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Le nozze di Figaro is one of Mozart's best-loved and most enduring works. The first of the three operas he wrote with Lorenzo da Ponte and based on Beaumarchais's play, it established the thirty-year-old Mozart as an opera composer of the very first rank. Its combination of wit, acute psychological observation and sublime music has enthralled audiences ever since its premiere in Prague in 1786.This guide contains articles about the historical background to the opera, as well as musical and dramatic commentaries. Further articles deal with the changes in musical performance brought about in recent times by the period practice movement and with the particular uses Mozart makes of recitatives. There is also a survey of the opera's most important productions. Illustrations, a thematic guide, the full libretto with English translation and reference sections are also included.Contains:Living Together, Singing Together, Max LoppertA Society Marriage, John WellsA Musical Commentary, Basil DeaneRecitatives in Figaro: Some Thoughts, David SyrusMusic and Comedy in Le nozze di Figaro, Stephen OliverA Selective Performance History, George HallLe nozze di Figaro: Libretto by Lorenzo Da Ponte after the play La Folle Journee, ou Le Mariage de Figaro by Pierre-Augustin Caron de BeaumarchaisThe Marriage of Figaro: English translation by OpernfuehrerTranslation of Susanna's alternative aria and rondo by Charles Johnston
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Le nozze di Figaro is one of Mozart's best-loved and most enduring works. It established the thirty-year-old Mozart as an opera composer of the very first rank. Its combination of wit, acute psychological observation and sublime music has enthralled audiences ever since its premiere in Prague in 1786.
Le nozze di Figaro (1786) was Mozart's first mature opera buffa. It was also the first of his three major collaborations with the librettist Lorenzo da Ponte. Unlike Don Giovanni (1787) and Così fan tutte (1790), Figaro has few obvious problems, and even if it is not without flaws, it nevertheless contains a remarkable mixture of all those elements that go to produce a good opera: a sound plot, a well-structured text and fine music. This opera handbook examines the work from historical and musical perspectives, to set it in the context of Mozart's age.
The three Mozart/Da Ponte operas offer a inexhaustible wellspring for critical reflection, possessing a complexity and equivocation common to all great humane works. They have the potential to reflect and refract whatever locus of contemporaneity may be the starting point for enquiry. Thus, even postmodern and postmillennial concerns, far from seeming irrelevant to these operas, are instead given new perspectives by them, while the music and the dramatic situations have the multivalency to accept each refreshed palette of interpretation without loss of their essential character. These operas seem perennially new. In exploring the evergreen qualities of Don Giovanni and Le Nozze di Figaro, the authors of this book do not shun approaches that have foundations in established theory, but refract them through such problems as the tension between operatic tradition and psychological realism, the coexistence of multiple yet equal plots, and the antagonism between the tenets of tradition and the need for self-actualization. In exploring such themes, the authors not only illuminate new aspects of Mozart's operatic compositions but also probe the nature of musical analysis itself.
English National Opera Guides are ideal companions to the opera. They provide stimulating introductory articles together with the complete text of each opera in English and the original. "It was a treat so truly intellectual that every ear and every breast, susceptible of harmony and of impression, was gratified to a degree beyond our power to describe." Thus one of the first London reviews in 1811 of Mozart's beautiful opera, Cosi fan tutte. Its enigmatic mixture of a detached experiment in human foibles and a struggle of sincere emotions has often disturbed audiences: in the last century it was performed under many different titles and extensively bowdlerised. H.C. Robbins Landon observes, however, that Mozart's heartfelt music proves he is openly on the side of the angels (that is, the ladies), not the deceivers, however cynical da Ponte's words alone appear to be. Brian Trowell describes the sophisticated world in which the opera was conceived, while John Stone traces the origins of the libretto to Ancient Greece, medieval Italy and even to China. The text is certainly da Ponte's most original masterpiece and is here presented in a newly revised English version.
Librettos by Lorenzo da Ponte; translations by Lionel Salter.
(Amadeus). For a long time, Cosi fan tutte was considered scandalous which is not entirely surprising, if you look at its story. After seeing their fiances, Guglielmo and Ferrando, go off to war, two sisters, Fiordiligi and Dorabella, all too rapidly overcome their grief and agree to marry two attractive strangers within the space of just a couple days. Little do the sisters know that the strangers are in fact those same fiances in disguise! The whole thing is a plot masterminded by a cynical old philosopher, Don Alfonso, and a clever maid, Despina. Scandalous or not, Cosi fan tutte has remained one of opera's most contemporary comedies.
This handbook provides the reader with the first comprehensive guide to Mozart's Le nozze di Figaro. Tim Carter discusses the composition of the opera and the social, cultural and musical context in which it was produced, its critical reception and performance history. He provides a full analytical synopsis, a chapter on the verse structure of the libretto and a discussion of Mozart's matching of music to drama. Other chapters also consider relevant topics, including the 'comic' possibilities of the Classical style, and Michael Robinson writes on opera buffa in the 1770s and 1780s.