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Relevant bibliographies by topics / Mozart Operas

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Academic literature on the topic 'Mozart Operas'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Mozart Operas"

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Rushton, Julian. "‘La vittima è Idamante’: Did Mozart have a motive?" Cambridge Opera Journal 3, no. 1 (March 1991): 1–21. http://dx.doi.org/10.1017/s0954586700003347.

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The literature on Mozart's Idomeneo contains many references to short motives, initially presented in the overture and recurring at critical points during the opera itself. While this practice has not been shown to be widespread in eighteenth-century opera seria, earlier instances may be found in operas known to Mozart and from whose example he clearly profited, notably Gluck's Alceste and Iphigénie en Aulide. The tendency to orchestrate most or all of the recitative and to elide aria cadences contributes to increasing continuity of musical thought in all these works; the denouements of both Gluck's Iphigénie operas become nearly symphonic.

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Nedbal, Martin. "Mozart's Figaro and Don Giovanni, Operatic Canon, and National Politics in Nineteenth-Century Prague." 19th-Century Music 41, no. 3 (2018): 183–205. http://dx.doi.org/10.1525/ncm.2018.41.3.183.

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After the enormous success of Le nozze di Figaro at Prague's Nostitz Theater in 1786 and the world premiere of Don Giovanni there in 1787, Mozart's operas became canonic works in the Bohemian capital, with numerous performances every season throughout the nineteenth century. These nineteenth-century Prague Mozart productions are particularly well documented in the previously overlooked collection of theater posters from the Czech National Museum and the mid-nineteenth-century manuscript scores of Le nozze di Figaro. Much sooner than elsewhere in Europe, Prague's critics, audiences, and opera institutions aimed at historically informed, “authentic” productions of these operas. This article shows that the attempts to transform Mozart's operas into autonomous artworks, artworks that would faithfully reflect the unique vision of their creator and not succumb to changing audience tastes, were closely linked to national politics in nineteenth-century Prague. As the city's population became more and more divided into ethnic Czechs and Germans, both groups appropriated Mozart for their own narratives of cultural uniqueness and cultivation. The attempts at historic authenticity originated already in the 1820s, when Czech opera performers and critics wanted to perform Don Giovanni in a form that was as close as possible to that created by Mozart in 1787 but distorted in various German singspiel adaptations. Similar attempts at historical authenticity are also prominent in Bedřich Smetana's approach to Le nozze di Figaro, during his tenure as the music director of the Czech Provisional Theater in the late 1860s. German-speaking performers and critics used claims of historical authenticity in the 1830s and 40s to stress Prague's importance as a prominent center of German culture. During the celebrations of the 1887 Don Giovanni centennial, furthermore, both the Czech and German communities in Prague appropriated Mozart's operas into their intensely nationalistic debates.

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Grier, Francis. "Contessa perdono! Mozartian sexual betrayal and forgiveness." Musical Connections in Couple and Family Psychoanalysis 10, no. 1 (March 9, 2020): 28–41. http://dx.doi.org/10.33212/cfp.v10n1.2020.28.

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The dramatic and musical climax of 'The Marriage of Figaro', perhaps Mozart’s operatic masterpiece, is famously marked by the unexpected forgiveness of the Count by the Countess, whom the count has infamously refused to forgive earlier in the opera. This article will explore the musical and psychological ramifications of forgiveness and the refusal to forgive within couple relationships, not only in this opera but also in two other great Mozart operas, 'Don Giovanni' and 'Così fan tutte', in which issues around forgiveness are also implicitly central. It will be argued that Mozart’s very differing and contrasting realisations of this core human and couple dynamic through his unique dramatic, verbal, and musical talents may partially account for the reputation of these operas for depth and universality.

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Redford, B. "Jessica Waldoff: Recognition in Mozart's Operas * David Cairns: Mozart and His Operas." Opera Quarterly 22, no. 3-4 (April 7, 2008): 557–63. http://dx.doi.org/10.1093/oq/kbn011.

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Tyler, Linda. "Aria as drama: A sketch from Mozart's Der Schauspieldirektor." Cambridge Opera Journal 2, no. 3 (November 1990): 251–67. http://dx.doi.org/10.1017/s095458670000327x.

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There are few opportunities to compare differing readings by Mozart of the same text. Except in his sacred music, Mozart rarely had occasion to return to texts that he had already set, and relatively few sketches, drafts or heavily revised autographs offer extended alternative versions of other settings. Although most of the surviving sketches and drafts for operas and other vocal pieces do not diverge significantly from the final versions, some of these preliminary materials reveal Mozart reconsidering a text-setting, and thus offer important glimpses into his dramatic imagination. Such is the case with a draft for ‘Da schlägt die Abschiedsstunde’, the first aria of Der Schauspieldirektor. The draft and final autograph present related yet significantly different conceptions of the same number, enabling us to examine Mozart's revision of one particular aria, and his reconciliation of an individual solo number with the larger dramatic argument of the opera.

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Edge, Dexter. "Mozart's Fee for Così fan tutte." Journal of the Royal Musical Association 116, no. 2 (1991): 211–35. http://dx.doi.org/10.1093/jrma/116.2.211.

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According to one of his more heart-rending letters to Michael Puchberg, Mozart expected to receive 200 ducats from the directorate of the Viennese court theatres for composing Così fan tutte. This amount, equivalent to 900 gulden, would have been twice the usual fee paid for a newly composed opera at that time. Mozart's statement to Puchberg has long been accepted at face value, because the theatrical financial records for the season in which Così fan tutte had its première have been thought to be lost. Recently, however, an entry in a little-known theatrical ledger has come to light which shows that, in late February 1790, Mozart was paid 450 gulden for composing Così fan tutte, half of what he had claimed to expect. In attempting to account for the discrepancy between the documented payment and Mozart's expectation, this essay will investigate all fees and gifts received by composers and librettists for operas commissioned by the Viennese Nationaltheater from the founding of the German Singspiel in 1778 until the end of the theatrical season 1791–2. This investigation will not only help to suggest an explanation for the discrepancy, it will also illuminate the wider context in which Mozart's Viennese operas were commissioned, and will put into perspective the fees he was paid for them.

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Burton, Deborah. "Mozart and His Operas (review)." Notes 64, no. 2 (2007): 266–69. http://dx.doi.org/10.1353/not.2007.0153.

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Prokhorenkova, Svetlana. "Color Symbolism in the Works by Raphael and Mozart." Bulletin of Baikal State University 30, no. 2 (June 11, 2020): 195–204. http://dx.doi.org/10.17150/2500-2759.2020.30(2).195-204.

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Color symbolism in the works by Raphael and Mozart has not been studied thoroughly enough yet due to the complexity of this topic. The basis for the analysis of Raphael’s and Mozart’s creative approaches was G.V. Chicherin’s method, aimed at revealing common and different aspects in them. The researcher has discovered internal relations between works of various kinds of art, between art and philosophy more than once. Famous poets and composers (A. Pushkin, J.W. Goethe, F. List) and also art experts and philosophers have studied Raphael’s and Mozart’s creative ideas and wrote fundamental works dedicated to various aspects of the artist’s and composer’s artwork. According to J.W. Goethe’s and F. List’s studies, Raphael’s and Mozart’s creations appear to be congenial. Romantic poets and artists took up Goethe’s and List’s ideas and developed them in their own fashion. E.T.A. Hoffmann was the first to pay attention to color symbolism in Mozart’s works, and the coloration of Raphael’s paintings influenced K. Bryullov. In the 20th century, G.V. Chicherin and H. Abert made their contribution to investigating a possible interrelation between Raphael’s and Mozarts’ works of art. In the article, the author considers an interpretation of the color on the fresco «The School of Athens» by Raphael and also in the songs and operas by Mozart.

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Brown, Bruce Alan, and John A. Rice. "Salieri's Così fan tutte." Cambridge Opera Journal 8, no. 1 (March 1996): 17–43. http://dx.doi.org/10.1017/s0954586700002834.

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The several contradictory, and even apologetic, explanations that were put forward concerning the origins of Mozart's Così fan tutte, ossia La scola degli amanti in the years following its première in 1790 reflect both the dearth of hard information concerning the commission to Mozart, and the unease with which the post-Josephinian era greeted this most unsettling of comic operas. One of the composer's first biographers, Franz Xaver Nêmetschek, wrote:In the year 1789 in the month of December Mozart wrote the Italian comic opera Cosi fan tutte, or ‘The School for Lovers’; people are universally amazed that this great genius could condescend to waste his heavenly sweet melodies on such a miserable and clumsy text. It was not in his power to refuse the commission, and the text was given expressly to him.

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Тетяна Младенова. "ORIENT В. А. МОЦАРТА: ВІД АЛЮЗІЇ ДО ЕТИКО- ЕСТЕТИЧНОЇ СТИЛЬОВОЇ МОДЕЛІ." World Science 2, no. 4(56) (April 30, 2020): 14–20. http://dx.doi.org/10.31435/rsglobal_ws/30042020/7028.

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Throughout the history of music, the dialogue of cultures in the West- East discourse has produced various Orientalism models. Introducing a fashion for oriental decorations in Europe, using new instruments, borrowing modes of musical expression, as well as alluding to signs and symbols of oriental religions and philosophies gave rise to reshaping European musical aesthetics as early as the 18th century. At that time, Wolfgang Amadeus Mozart and his work were undoubtedly pivotal for the art. One can retrospectively observe that Turkish Janissary musical traditions significantly freshened and enriched the composer's instrumental thinking. This can be seen most in the orchestration of Mozart's oriental operas – namely, his singspiels Zaide and The Abduction from the Seraglio. Being a synthetic genre by its nature, opera is primarily related to literary activity; therefore, its oriental colour and imagery need to be immersed in the philosophical world of oriental narratives and storylines that were very popular in baroque and classicism art. Moreover, on the example of The Magic Flute, Mozart's last opera, we can observe how the semiosis of Sufi texts explicitly present in this singspiel libretto gives the work new – Romantic – features. These new characteristics are not limited to the surface aesthetic level of decorations. As an opera reformer, Mozart reshapes the aesthetics of musical language, concurrently refining the ethical component of the genre. Thus, when analysing some instrumental, especially opera pieces by Mozart – namely, Zaide, The Abduction from the Seraglio and The Magic Flute singspiels, one can affirm that the synergy between all orientalism features in the composer’s works and established traditions of the European musical art resulted in the Viennese master creating a new ethical and aesthetic style model, which became seminal for the upcoming epochs.

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Dissertations / Theses on the topic "Mozart Operas"

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Guhr, Glenn Dale. "The mask of the seducer : deceit, disguise, and seduction in the da Ponte operas of Mozart /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11404.

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Kim, Hak Min. "A critical analysis of Peter Sellars's three stage productions of the Mozart/da Ponte operas /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004200.

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McDonald, Rachel. "Almaviva a contemporary adaptation of Mozart's Le nozze di Figaro /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080115.105636/index.html.

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Fern, Terry L. (Terry Lee). "Adaptation of Handel's Castrato Airs for Bass: A Lecture Recital, Together with Three Recitals of Selected Works of J.S. Bach, W. Mozart, M. Ravel, G. Finzi, R. Schumann, A. Caldara, G. Handel, H. Wolf, H. Duparc, C. Ives and S. Barber and an Operatic Role by Verdi." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc332021/.

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The lecture recital was given on April 18, 1977. The subject was Adaptation of Handel's Castrato Airs for Bass, and it included a discussion of conventions peculiar to Handelian opera seria, concerns regarding adaptation of Handel's castrato airs and a comparison of adaptation practices in eighteenth- and twentieth-century presentations of Handel's operas. Three coloratura castrato airs and two virtuoso bass airs were performed at the conclusion of the lecture. In addition to the lecture recital, one operatic role and three recitals of solo literature for voice, piano and chamber ensemble were publicly performed. These included the role of "Samuele" in A Masked Ball, by Verdi, performed in English on March 19, 1975 with the Opera Theatre of North Texas State University, a program presented on November 24, 1975,of solo literature for voice, piano, and chamber ensemble, including works by J. S. Bach, W. Mozart, M. Ravel and G. Finzi, a program consisting of a set of works by R. Schumann presented on June 27, 1985, and a program presented on October 28, 1985,of solo literature for voice, piano, and chamber ensemble,including works by A. Caldara, G. Handel, H. Wolf, H. Duparc, C. Ives and S. Barber.

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Tsai, Meng-Jung. "Così fan tutte? A Study of Character Development through Key Characteristics in the Prima Donna and Soubrette Roles from Four of W.A. Mozart's Late Italian Operas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707355/.

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This dissertation investigates how W. A. Mozart applies the concept of key characteristics—the affective properties of each tonality—as discussed by three of his contemporaries, Johann Mattheson, C.F.D. Schubart and G.J. Vogler, to four soubrette and four prima donna characters from four of his late Italian operas: La Contessa and Susanna in Le nozze di Figaro; Donna Anna and Zerlina in Don Giovanni; Fiordiligi and Despina in Così fan tutte; Vitellia and Servilia in La clemenza di Tito. The analytical method of this dissertation provides a hermeneutical tool to search for meanings in Mozart's music. The application compares the libretto text and its corresponding tonal center with the description of key characteristics on a micro level, to reveal significant dramatic and practical implications from Mozart's key usage in his operas.

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Yang, Hyun Joo. "Which arias better represent Susanna's character : the original or replaced arias? /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11199.

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Adlung, Philipp. "Mozarts Opera seria "Mithridate, re di Ponto" /." Eisenach : K.D. Wagner, 1996. http://catalogue.bnf.fr/ark:/12148/cb35836710r.

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Kye, Hee-seng. "The third voice : anima as drama in Mozart's operas." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2015. http://hdl.handle.net/10722/212609.

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This thesis investigates the processes through which the characters and their relationship, and the drama take shape in Mozart’s operas. In his mature operas, there are moments when music seems to say something that is not in harmony with what the words express. This discrepancy suggests that Mozart tells us, through music (vocal or instrumental), the characters’ most private thoughts that are not revealed in the text alone. I call this innermost part of the psyche that is in contact with the unconscious ‘anima’, a concept borrowed from Jungian psychology. Through anima, Mozart narrates his version of drama that is distinct from the librettist’s or the literary source on which his opera is based. That is, the drama Mozart creates and recounts is in the music. The present thesis proposes music analysis as a way into reading the characters’ anima. I analyse select scenes from Le nozze di Figaro (1786), Don Giovanni (1787), Così fan tutte (1790), and La clemenza di Tito (1791), and examine four ways in which anima is manifested in musico-dramatic elements. I start with the most natural elements in which anima may be found in opera, asides and soliloquies, and explore musical manifestations of these silent voices. I also redefine ‘tempo’ in specifically operatic ways and show how the timing and pacing of musical elements evoke dramatic meaning. I then consider the connections between anima and Schenkerian idea of background as a way of understanding the relationship of the couples in Mozart’s operas. Finally, I demonstrate how ‘form’ in opera takes life of its own and defines the drama as musical expectations are fulfilled or frustrated. I conclude by discussing the implications of anima in opera studies, suggesting that it allows us to hear the innermost voice of Mozart’s characters spoken through music—the third voice.
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Lieberzeit, Michal. "Don Giovanni - historie díla,jeho vznik a interpretace opery ve 20.století." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177883.

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The master thesis "Don Giovanni - history, its origin and interpretation in the 20th century" is dealing with an entire development of the opera and it reflects staging approaches of the 20th century. The thesis offers a brief analysis of the opera and the literary work it is based on. Furthermore it summarizes information about the origin of the work and its creators. Finally in the supplement there are cast lists of the productions of National Theatre Prague, photographs and pictures of the production in various opera houses worldwide.

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Murphy-Geiss, Kathleen. "The Art of the Ensemble Opera: A Comparative Study of the Uses of Ensemble in 1790s Vienna Through W.A. Mozart’s Così fan tutte and Domenico Cimarosa’s Il Matrimonio Segreto." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19227.

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Ensembles have become iconic of the eighteenth-century opera buffa. Previous studies have focused their efforts on form, analyzing ensembles with instrumental structures. However, these forms do not provide information as to how ensemble texts are set musically or function in terms of drama. This study follows Ronald Rabin’s dissertation research on opera buffa performed at the Burgtheater in Vienna between 1783 and 1791. Rabin asserts an ‘ensemble principle’, explaining the broad form of buffa ensembles. This study focuses on the ensembles of two Viennese works: W.A. Mozart’s Così fan tutte (1790) and Domenico Cimarosa’s Il Matrimonio Segreto (1792). Using Rabin’s ‘ensemble principle’ as a foundation, a close reading of each ensemble from these two works reveals that these composers took very different approaches to ensemble writing. By sticking to or straying from conventions, Mozart and Cimarosa made musical choices that enhance character relationships and drama in diverse ways.

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Books on the topic "Mozart Operas"

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Mozart and his operas. London: Allen Lane, 2006.

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Mozart and his operas. Berkeley: University of California Press, 2006.

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Mann, William Somervell. The Operas of Mozart. London: Cassell, 1986.

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Noske, Frits. Mozart: Opera no kaidoku. Tōkyō: Tōjusha, 1985.

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Paul, Gruber, and Metropolitan Opera Guild, eds. The Metropolitan Opera book of Mozart operas. New York, N.Y: HarperCollins, 1991.

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Till, Nicholas. Mozart and the Enlightenment: Truth, virtue and beauty in Mozart's operas. London: Faber, 1993.

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Mozart and the Enlightenment: Truth, virtue, and beauty in Mozart's operas. New York: W.W. Norton, 1993.

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Till, Nicholas. Mozart and the enlightenment: Truth, virtue, and beauty in Mozart's operas. London: Faber and Faber, 1992.

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Hocquard, Jean Victor. Les opéras de Mozart. Paris: Les Belles Lettres, 1995.

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Mozart's operas: A critical study. 2nd ed. Oxford: Clarendon Press, 1991.

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Book chapters on the topic "Mozart Operas"

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Montgomery, Alan. "Mozart and Classical Song." In Opera Coaching, 72–77. Second edition. | New York : Roiutledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780367809676-13.

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Longo, Mariano. "Mozart and the Concept of Equality." In Law and Opera, 195–208. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68649-3_13.

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Schweikert, Uwe. "Mozarts »Zauberflöte«." In Erfahrungsraum Oper, 232–41. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-04652-9_20.

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Price, Curtis. "Mozart, the Storaces and Opera in London 1787-1790." In Europa im Zeitalter Mozarts, 209–13. Wien: Böhlau Verlag, 1995. http://dx.doi.org/10.7767/boehlau.9783205122098.209.

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Allanbrook, Wye Jamison, Mary Hunter, and Gretchen A. Wheelock. "Staging Mozart's Women." In Siren Songs: Representations of Gender and Sexuality in Opera, edited by Mary Ann Smart, 47–66. Princeton: Princeton University Press, 2001. http://dx.doi.org/10.1515/9781400866717-005.

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Fertonani, Cesare. "Le Nozze di Wolfgang: About the Meaning of Marriage in Mozart’s Operas." In Law and Opera, 119–33. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68649-3_9.

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Dahlhaus, Carl, and Norbert Miller. "Così fan tutte: Die opera buffa als Welttheater Mozarts neapolitanische Wandlung?" In Europäische Romantik in der Musik, 430–92. Stuttgart: J.B. Metzler, 1999. http://dx.doi.org/10.1007/978-3-476-03636-0_12.

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Buch, David J. "Mozart's German operas." In The Cambridge Companion to Mozart, 156–68. Cambridge University Press, 2003. http://dx.doi.org/10.1017/ccol9780521807340.014.

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Pollock, Emily Richmond. "Introduction." In Opera After the Zero Hour, 1–11. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190063733.003.0001.

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OPERA COMPOSERS in the twentieth century faced the fundamental challenge of making opera modern.¹ Though new operas were continually composed and premiered throughout the twentieth century, opera as a practice had become artistically and institutionally conservative, invested in a core repertoire spanning from Mozart to Puccini....

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"Chapter One. Staging Subjectivity in the Mozart / Da Ponte Operas." In Listening to Reason, 18–58. Princeton: Princeton University Press, 2010. http://dx.doi.org/10.1515/9781400835737.18.

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Conference papers on the topic "Mozart Operas"

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Karkina, Svetlana. "MORAL CONTENT OF OPERAS BY V. MOZART IN THE N. ARNONCOURT PERFORMANCE INTERPRETATIONS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018/6.2/s25.029.

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Xiang, Yu. "Study and Analysis on Ensemble Works' Artistic Features in the Heydays of Mozart's Opera Creation." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.56.

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Karkina, Svetlana. "THE WORKS OF N. HARNONCOURT: THE DYNAMICS OF STYLE ON THE EXAMPLE OF PERFORMANCES OF MOZART'S OPERA "LA CLEMENZA DI TITO" PERIOD OF THE LATE XX C. AN." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s13.018.

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