Dissertations / Theses: '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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4

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.
published_or_final_version
Music
Doctoral
Doctor of Philosophy

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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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Turunen, Maria. "Learning an operatic role effectively : A case study of learning an operatic role in a time-saving way both vocally and on stage." Thesis, Stockholms konstnärliga högskola, Institutionen för opera, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-886.

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This study examines questions about the most effective ways how to learn an operatic role in a relatively short time. The study consists of my own experiences and observations as I was learning the stage cover role of Donna Elvira for the Finnish National Opera in March 2020. I am reflecting my observations of the learning process towards a theoretical framework that is based on literature and interviews of the director Jussi Nikkilä and assistant director Anna Kelo.

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Hellbom, Rebecca. "Från Mozart till Wagner : En lyrisk-dramatisk soprans reflektioner." Thesis, Stockholms konstnärliga högskola, Operahögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-780.

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Som lyrisk-dramatisk sopran vet jag att min väg vokalt är längre än de flesta andra röstfacks väg, eftersom rösten behöver mer mognad. Mognad att växa in i sitt röstfack och mognad för att klara av de stora rollerna som väntar. Så var börjar man när man är yngre, vilken repertoar kan låta rösten växa och ta plats men ändå bevara ungdomlighet och skönhet? Jag har upplevt från master classes och auditions som jag har varit på att efterfrågan av Mozart har varit stor. Samtidigt har jag alltid tyckt att det har varit svårt att sjunga just Mozart. Det känns inte som att rösten får ta sin riktiga plats och att det skaver på något sätt. Därför blev det tydligt för mig i början av läsåret att mitt projekt skulle handla om hur jag som lyrisk-dramatisk sopran kan hitta min röst i Mozart. Samt hur jag kan dra nytta av ett slankare vokalt tillvägagångssätt som behövs i Mozart och använda det i repertoar som jag trivs bättre i vokalt, som till exempel Wagner. Detta är ett utforskande projekt i hur man som lyrisk-dramatisk sopran kan sjunga på bästa sätt med sin röst i olika stilar, och hur de olika stilarna kan dra nytta av varandra. Hur skiljer sig Mozart från Wagner vokalt? Kanske är skillnaden inte så stor, och kanske finns en förening mellan dem två i Weber?

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13

Rosenius, Erik. "La vendetta : hämnd, opera och dess tolkningsmöjligheter." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1611.

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Nelson, Sarah Patterson. "Costumes for "The Magic Flute", composed by W.A. Mozart, libretto by Emanuel Schikaneder." Connect to this title, 2008. http://scholarworks.umass.edu/theses/203/.

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Eriksson, Cecilia. "Figaro : Ett relationsdrama på lika vilkor." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3116.

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Den här uppsatsen beskriver arbetet bakom föreställningen Figaro. Figaro är en omarbetad och nedkortad version av Mozarts älskade opera Figaros bröllop. Föreställningen har arbetats fram utifrån ett genusperspektiv och har gemensamt skapats och formats av hela sångensemblen och dirigenten. Ambitionen har varit att behålla operans ursprungliga hierarkier och maktförhållande mellan rollfigurerna, men att göra en översättning av handlingen till modern tid. Ett stort arbete har gjorts med att försöka skapa situationer och rollfigurer som känns verklighetstrogna. I föreställningen vill vi synliggöra några av de strukturer och mönster som vi är vana att möta på operascenen, på våra arbetsplatser och på musikhögskolan. Central i handlingen står Rosina Almaviva och hennes förhållande till de övriga karaktärerna.

Figaro

Musik: W A Mozart

Libretto: L. da Ponte, sv. översättning Britt G. Hallqvist

Bearbetning musik: Sofia Winiarski, Cecilia Eriksson, Ninni Molin,

Bearbetning text: Nils Löfgren och Cecilia Eriksson

Regi: Ninni Molin, Nils Löfgren, Cecilia Eriksson och Sofia Winiarski

Göran Almaviva: Viktor Rydén

Rosina Almaviva: Cecilia Eriksson

Susanna: Anna Sandström

Figaro: Nils Löfgren

Cherubino: Linnéa Törnqvist

Marcellina: Ninni Molin

Bartolo: Martin Hillberg

Basilio: Patrik Kesselmark

Dirigent: Sofia Winiarski

Violin: June Gustavsson Lyng (Konsertmästare) Emma Alrikson, Markus Bäckerud, Antonia

Somersalo, Siri Sperling

Viola: Doris Mägi, Lila Arha, Ellen Alveteg

Cello: Rebecka Ericsson, Erik Elvkull

Kontrabas: Linnea Fredriksson

Flöjt: Kajsa Nilsson

Oboe: Gabriela Dogaru, Victor Sjögren

Klarinett: Astrid le Clercq

Fagott: Gabriella Varga Karlsson, Jonathan Bauer

Trumpet: Ludwig Frydén Kristensson

Horn: Mikael Larsson

Timpani: Henrik Wassenius

Recitativ: Sofia Winiarski

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Viskotová, Edita. "Figarova svatba se zaměřením na roli hraběnky." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-253653.

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This diploma thesis deals with the theme of Mozart's opera The Marriage of Figaro, focusing on the role of the Countess and her contextualisation into the work of W. A. Mozart. The fundamental objective of this thesis is to analyze Mozart's work in the broader context of the composer's life story, the plot of the opera and interpretative concept of the role of Countess by three selected protagonists. A secondary aim of the thesis highlights the importance of Mozart's operas in music history. The introductory part covers the life of Mozart, followed by an overview and analysis of the formation of his operas. The main part is the analysis of The Marriage of Figaro and the Countess role in various concepts. Conclusion of the thesis confirms the hypothesis of Mozart importance for the neo-classical opera.

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Sinkewitsch, Elena. "Mozarts Opern auf der Kiewer Bühne des 19. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-218515.

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Vagts, Andrew. "Fanfare and Pastoral Topics in Mozart's Così fan tutte." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707282/.

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This dissertation explores the use of topics for dramatic purposes in Mozart's Così fan tutte. The five analytical chapters are organized around a central question: how do pastoral and fanfare topics shape the plot of Così fan tutte? Chapter 2 highlights the role topics and tropes play in emplacing and nuancing emergent meaning in the Così fan tutte motto. Chapter 3 examines transformative topical tropes in "Ah guarda, sorella." Chapter 4 shows how the horn fifths and fanfare topics in "Per pietà, ben mio" frame Fiordiligi's choice: the Albanian or Guglielmo. Chapter 5 illustrates the relationship between fanfare topics and galant recitative schemas to articulate formal boundaries between accompanied recitatives and arias. The expectations of closure emplaced by the examples from Così fan tutte nuance a reading of "Hai già vinta la causa!" from Le nozze di Figaro. Chapter 6 discusses the role of recitative intrusions and their articulation of the Count's unrest in "Vedrò mentre io sospiro." Detailed analyses and close readings of the topics and tropes in this dissertation drawn from throughout Così fan tutte showcase Mozart's rich deployment of topics in varied musical and dramatic roles.

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Pickard, Jonna. "An Analysis of Pants Roles in Opera." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/488.

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This document assesses the introduction of pants roles in opera and includes a historical overview to understand the background of these roles. This dramatic conceit concentrates on the development of the operatic art form from the seventeenth to twentieth centuries. In Italy during the seventeenth century, the castrato voice, which had been a crucial aspect of church music, was now developing a position in opera. Within this document, the castrati’s transition from sacred music to the opera, where lies the bulk of their success, will be studied. As opera expands rapidly throughout the music scene, the demand of singers, specifically castratis, grew. The document will also deal with the introduction of castrati operatic roles. Gluck’s “Orfeo ed Euridice" is analyzed. Gluck’s opera exhausted several editions and demonstrates how the role Orfeo, as well as other castrati roles, evolved once castrato slowly went extinct. The terms referring to cross-dressing roles, and their specific repertoire, as well as the process in which women came to assume these roles will also be discussed. The shift from male to female in operatic repertoire is examined, as well as the traditional pants role for women in opera. The document will also discuss the pants role Cherubino as an example. This is the embodiment of a young boy in love, experiencing the admiration of a woman for the first time, as well as the vulnerability of his feelings for a woman. Cherubino’s arias are analyzed as well as a description and explanation of his possible intentions while singing his arias will communicate the subtext of the character. This document also discusses similar characters in Italian and French repertoire. The German repertoire for pants roles is separately presented and is based on the role of Octavian in Strauss’ Der Rosenkavalier. It is interesting that although the roles of Octavian and Cherubino were developed centuries apart, it is possible to compare similarities between the characters, from their creation, librettists’ perception and the composers’ execution in their compositions. This analysis was intended to exhibit the evolution of the pants role in opera and how writing current pieces for women in pants is an entirely different challenge as it was in previous centuries. In an attempt to expose different viewpoints on the subject, these questions will be addressed. The characters addressed so far are the pants; when a woman represents a male character. Meanwhile, there is a discussion about how a pants roles should be classified, although the pants role is the representation of a man played by a woman, she is not attempting to convince the audience that she is a man. The alteration of sex of a character when it is visible to the audience, and the conversation of categorizing a pants role; for example, the role of Leonore in Beethoven’s Fidelio, is debatable.

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Bertozzi, Michela. "Proposta di traduzione dal tedesco di quattro arie dal Singspiel "Die Zauberflöte" di W.A. Mozart." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019.

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Nel presente elaborato, si è scelto di addentrarsi nel mondo della traduzione per l'opera. Vengono proposte due traduzioni, rispettivamente una traduzione "cantabile" e una traduzione letteraria, per ciascuna delle quattro arie estratte dal Singspiel "Die Zauberflöte" ("Il Flauto magico") di W.A. Mozart, su libretto di E. Schikaneder. Le traduzioni sono seguite da un commento a motivazione delle scelte traduttive e introdotte da un capitolo dedicato alla traduzione in ambito operistico, nonché da una breve analisi dell'opera in questione, passando per le sue origini e i suoi contenuti.

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Taylor, Raphael. "Mozart's Carnival : opera masquerade and the world turned upside-down." Thesis, King's College London (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419234.

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Neville, Donald Jeffery. "Mozart's La Clemenza di Tito and the Metastasian Opera Seria." Thesis, University of Cambridge, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238533.

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Nolan, Shanna. "Extended Program Notes for Thesis Voice Recital." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/646.

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This thesis presents extended program notes for a sixty-minute vocal graduate recital consisting of the following repertoire for soprano: “How Beautiful are the Feet of Them” and “He Shall Feed His Flock” from Messiah and “Lascia ch’io pianga” from Rinaldo by George Frederick Handel; “La morte d’Ophélie” by Hector Berlioz; the Swedish art songs “Vingar i natten” by Ture Rangström and “Jung fru Blond och jung fru Brunette” by Wilhelm Stenhammar; the contemporary art song “Animal Passion” by Jake Heggie; and the following arias and duets by Wolfgang Amadeus Mozart: “Mi tradi quell ‘alma ingrata” from Don Giovanni, “Bei Männern, welche liebe fuhlen” and “Papageno, Papagena” from Die Zauberflöte, “Deh vieni, non tardar o gioja bella,” “Venite inginochiatevi,” and “Via resti servita” from Le nozze di Figaro, and the Concert Aria “Ch’io mi scordi di te?...non temer, amato bene,” K.505. These works encompass a variety of styles, musical periods and forms spanning over four centuries. The recital itself is documented on the accompanying compact disc, while these program notes contain discuss historical context, musical analysis, and performance practice for this repertoire.

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Sinkewitsch, Elena. "Mozarts Opern auf der Kiewer Bühne des 19. Jahrhunderts." Musikgeschichte in Mittel- und Osteuropa ; 1 (1997), S. 47-56, 1997. https://ul.qucosa.de/id/qucosa%3A15298.

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Walton, Mathew. "Issues of Narrativity in the Romantic Piano Opera Paraphrase." Thèse, Université d'Ottawa / University of Ottawa, 2012. http://hdl.handle.net/10393/20502.

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Although the opera paraphrase was once a cornerstone of the virtuoso pianist's repertoire, as a genre it has traditionally been neglected by a scholarship which prioritizes authenticity and original compositional thought. By approaching this repertoire from a critical standpoint concerned with the production of narrative, this thesis demonstrates the true value of the paraphrase. A review of the current literature on narrative, gesture, and the paraphrase reveals major gaps in the state of research, and this thesis addresses these issues by presenting analyses of several works, in both printed and performed forms. The chapter “Settling the Score” interrogates the score, and argues that through their choice, ordering, and setting of operatic themes in a paraphrase, composers can alter or recreate the narrative of the source opera. By analyzing and comparing by reading the narrative schemes of seven different paraphrases based on Mozart's Don Giovanni, the chapter highlights the agency of the arranger in the production of narrative. The next chapter, entitled “Playing the Part,” suggests that the creation of narrative also extends beyond the work of the composer to encompass the role of the performer. By comparing the use of physical gestures in two video-recorded performances of Liszt's paraphrase Réminiscences de Don Juan, the thesis postulates that a pianist's gestures can influence the audience's perception of narrative. In an attempt to centralize the voice of the performer, the chapter also includes reflective analysis of the author's own performances of Liszt's paraphrase. By employing analytical methods which focus on the production of musical narrative, this thesis demonstrates that the paraphrase is worthy of greater attention, both in scholarship and performance.

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Böhmer, Karl. "W. [Wolfgang] A. [Amadeus] Mozarts Idomeneo und die Tradition der Karnevalsopern in München /." Tutzing : H. Schneider, 1999. http://catalogue.bnf.fr/ark:/12148/cb37049936t.

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Ottermann, Birgit. "The marriage of Figaro : a comparative study of the theatre play by Beaumarchais and the opera by Mozart and Da Ponte." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7975.

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Includes bibliographical references (leaves 112-114).
The controversy surrounding Beaumarchais's Le Mariage de Figaro (and King Lous XVI's initial banning of the play) is highlighted. Its strong social criticism of the inequality of social classes and the nobility's privileges by right of birth echoed the sentiments of the rising bourgeois class and made it a forerunner to the French Revolution in 1789. Mozart, who was looking for a good libretto to extablish him as an Italian opera composer, suggested the controversial play to Da Ponte as a possible libretto. This would be the first of three extroadinary operas produced by this fruitful partnership. For the libretto to be acceptable to the Austrian emperor, Da Ponte had to make changes to the original play. These alterations, as well as the adjustments needed to make it suitable as an opera text (for example the inclusion of new text for arias) are pointed out.

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Saunders, David Harold. "Capriccio, By Richard Strauss and Clemens Krauss: Theoretical Discussion as Theatrical Presentation, Together with Three Recitals of Selected Works of Strauss, Wagner, Verdi, Mozart, Britten, and Prokofiev." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331935/.

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In Capriccio. Richard Strauss and Clemens Krauss examine the very nature of opera with the core of their thesis being the relationship of words and music. A work that is, in essence, an extended discussion poses two problems to the composer and librettist: how to sustain the argument of the thesis without losing the attention of the audience, and how to prevent a conversational opera from sounding like endless recitative. Strauss and Krauss manage to present their case without having to resort to an actual discussion for the duration of the opera. Their characters are engaging, identifiable human beings who are also allegorical figures. Their participation in the stage action sustains the argument of the thesis even when the dialogue itself addresses other subjects. The players symbolize various facets of opera, theatre, and the public with all of them, principal and secondary characters, being sharply etched. The little stage action that Capriccio does contain is carefully paced and closely coordinated with the presentation of the work's thesis. The octets, similar in dramatic function to the central finale of a Mozart opera buffa, provide the climax of the stage action and come soon after the Fugal Debate, the centerpiece of the collaborators' argument. The final section of the central scene, which also contains the aforementioned octets and Fugal Debate, serves as the denouement of both the plot and thesis. Such close attention to dramatic structure gives Capriccio and the argument it presents cohesion and dramatic shape. The text itself is written in clear, concise prose and is set in Strauss's patented "conversational style." This style, a rapid syllabic declamation, is delivered "mezza voce" in order to simulate natural speech and is sung over continuous melos in the orchestra. This accompaniment keeps it from sounding like dry recitative. This study explores the work's characters, dramatic structure, vocal style, and the issues raised by Strauss and Krauss. Other topics to be addressed include the genesis of Capriccio. how the careers of the composer and librettist led them to write an opera about opera, common criticisms of the work, and Capriccio's place in the operatic repertoire today.

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Clausius, Katharina Anne Crawford. "Opera after poetry : Enlightenment 'dramma per musica' amid the arts." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/267190.

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With its bold combination of epic style and vernacular prose, François Fénelon’s Les Aventures de Télémaque (1699) created a stir that preoccupied the literary, theatrical, musical, and art world throughout the eighteenth century. My dissertation places the novel at the centre of a crucial exchange between the French revisionist movement – with its mandate to redefine neoclassical theatre – and Italian dramma per musica in the second half of the eighteenth century. While littérateurs like Antoine Houdar de la Motte and Voltaire argued publicly over the theoretical viability of prose tragedy on the back of Télémaque, the operatic stage was actively absorbing and experimenting with principles of de la Motte’s new brand of theatre: a less compounded application of the Aristotelian unities, a bolder approach to character portrayal, a painterly approach to scenography, and an integration of tropes from the epic. I rely on two case studies to argue that dramma per musica began to adopt specific principles of de la Motte’s contentious “prose tragedy” genre: Vittorio Amedeo Cigna-Santi’s Mitridate libretto (set by Quirino Gasparini in 1767 and Mozart in 1770), which was based on the same Racine play that incited de la Motte and Voltaire’s animosity; and Giambattista Varesco’s Idomeneo, based on Danchet’s adaptation of Fénelon. Literary scholarship, familiar with the heated paper war incited by Fénelon’s novel thanks to Fabienne Moore and Romira Worville’s research, has so far paid little heed to the eighteenth-century operatic stage as the most prominent and sustained reworking of the neoclassical tragic tradition. In answer to Reinhard Strohm’s appeal to synthesize literary and musicological approaches towards a cross-disciplinary poetics of Enlightenment opera, I show that dramma per musica actively reconfigures a neoclassical tradition in flux alongside the century’s noisiest literary revisionist movement, reimagining theatrical praxis as part of a broader poetics of arts and letters.

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Busch, Sabina. "Die Psychologie der dramatischen Personen in den Da-Ponte-Opern Mozarts unter besonderer Berücksichtung des Verhältnisses von Text und Musik /." Köln : [S. Busch], 2006. http://catalogue.bnf.fr/ark:/12148/cb412034792.

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Thomson, I. "Mozart's opera Die Zauberflote : an analysis of the historical and literary sources of the libretto." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503064.

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This dissertation contains an analysis of the libretto of Mozart's Die Zauberflote. The analysis was contemplated with apprehension, given that so much has already been written about the opera. But the work was prompted by two factors. Firstly, by a longstanding concern that the libretto contains classical, literary, historical and philosophical references which have not been referred to in previous explanations of the opera. There was a sense in which the opera may have been well documented but perhaps not well understood. Secondly, and consequentially, the study was fuelled by the magnitude of the challenge to understand how these unacknowledged references fit together to create what the librettists considered to be their "purpose". This dissertation, then, develops many new analytical themes and throws fresh light on the purpose of the opera and the methods by which it was developed. Many people have helped me in a variety of ways during this study. I am particularly grateful to my Supervisor, David Chadd, Head of the School of Music at the University of East Anglia (UEA), Norwich, for his constant support and advice, and to my two examiners Professor Julian Rushton at Leeds University and Anthony Gritten at UEA. I am also grateful to Simon Waters at UEA and Ian Biddle (formerly UEA but now at Newcastle University) for their help during an earlier M.Mus. study which unexpectedly led to the research presented here. I am particularly grateful to Edvina Franceschini for her assistance, comments, encouragement and hospitality throughout the period of this study. And I am indebted to Prebendary Michael Moreton, for reading draft text and offering helpful comments on theological and other references, and to Angela Biston for helpfully commenting on several occasions on my draft text. I also wish to acknowledge the help of a number of people on whom I have relied for specific advice on a miscellany of subjects. Their contributions may have been partial, because none were aware of the objectives of my study, but their help was nevertheless important. I am particularly grateful to Anna Plattner and Bettina Kann, Osterreichische Nationalbibliothek, Vienna; Frieder Hepp, Director, KurpJiilzisches Museum, Heidelberg; Clare Rider, The Honourable Society of the Inner Temple, London; Diana Weber, Stadtarchive, Heidelberg; Daniel Pailthorpe, Principal Flautist, English National Opera, London; Cesare Poppi, Deputy Director, The Sainsbury Centre, UEA, Norwich: Joe Taylor, Head Ranger, Sports and Parks Division, City of Coventry; Ineke Fijan, the Erasmus University, Rotterdam; Anne Mitchell, Woburn Abbey; Catherine Baron, Assistant Curator ofthe Royal Collection; Bernhard Overbeck, Bayerische Staatsbibliothek, Munich; Claire Leach, Voltaire Foundation; Sylvia Morris, Shakespeare Memorial Library, Stratford-uponAvon; Richard Palmer, Lambeth Palace Library, London; Lynda McLoed, Sotherby's, London; Mr. Ellis, Astrological Association, London; The Astrology Shop, London; Clive Wilkins-Jones, Norfolk and Norwich Millenium Library, Norwich; Ingrid Lamey, Schwetzingen Castle; Lucia Underhill, Kimbolton School; Omar Samy, Al Ahram Newspaper, Cairo; Ingrid Horning, Utrecht; Julian Roberts; and Jean Rafferty. Finally, I am grateful for the unfailing assistance of countless anonymous staff in many libraries and museums. Staff at The British Library, where necessarily most of my research was undertaken, have been exceptionally helpful. But I have also received considerable help from staff at the UEA library; the Bodleian; the House of Lords Record Office; the Egypt Exploration Society; the National Portrait Gallery Heinz Archive; German Historical Institute, London; London University Library; the Wellcome Library; the Victoria and Albert Museum; the Warburg Institute Library; Christie's Images; Coventry City Library; Warwickshire Records Office; the Ashmolean Museum; Centraalmuseum, Utrecht; the National Maritime Museum; the Historische Museum, Berne; the Offentliche Kunstammlung, Basle; the London Park Lane Mosque Library and the Vatican State Library.

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Phillips, Edward. "Mozartean gesture and rhetoric in Hummel's Concerto for trumpet." Thesis, Recital, recorded June 13, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6062.

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Thesis (D.M.A.)--University of North Texas, 2008.
System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 13, 2006, Feb. 12, 2007, Nov. 8, 2007, and Mar. 5, 2008. Includes bibliographical references (p. 38-40).

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Furlong, Alison Marie. "Georg Wildhagen's Figaros Hochzeit: How an Italian Opera Based on a French Play Became a German Socialist Film." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269535387.

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Fateeva, Anna A. "Three Arias From Mozart’s Don Giovanni: a Comparative Analysis of Performance Issues and Technical Problems Found in Four Complete Piano-Vocal Scores. A Vocal Accompanist’s Perspective." Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/552.

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The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.

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Ayres, Michelle Elizabeth. "Crossover Genres, Syncretic Form| Understanding Mozart's Concert Aria "Ch'io mi scordi di te," K. 505, as a Link between Piano Concerto and Opera." Thesis, The University of North Carolina at Greensboro, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10977683.

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Mozart’s concert aria Ch’io mi scordi di te K. 505 bridges the genres of piano concerto and opera seria aria by combining elements of sonata rondo, sonata concerto, and ritornello. Mozart’s experimentation with Classical form emerging in the late eighteenth-century is characterized by unique transitions and retransitions, surprising modulations to secondary keys, and polarization of tonic and dominant tonalities. K. 505, a two-tempo rondo for soprano with piano obbligato, is the only one of its type in Mozart’s oeuvre and shares many of the same ritornello form and dialogue between the soloist and the orchestra found in Mozart’s piano concerti. Composed as a duet for himself, an accomplished pianist, and his close friend Nancy Storace, a highly regarded opera singer, as part of her farewell concert in Vienna, K. 505 highlights their virtuosic abilities celebrating artistic kinship.

After establishing the historic contexts for its composition, this study applies the theories and models developed by James Hepokoski and Warren Darcy (2006), Martha Feldman and Rosa Cafiero (1993), John Irving (2003), and Simon P. Keefe (2001) in order to analyze K. 505 as a work in a composite genre utilizing compositional techniques later associated with more conventional applications of sonata-form. K. 505 is one of several compositions rooted in Mozart’s tonally adventurous Idomeneo (1781/1786). An analytical comparison of K. 505 with related works—the concert aria Non piu tutto ascoltai…non temer amato bene K. 490 for soprano and violin obbligato, a replacement aria in the revised Idomeneo (1786) and the Viennese piano concerto no. 25 in C Major K. 503 (1786) demonstrate how Mozart’s syncretic genres played a part in the creation and expansion of the maturing conventions of sonata-form in the late eighteenth-century.

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Miller, Sarah. "Reflections of the Don: Zerlina's Empowerment Narrative and the Inclusion of "Per queste tue manine" in Don Giovanni." Digital Commons @ Butler University, 2018. https://digitalcommons.butler.edu/grtheses/506.

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After the premiere of Don Giovanni in Prague, Wolfgang Amadeus Mozart and Lorenzo Da Ponte brought their opera to Vienna on May 7, 1788. One point of interest in the Viennese version of the score is the added duet “Per queste tue manine.” In this duet, the enraged Zerlina overpowers the bewildered servant Leporello with a handkerchief, a razor, and passion. She constrains the floundering fool and punishes him for his misconduct. In most modern performances, companies look no further than the Prague version of the score. Additionally, singers often portray Zerlina as either a mischievous temptress or a virginal peasant girl. Since modern opera companies often dismiss the Viennese score of Don Giovanni as insignificant and scholars often deem the role of Zerlina as simplistic, a holistic analysis of the role of Zerlina is needed. Viewing the interpretations of her character by Kristi Brown-Montesano and Wye Jamison Allanbrook through the lens of eighteenth-century gender politics and my own musical and literary interpretations results in a more complete understanding of the peasant girl. Through an analysis of the Viennese version of Zerlina’s character, I contend that Zerlina functions as a mirror-image foil to Don Giovanni. As Zerlina gains autonomy through the control of her own body, the Don loses his power over others and eventually his own life. This multi-dimensional understanding of Zerlina’s character is only possible if “Per queste tue manine” is taken into consideration.

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Woodmansee, J. Andrew. "A study in seduction an analysis of what the concept of encompasses and a discussion of it in the context of enlightenment thought as seen in Mozart's opera "Don Giovanni" /." Connect to resource, 2006. http://hdl.handle.net/1811/24206.

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Thesis (Honors)--Ohio State University, 2006.
Title from first page of PDF file. Document formatted into pages: contains 39 p. Includes bibliographical references (p. 37-39). Available online via Ohio State University's Knowledge Bank.

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Obert, Julie. "Les traductions françaises de Die Entführung aus dem Serail et Die Zauberflöte de W. A. Mozart sur les scènes parisiennes de 1798 à 1954." Thesis, Tours, 2013. http://www.theses.fr/2013TOUR2023.

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De la fin du 18e siècle jusqu’au milieu du 20e siècle, la plupart des opéras de Mozart ont été joués en français sur les scènes parisiennes. Condition essentielle aux représentations, la traduction a donc joué un rôle décisif dans la diffusion des œuvres lyriques de Mozart en France. Cette thèse étudie les traductions françaises des deux plus célèbres opéras de Mozart en langue allemande, Die Entführung aus dem Serail und Die Zauberflöte, représentées sur les scènes parisiennes entre 1798 et 1954. S’appuyant sur de nombreuses sources encore inédites, cette étude cherche à comprendre comment les traducteurs affrontent les multiples enjeux que représente la traduction des livrets allemands pour le public français. Loin de n’assurer que le transfert d’une langue à l’autre, les traductions remodèlent sans cesse le livret comme la partition des opéras mozartiens, donnant souvent naissance à des œuvres entièrement nouvelles. En croisant l’approche historique et les méthodes de l’analyse textuelle, il s’agit de mettre en lumière les spécificités de chaque traduction, d’éclairer les choix des traducteurs et d’interroger l’évolution des traductions au fil du temps. En permettant au public français de découvrir et d’entendre les opéras de Mozart, les traductions façonnent la réception française de ces œuvres en même temps qu’elles en témoignent. Ce qui est en cause est tout autant la situation particulière du monde lyrique français et ses rapports avec les pays de langue allemande, que la conception de la traduction et de l’œuvre d’art
The two German operas of Mozart, Die Entführung aus dem Serail and Die Zauberflöte were performed primarily in French from the end of the 18th century until the middle of the 20th century. Cultural conventions and market conditions required that the libretti of German operas be translated into French. In consequence, translation was a vital element in the diffusion of Mozart’s operatic corpus in France. This dissertation is the first to focus on all four sequential translations of Die Entführung aus dem Serail and the five of Die Zauberflöte, performed in Paris between 1798 and 1954. Based on a number of unpublished manuscripts and unknown publications, this scholarly study of the process of translation discloses the transformations of the original works into new versions of Mozart’s operas, not only in the libretti but also in the music. What matters most is to understand how these translations were made and how they evolved over time, as well as exploring the way translators approached the particular difficulties presented by the need to translate texts meant to be sung. What we see is not only a set of changes in the nature of translations, but also a shift in the professional and popular understanding of what constitutes a work of art. Translation both transmitted and framed the meanings of Mozart’s operas at the same time as they made them available to the French musical world. In this context we can see how fruitful it is to braid together musicological research and the insights of literary scholarship in German studies
In Frankreich wurden Mozarts Opern vom Ende des 18. Jahrhunderts bis in die zweite Hälfte des 20. Jahrhunderts hinein in erster Linie auf Französisch aufgeführt. Um kulturellen Konventionen Genüge zu tun und Markttauglichkeit zu sichern, mussten deutsche Opernlibretti ins Französische übertragen werden, damit das Publikum die Werke verstehen konnte. Folglich waren Übersetzungen eine unumgängliche Voraussetzung für die Verbreitung von Mozarts Opernschaffen in Frankreich. Die vorliegende Dissertation untersucht zum ersten Mal alle Übersetzungen der beiden bekanntesten deutschsprachigen Opern Mozarts, Die Entführung aus dem Serail und Die Zauberflöte, die zwischen 1798 und 1954 auf Pariser Bühnen zu hören und zu sehen waren. Die Studie zieht eine Reihe unveröffentlichter Handschriften und in Vergessenheit geratener Veröffentlichungen heran und zeigt, dass die Übersetzer nicht nur am Text, sondern auch an der Musik Veränderungen vornahmen, die die neuen Fassungen gleichsam zu eigenständigen Werken machten. Das vorrangige Ziel der Arbeit besteht darin zu verstehen, wie die jeweilige Gestaltung der Übersetzungen zustande kam, und wie sie sich im Lauf der Zeit entwickelten. Dabei wird nicht nur ein Wandel in der Übersetzungsart festgestellt: vielmehr wird auch sichtbar, dass sich bei den Übersetzern wie beim Publikum die Auffassung verändert von dem, was ein Kunstwerk ist, und wie man mit ihm umgehen sollte. Indem sie Mozarts Opern der französischen Musikwelt zugänglich machten, bestimmten die Übertragungen das Verständnis der Werke mit, so dass sie aufschlussreiche Quellen zur französischen Mozart-Rezeption darstellen. Um diesen Verschiebungen und wechselseitigen Wirkungen nachzugehen, werden die Methoden der Übersetzungskritik mit den Grundlagen historischmusikwissenschaftlicher Forschung zusammengeführt

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Morris, Brad Lawson. "A Countertenor's Reference Guide to Operatic Repertoire." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554918197976462.

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Chin-Lan, Huang, and 黃錦蘭. "Mozart'' opera "Don Giovanni"." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/61026352302617307012.

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"Characterization in Mozart's opera: the Magic Flute through the language of music." Chinese University of Hong Kong, 1992. http://library.cuhk.edu.hk/record=b5895746.

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by Wong Chi Keung, Mark.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1992.
Includes bibliographical references (leaves [464]-466).
Chapter CHAPTER 1 --- INTRODUCTION --- p.1
Chapter CHAPTER 2 --- TAMINO --- p.7
MUSICAL EXAMPLES --- p.66
Chapter CHAPTER 3 --- PAMINA --- p.152
MUSICAL EXAMPLES --- p.214
Chapter CHAPTER 4 --- PAPAGENO --- p.274
MUSICAL EXAMPLES --- p.337
Chapter CHAPTER 5 --- CONCLUSION --- p.446
BIBLIOGRAPHY --- p.464

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CHANG, HSIANG, and 張翔. "Interpretation of two baritone solo songs from the opera ” Don Giovanni” by Mozart." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/9zyv56.

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碩士
國立臺東大學
音樂學系碩士班
106
This paper is about “Don Giovanni”, an opera in two acts with music by Wolfgang Amadeus Mozart. It is based on the famous legends of Don Juan, a fictional libertine and seducer. The libretto of this opera was billed as a Drama giocoso. Mozart entered this work into his catalogue as an Opera buffa, but the traits that it presented was far more than the field of Opera buffa. In other words, it not only present the clear characteristic of Opera buffa but also reflect the dull lust and thrilling tragedy scene. 　　Researcher found that opera is a comprehensive art. To singers, it had a highly claim. First of all, singers should have a correct and superb singing skills, good talent of performance, literary accomplishment and plentiful life experience. In addition, singers should also understand the time and background that the composer had been lived, as well as his life and his creative experience. 　　In conclusion, by writing this paper, the researcher can know this opera better and actual sing it to make discussion and interpretation. Also, it can provide a reference to other singers who are going to sing this opera.

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Nelson, Sarah P. "Costumes for "The Magic Flute", Composed by W.A. Mozart, Libretto by Emanuel Schikaneder." 2008. https://scholarworks.umass.edu/theses/203.

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(9193619), Jinsong Chen. "MOZART AS INTERTEXT AND GENDER DISCOURSE IN AUSTRIAN POSTMODERNIST DRAMA." Thesis, 2020.

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As a representative of the Viennese classical music tradition, Wolfgang Amadeus Mozart (1756-1791) embodies not only an artistic inspiration but also an aesthetic, social, and national expression for musicians, writers, and scholars from diverse fields over the past two and a half centuries. The legend of this genius, together with his timeless music, remains a popular subject in the fields of contemporary textuality, including drama.

Thomas Bernhard (1931-1989) and Elfriede Jelinek (1946-), two controversial and highly acclaimed writers in the German-speaking world, have much in common. Both, similar to Mozart, have a love-hate relationship with their home country, both offer poeticized provocations of the media and postwar political discussions, and both are critical of Austria’s involvement with National Socialism that positions their literary work as anti-Heimat literature, strengthening their reputation as “Nestbeschmutzer/in” as well as enfants terribles. But most importantly, both had a comprehensive musical education and demonstrate their aesthetic approaches by referring not only to musical form but also to musical personae in their literary creations.

In their postmodernist dramas Der Ignorant und der Wahnsinnige (1972) and Raststätte oder Sie machens alle(1994), Bernhard and Jelinek deliberately refer to Mozart and his respective representative operas buffa Cosi fan tutte (1790) and Singspiel Die Zauberflöte (1971). As intertext, Mozart’s opera tends neither toward a certain musicality nor a musical discourse; instead, the playwrights engage the idea of “the presence of the past” to encode the Enlightenment mode of gender discourse within a (post)modern context. The postmodernist approach to intertextuality subsequently leads us to question how writers return to language and use linguistic and rhetorical devices to (de)construct the gender related issues.

The current research, located in the social, political and historical context of Austrian postmodernism, aims to examine how both playwrights subversively reconfigure the enlightened binary models of gender differences, embedded in Mozart’s operas, in new cultural contexts. It focuses on the gendered alterity that is determined by external sources (i.e., within certain spatio-temporal contexts) as well as framed by interior facts (e.g., language). For a multidimensional analysis, I employ discourse theory and critical linguistics, combining a psychoanalytical reading and a deconstructive reading, to identify Bernhard’s and Jelinek’s specific agendas under the meta-historical category of the Enlightenment while disclosing their postmodernist poetology.

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Pan, Shiu-Chen, and 潘秀琛. "The Analysis and Interpretation of Susanna Arias from Opera“Le nozze di Figaro”by Mozart." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/57458209392757487681.

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碩士
台南應用科技大學
音樂研究所
100
This interpretation of the repoet explores Mozart''s comic opera ‘Le Nozze di Figaro’, in addition to broadly trace the achievements of the Italian comic opera out of Mozart''s comic opera, should permit Mozart opera in the form of performance statement of the reality of life. In two arias “Venite inginocchiatevi” and “Giunse alfin il momento” from the music segment, time signature, tempo, tonality to distinguish her different moods. And music design, see their views on human nature and clever the way into the music. Mozart selects Beaumarchais’s drama, the challenge was the scale of society, trying to help him avoid hindered by the dramatist da Ponte, see their no afraid of hard dauntless spirit, to see Mozart as his ideal courage to face challenges.

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Liu, Ni, and 劉霓. "《Le nozze di Figaro, KV 492》: from the play of Beaumarchais to the opera of Mozart." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/60916591300910594658.

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碩士
東吳大學
音樂學系
91
Based on the opera buffa《Le nozze di Figaro》of Mozart, this thesis will study and present an overall discussion on the tradition and the development of opera buffa , in both music and libretto; the transformation from “commedia dell’arte”, “intermezzo” to “ drama giocoso”, young Mozart’s opera buffa, and his dramatic conception of opera, in which music and drama interacted. Concluded based on various relevant research materials, the uniqueness of Mozart’s《Le nozze di Figaro》can be summarized as follows: 1. a combination of “buffa” and “seria” traditions, mixed with a “sentimental” element; 2. human characterization; 3.close collaboration of the musician and the librettist; 4. the increase in the number of ensembles; 5. development of large-scale finales with musical continuity; 6. development of ensembles in sonata forms; 7. equal emphasis and achievement on opera and drama. This thesis will explore the original play《 Le Mariage de Figaro》by Pierre Auguste Caron de Beaumarchais, the libretto of Lorenzo da Ponte, and the music composition of Mozart. About the play itself, the original work and character of French play《 Le Mariage de Figaro》 will be analyzed, and how it is related with “ Comedy of character” of Molière and “Comedy of experimental psychology” of Marivaux. A comparison is made on the differences between the libretto of da Ponte and the play of Beaumarchais. The comparison will show how da Ponte has retained the original creativity of the play. The characteristics of Mozart’s music composition of opera buffa《 Le nozze di Figaro》are also discussed and summarized as follows: 1. maintain the dramatic momentum throughout the opera; 2. avoiding segmentation by creating action-ensembles and action-arias; 3. exploitation of the tonal contrasts and resolutions inherent in the sonata principle; 4. development based on tersest thematic material; 5. combination of “text repetition” and “ musical repetition”; 6.development of “musical alliances” of characters according to the dramatic situation; 7.dramatic continuity of characters; 8. successfully building characters in a musical approach. The thesis will end with the conclusion on overall success of opera buffa《 Le nozze di Figaro》.

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Kai-Yi, Chang, and 張凱奕. "Bravely Search For Love--Using Belmonte's Ensembles in Mozart Opera 《Die Entführung aus dem Serail》 as Examples." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/15788134596162043634.

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碩士
國立臺灣師範大學
表演藝術研究所
100
This essay will focus on the role of tenor Belmonte in Wolfgang Amadeus Mozart's (1756-1791) Opera《Die Entführung aus dem Serail, 1782》, examining his reactions to different circumstances and interactions with the other roles in his journey of searching for love, in order to generalize his personalities and characteristics and lastly acquire the directions for playing this role. The essay will be divided into five chapters. The first chapter is the preface of the motive and purpose of the research; the second chapter is the introduction to Mozart and Stephanie's（1741-1800） life and both their compositions; the third chapter will be the content and background of the Opera 《Die Entführung aus dem Serail》; the analysis of form, harmony, interpretation and stage blocking of the four selected ensembles will be in the fourth chapter; and the fifth chapter is the summary and conclusion of all chapters.

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Chang, Tan-Feng, and 張丹楓. "An Analysis and Interpretation of Contessa Arias from Opera “Le nozze di Figaro” by W. A. Mozart." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/75344385715069266422.

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碩士
國立高雄師範大學
音樂學系
101
Wolfgang Amadeus Mozart (1756-1791), one of the most important classical musician, composer and conductor in the eighteenth-century, was born in Salzburg, Austria. Throughout his life, Mozart's had composed twenty-two operas. One of the most popular work is Opera buffa "Le Nozze di Figaro", which was finished by Mozart and Lorenzo Da Ponte (1749-1838) in Vienna. The focus of this research is to examine and analyze the Countess's two arias of "Le Nozze di Figaro". This thesis consists of five chapters. The first chapter shows the motivation, purpose, and the framework of this research. The second chapter investigates the background and characteristics of the original French comedy author Pierre-Augustin Caron de Beaumarchais (1732-1799) in contemporary of Enlightenment drama in the seventeenth century and extends to the background and features of the original Pierre-Augustin Caron de Beaumarchais as well as the outline of the plot "Le Nozze di Figaro". The third chapter introduces Mozart's life and musical styles. The fourth chapter analyzes the countess and interpretation of the two arias and < E Susanna non vien ... Dove sono>. The fifth chapter concludes this paper.

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張文卿. "A Research on the Teaching Opera Appreciation of Mozart's Die Zauberflöte." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/70253789996869428196.

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碩士
國立新竹教育大學
人資處音樂教學碩士班
95
Abstract A Research on the Teaching Opera Appreciation of Mozart's Die Zauberflöte In the research, Mozart's Die Zauberflöte was the teaching material of opera appreciation for the students who were sixth grade in a primary school. The method of Action Research was adopted in the research. The main purposes of the research were to probe into the acceptance degree, the influence of learning music and the effect which students were taught opera appreciation of Mozart's Die Zauberflöte. The relative data of Mozart's Die Zauberflöte were discussed in the research, to understand the deep intention of Mozart's Die Zauberflöte and to look for the theoretical foundation for the teaching of opera appreciation. The course of teaching opera appreciation was designed and actually executed. The data that were the note of the teacher's self-examination, the record of the students’ interview and the teachers’ interview, the students’ learning sheets, and the result of the test before teaching and the test after teaching would be collected, in order to analyzed and discussed. The results of this research are as follows, 1.After the students were taught opera appreciation of Mozart's Die Zauberflöte, the students' acceptance degree has the tendency to improve. ‧Liking degree to the course of the students improved, after the students were taught opera appreciation of Mozart's Die Zauberflöte. ‧The students’ acceptance degree for the course which the students had appreciated Mozart's Die Zauberflöte was over 50%. ‧The will that the students appreciated the opera improved not so highly, but the will had the tendency to improve. ‧The story of Die Zauberflöte was the course that students were most interested in, secondly for the aria and the adapted songs. 2.It had a great effect of studying for the primary school students, to teach the students the opera appreciation of Mozart's Die Zauberflöte. ‧The students had a good result to distinguish the timbre of human and singing types on Die Zauberflöte. ‧In the teaching opera appreciation of Mozart's Die Zauberflöte, there was a positive correlation between the students' cognitive teaching result and the course which students liked. ‧After the students were taught opera appreciation of Mozart's Die Zauberflöte, the students had a concrete concept to the opera. 3.The students had a good influence in learning music, after the students were taught opera appreciation of Mozart's Die Zauberflöte. ‧The attitude that the students liked music was improved. ‧There was helpfulness for the students on learning music. Finally, according to the results of the research, put forward the suggestion on music teachers, the schools and the educational responsible institution of primary school. Keyword: Opera, Die Zauberflöte., The Teaching Opera Appreciation

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Hsu, Ya-hui, and 徐雅惠. "‵Martern aller Arten′ from Mozart's opera “Die Entfuehrung aus dem Serail”." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/82391808976975102656.

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Dissertations / Theses on the topic 'Mozart Operas'

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