pivotal plot point in his play Amadeus, a fictional biography of its composer. In it, Antonio Salieri notices how Mozart composed the opera while tortured after the death of his imposing father 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, and Sigismond Thalberg uses the same minuet, along with "Deh, vieni alla finestra", in his Grand Fantaisie sur la serenade et le Minuet de Don Juan, Op. 42. Thalberg also included a piano arrangement of "Il mio tesoro" in his 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). "Deh, vieni alla finestra" also makes an appearance in the Klavierübung of Ferruccio Busoni, under the title Variations-Studie nach Mozart (Variation study after Mozart). Schumann included a piano arrangement of "Vedrai carino" in his 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. Chopin wrote Variations on "Là ci darem la mano" (the duet between Don Giovanni and Zerlina) for piano and orchestra. Beethoven and Danzi also wrote variations on the same theme. And Beethoven, in his Diabelli Variations, cites the beginning of the opera "Notte e giorno faticar" in variation 22. Cipriani Potter wrote piano variations on "Fin ch'han dal vino", Op. 2 (1816). The turkeys in Chabrier's "Ballade des gros dindons" (1889) finish each verse imitating the mandolin accompaniment of the Serenade.

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, and said that when looking at the manuscript, he was "in the presence of divinity". 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 fourth orchestral suite, which he called Mozartiana. 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.

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.

In addition to instrumental works, allusions to Don Giovanni also appear in a number of operas: Nicklausse of Offenbach's The Tales of Hoffmann sings a snatch of Leporello's "Notte e giorno", and 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.

Ramón Carnicer's opera Don Giovanni Tenorio (Carnicer) (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), though usually slightly reworked and re-orchestrated.

Notes and references
Notes

References

Sources

title: Don Giovanni