Abstract
Since its first performance, in Prague, in 29th October 1787, the lyrical opera Don Giovanni (music by Mozart, libretto by Da Ponte), has been an extraordinary success, and every year, since then, continues to be performed in theaters in many countries. Which are the reasons for such triumph? Which are the causes for its longevity? The main objective of this article is to analyze this opera from a semiotic point of view, based on the models of Pais (1982, 1984, 1988, 1993) and Greimas (1979, 1986, 1993). By using different semiotic squares, we will present some of the multiple dialectical tensions that permeate the text, tensions that, we suppose, are the main causes for this opera great success.
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