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At once the most light-hearted and disturbing of Mozart and Da Ponte's Italian comic works, the opera has provoked widely differing reactions from listeners for more than two centuries. This study provides a detailed account of the libretto's complex origins in myth and Italian literary classics.
An Aurelio Zen Novel Michael Dibdin's overburdened Italian police inspector has been transferred to Naples, where the rule of law is so lax that a police station may double as a brothel. But this time, having alienated superiors with his impolitic zealousness in every previous posting, Zen is determined not to make waves. Too bad an American sailor (who may be neither American nor a sailor) knifes one of his opposite numbers in Naples's harbor, and some local garbage collectors have taken to moonlighting in homicide. And when Zen becomes embroiled in a romantic intrigue involving love-sick gangsters and prostitutes who pass themselves off as Albanian refugees, all Naples comes to resemble the set of the Mozart opera of the same title. Bawdy, suspenseful, and splendidly farcical, the result is an irresistible offering from a maestro of mystery.
Music, Sexuality and the Enlightenment explains how Mozart's music for Le nozze di Figaro, Don Giovanni and Così fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with one another. Mozart, by way of the infinitely generative and beautiful logic of the sonata principle, did not merely interpret Da Ponte's characterizations but lent them temporal, musical forms. Charles Ford's analytic interpretation of these musical forms concerns processes and structures in detail and at medium- to long-term levels. He addresses the music of a wide range of arias and ensembles, and develops original ways to interpret the two largely overlooked operatic genres of secco recitative and finales. Moreover, Ford presents a new method by which to relate musical details directly to philosophical concepts, and thereby, the music of the operas to the inwardly contradictory thinking of the European Enlightenment. This involves close readings of late eighteenth-century understandings of 'man' and nature, self and other, morality and transgression, and gendered identities and sexuality, with particular reference to contemporary writers, especially Goethe, Kant, Laclos, Rousseau, Sade, Schiller, Sterne and Wollstonecraft. The concluding discussion of the implied futures of the operas argues that their divided sexualities, which are those of the Enlightenment as a whole, have come to form our own unquestioned assumptions about gender differences and sexuality. This, along with the elegant and eloquent precision of Mozart's music, is why Figaro, Giovanni and Così still maintain their vital immediacy for audiences today.
A stunning, operatic, epic drama, like no other. Meet Hel, an ordinary teenager - and goddess of the Underworld. Why is life so unfair? Hel tries to make the bets of it, creating gleaming halls in her dark kingdom and welcoming the dead who she is forced to host for eternity. Until eternity itself is threatened. Francesca's first and wonderful foray into teen.
John Wells introduces the opera with a high-spirited account of the action-packed career of the author, in many respects the prototype of Figaro himself. Basil Deane explores the score: he shows that Mozart's characters are illuminated here not so much in soliloquies but in their reactions to each other. Composer Stephen Oliver discusses how the comedy exists not just in the words but, essentially, in the music. The full Italian text is given, with a note on the order of scenes in Act Three and the alternative passages Mozart wrote for the 1789 revival. The classic translation of E.J. Dent is an excellent way to get to know the twists and turns of the plot and the stylish wit of da Ponte's innuendos.Contents: A Society Marriage, John Wells; A Musical Commentary, Basil Deane; Music and Comedy in 'The Marriage of Figaro, Stephen Oliver; Beaumarchais's Characters; Le nozze di Figaro: Libretto by Lorenzo da Ponte; The Marriage of Figaro: English version by Edward J. Dent
Is The Marriage of Figaro just about Figaro? Is Don Giovanni’s story the only one—or even the most interesting one—in the opera that bears his name? For generations of critics, historians, and directors, it’s Mozart’s men who have mattered most. Too often, the female characters have been understood from the male protagonist’s point of view or simply reduced on stage (and in print) to paper cutouts from the age of the powdered wig and the tightly cinched corset. It’s time to give Mozart’s women—and Mozart’s multi-dimensional portrayals of feminine character—their due. In this lively book, Kristi Brown-Montesano offers a detailed exploration of the female roles in Mozart’s four most frequently performed operas, Le nozze di Figaro, Don Giovanni, Così fan tutte, and Die Zauberflöte. Each chapter takes a close look at the music, libretto text, literary sources, and historical factors that give shape to a character, re-evaluating common assumptions and proposing fresh interpretations. Brown-Montesano views each character as the subject of a story, not merely the object of a hero’s narrative or the stock figure of convention. From amiable Zerlina, to the awesome Queen of the Night, to calculating Despina, all of Mozart’s women have something unique to say. These readings also tackle provocative social, political, and cultural issues, which are used in the operas to define positive and negative images of femininity: revenge, power, seduction, resistance, autonomy, sacrifice, faithfulness, class, maternity, and sisterhood. Keenly aware of the historical gap between the origins of these works and contemporary culture, Brown-Montesano discusses how attitudes about such concepts—past and current—influence our appreciation of these fascinating representations of women.
Expertly arranged vocal score by Wolfgang Amadeus Mozart from the Kalmus Edition series. This is from the Classical era.
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.
The studies collected in this volume deal with the interpretation of opera. In most cases the results are based on structural analysis, a concept which may require some clarification in this context. During the past de cade 'structure' and 'structural' have become particularly fashionable terms lacking exact denotation and used for the most divergent purposes. As employed here, structural analysis is concerned with such concepts as 'relationship', 'coherence' and 'continuity', more or less in contrast to formal analysis which deals with measurable material. In other words, I have analysed the structure of an opera by seeking and examining factors in the musico-dramatic process, whereas analysts of form are generally preoccupied with the study of elements contained in the musical object. Though admittedly artificial, the dichotomy of form and structure may elucidate the present situation with regard to the study of opera. Today, nearly one hundred years after the death of Wagner, the proclaimed anti thesis of Oper und Drama is generally taken for what it really was: a means to propagate the philosophy of its inventor. The conception of opera (whether 'continuous' or composed of 'numbers') as a special form of drama is no longer contested. Nevertheless musical scholarship has failed to draw the consequences from this view and few scholars realize the need to study general theory of drama and more specifically the dramatic experience.
Handy practical guide to three of Mozart's most popular operas. Excellent line-for-line English translations face the Italian texts. Also introductions, plot synopses, and lists of characters for each opera.