Journal articles: '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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Kárpáti, János. "“Ecco la marcia, andiamo...” Mozart and the March." Studia Musicologica 60, no. 1-4 (October 21, 2020): 149–67. http://dx.doi.org/10.1556/6.2019.00008.

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Surprisingly little work has been dedicated to Mozart and the march genre. The literature has explored only the 17 marches which feature as introductory movements in his cassations and serenades (Neue Mozart-Ausgabe, Günter Hauswald, Wolfgang Plath). However, marches have important functions in Mozart’s operas – in his seria works as celebratory and greeting intermezzos, and at expressly key instances in his Da Ponte operas (“Non più andrai,” “Ecco la marcia, andiamo,” “È aperto a tutti quanti, viva la libertà!”, and “Bella vita militar”). The same applies to Idomeneo and The Magic Flute, where the priestly rituals are accompanied by marches, albeit of a slow variety, as is Tamino and Pamina’s trial by fire and water. Studying the marches reveals a formulaic recurring rhythmic model (a succession of eighth notes in the following pattern: 4:3:1:2:2) that acts as a thematic introduction to many works which do not conspicuously belong to the march genre – notably his piano concertos and symphonies. This model appears already in his juvenile pieces, reoccurring throughout his œuvre as a means of expressing the beginning of a purposeful action.

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12

Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.

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In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and extrapolate it to the formation of composition and thematic dramaturgy in the genre of piano concerto. Methodology of research: biographical method that highlights the context and motivation of writing music works, including piano concertos, analytical and comparative method allows identifying patterns in the development of the compositional form of piano concertos. Results and conclusions. Mozart's piano concertos in the context of interaction with the composer's opera and theatre activities are considered. A synchronized chronography of his piano concertos and operas is provided. It was found that the interdependence does not lie in the intonational affinity of the thematic material of works written in one year (although there is some similarity of themes in several works). Piano concertos, which Mozart wrote during his life (unlike violin concertos, which almost all were written in one year – 1775), demonstrate an evolutionary slice of his work, in the depths of this genre formed a new approach to its composition, which is an important link formation of a piano concerto of the XIX century. Piano concerts are analyzed in terms of trends in the formation of musical themes: almost all works are polithematism in the main parts. Regarding the distribution of themes in the double exposition, there is also a certain tendency, namely in the appearance of part B (or part B2) in the soloist's exposition. Mozart preferred a new keyboard instrument with percussion mechanics – the pianoforte. It met the agogic and dynamic needs in the development of thematic material. Mozart's desire to be recognized as an opera composer in Vienna faced many obstacles - from the established rules of the genre and the dominance of Italian opera on the Viennese stage to even restrictions on thematic development (respectively, intonation and dramaturgy development of the characters). However, it was his opera characters that inspired the composer to create bright themes in instrumental music, including piano concerts. We can say that his piano concertos are a kind of theatre for instruments, in which events develop according to the rules of theatrical dramaturgy. The significance of the research. The article proposes a comprehensive approach, which clarifies how the creative method of Mozart is formed. The analysis of the main tendencies in the development of the intonation form of piano concertos revealed regularities that allow us to speak about the composer's creative motivation, and is a contribution to Ukrainian research of the Mozart’s music works.

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WOODFIELD, IAN. "THE EARLY RECEPTION OF MOZART'S OPERAS IN LONDON: BURNEY'S MISSED OPPORTUNITY." Eighteenth Century Music 17, no. 2 (September 2020): 201–14. http://dx.doi.org/10.1017/s147857062000024x.

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Early in 1789 Charles Burney declined a chance to purchase the score of an unnamed Mozart opera, offered to him by Franz Anton Weber, the composer's uncle-in-law, in an unsolicited letter from Hamburg. For several years Weber had been active in supplying new Viennese repertory to northern cities such as Uppsala, Hanover and Hamburg, but in a career change, he decided to launch an itinerant opera troupe. Among the family members employed in this company was Franz Anton's daughter Jeanette, who, he claimed, had been a pupil of Mozart and Aloysia Lange. In the light of Burney's missed opportunity, my article revisits the well-researched story of Mozart reception at the King's Theatre in the late 1780s.

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Till, Nicholas. "‘First-Class Evening Entertainments’: Spectacle and Social Control in a Mid-Victorian Music Hall." New Theatre Quarterly 20, no. 1 (January 5, 2004): 3–18. http://dx.doi.org/10.1017/s0266464x03000289.

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First-Class Evening Entertainments was the title given to a variety programme presented at Hoxton Hall in East London when it first opened in 1863. In 2000 Nicholas Till and Kandis Cook were commissioned by Hoxton Hall and the English National Opera Studio to make a new music theatre piece for the Hall, which led to an investigation of the content and context of the original programme. In the following article Nicholas Till offers a reading of the 1863 programme as an example of the mid-Victorian project to exercise social control over the urban working classes. Nicholas Till is Senior Lecturer in Theatre at Wimbledon School of Art, and co-artistic director of the experimental music theatre company Post-Operative Productions. He is the author of Mozart and the Enlightenment: Truth, Virtue, and Beauty in Mozart's Operas (Faber, 1992), and is currently editing The Cambridge Companion to Opera.

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Tråvén, Marianne. "Mozarts musikaliska retorik: en studie av musikaliskt avbildande element i Mozarts operor." Sjuttonhundratal 8 (October 1, 2011): 209. http://dx.doi.org/10.7557/4.2399.

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This article investigates and describes the components of Wolfgang Amadeus Mozart's musical rhetoric as they are visible in his operas from Zaide (1780) to Die Zauberflöte (1791). The relationship between verbal text and musical text is in these operas especially intimate, and Mozart used the musical text to illustrate, paint and comment the verbal text. Mozart's views on the compositional process, visible in his letters, rested on the notion that music should portray the characters, emotional content and action of the play, all within the harmonic laws of the time. To achieve that he used a combination of traditional musical rhetoric figures, conventions understood by his contemporaries, paralinguistic elements such as emotional prosody, and extralinguistic elements such as musical gesture, to portray actions and objects as well as concepts.

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Glasow, E. T. "The Mozart-Da Ponte Operas: Three New Recordings." Opera Quarterly 13, no. 3 (January 1, 1997): 168–75. http://dx.doi.org/10.1093/oq/13.3.168.

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Pérez Martel, José María. "El mundo clásico en las primeras óperas de Wolfgang Amadeus Mozart." FORTUNATAE. Revista Canaria de Filología, Cultura y Humanidades Clásicas 28 (July 2018): 275–86. http://dx.doi.org/10.25145/j.fortunat.2018.28.021.

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LÜTTEKEN, LAURENZ. "NEGATING OPERA THROUGH OPERA: COSÌ FAN TUTTE AND THE REVERSE OF THE ENLIGHTENMENT." Eighteenth Century Music 6, no. 2 (August 3, 2009): 229–41. http://dx.doi.org/10.1017/s1478570609990017.

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ABSTRACTAmong the operas on which Mozart and Da Ponte collaborated, Così fan tutte is a special case. In some ways, the libretto is more conventional than those provided for Le nozze di Figaro or Don Giovanni, and Mozart was not the first composer asked to set it. To understand the work best, it is necessary to read the text closely. This article concentrates on a few, highly significant characteristics – in particular, the locations in which the opera takes place. Such details provide the foundations for surprising insights into the opera. First, the libretto deals with central issues in eighteenth-century aesthetics, but the mechanist philosophy that informs the plot (reminiscent of that theorized by Julien Offray de La Mettrie in L'Homme machine) defuses these issues over the course of the action. Secondly, the music that turns the libretto into an opera resonates with specialist issues of eighteenth-century music aesthetics, often to turn them, once again, on their heads. In the last analysis, Così fan tutte is an opera in which both text and music question truth and reliability, and the consequences are serious for the opera, for music and for the very Enlightenment itself.

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Verba, Natalia I. "“Das Donauweibchen”, “Dneprovskaya Rusalka” and “The Magic Flute”: the Facets of Intertextual and Archetypal." Observatory of Culture, no. 5 (October 28, 2015): 38–44. http://dx.doi.org/10.25281/2072-3156-2015-0-5-38-44.

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The article is devoted to consideration of the ways of musical realization of the archetypal images in the operas “Das Donauweibchen”, “Dneprovskaya Rusalka” and “The Magic Flute”. The analysis lays an emphasis on the following aspects: the dramaturgy, orchestration, general compositional principles, ideological and semantic constants of the operas, their intonation sphere, and peculiarities of the characters’ musical and verbal portraits. The comparison of the main heroes’ characteristics in the operas by F. Kauer, S. I. Davydov and W. A. Mozart allows to draw a conclusion that the developed intertextual connections between these works are caused by the studied images’ archetypicalness.

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Gallarati, Paolo. "Music and masks in Lorenzo Da Ponte's Mozartian librettos." Cambridge Opera Journal 1, no. 3 (November 1989): 225–47. http://dx.doi.org/10.1017/s0954586700003013.

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In his trilogy of masterpieces composed to texts by Lorenzo Da Ponte, Mozart radically changed the musical and theatrical nature of Italian opera. The dramma giocoso became a true ‘comedy in music’ through the use of psychological realism: a vivid representation of life in continuous transformation and in all its naked immediacy is now the real protagonist of the story, an all-embracing totality within which each character represents a separate feature. This influx of a non-rationalist sense of life into the classical proportions of sonata form (whose tonal relationships and free approach to thematic development controlled the vocal set pieces) made for an explosive mixture. Even before his collaboration with Da Ponte, Mozart himself seemed well aware of his uniqueness: ‘I guarantee that in all the operas which are to be performed until mine [L'oca del Cairo] is finished, not a single idea will resemble one of mine.’

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Ketterer, Robert C. "Senecanism and the “Sulla” Operas of Handel and Mozart." Syllecta Classica 10, no. 1 (1999): 215–34. http://dx.doi.org/10.1353/syl.1999.0001.

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Platoff, John. "The buffa aria in Mozart's Vienna." Cambridge Opera Journal 2, no. 2 (July 1990): 99–120. http://dx.doi.org/10.1017/s0954586700003177.

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Like the modern romance novel or murder mystery, late-eighteenth-century opera buffa is a thoroughly conventional genre. Standard plot devices, stock characters and vocal types, and particular kinds of musical number appear again and again, and any reasonably comprehensive understanding of the genre requires that we recognise these familiar patterns in text and music. This is especially important in the case of Mozart, who lies at the heart of our interest in the repertory: while his operas are routinely praised for their uniqueness and originality, we can evaluate these claims only by addressing the formal and stylistic procedures that served as his immediate context.

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Corneilson, Paul, and Eugene K. Wolf. "Newly Identified Manuscripts of Operas and Related Works from Mannheim." Journal of the American Musicological Society 47, no. 2 (1994): 244–74. http://dx.doi.org/10.2307/3128879.

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Opera at the court of Elector Palatine Carl Theodor in Mannheim during the period 1742-78 attained a level of prestige fully equivalent to that of other leading courts of the day. Yet the loss of most of the performance materials in use at Mannheim has constantly hindered basic research in this area. The present article reports the existence of twenty-eight manuscripts (mainly full scores) of twenty separate operas and related secular dramatic works that were either copied at Mannheim or prepared for use there. Eight of these are revealed to have belonged to the personal collection of Count Carl Heinrich Joseph von Sickingen (1737-91), privy councillor to Carl Theodor and his envoy in Paris from 1768 until his death. Discovery of a thematic catalogue of Sickingen's collection allows the partial reconstruction of its contents; this has special relevance in that Mozart was a frequent guest of the count during his sojourn in Paris in 1777/78 and can be shown to have known and made use of his collection of opera scores.

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Till, Nicholas. "Response to John Stone's Review of Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas." Cambridge Quarterly XX, no. 1 (1991): 60–66. http://dx.doi.org/10.1093/camqtly/xx.1.60.

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Till, N. "Response to John Stone's Review of Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart's Operas." Cambridge Quarterly XXII, no. 1 (January 1, 1993): 60–66. http://dx.doi.org/10.1093/camqtly/xxii.1.60.

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Свиридовская, Н. Д. "Nikolay Evreinov and Opera Theater: Strokes to His Artistic Biography." Музыкальная академия, no. 1(769) (March 29, 2020): 122–39. http://dx.doi.org/10.34690/40.

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В статье рассматривается трансформация взглядов Н. Евреинова относительно оперного театра: от нигилизма и пародирования в ранних представлениях - к созданию классических спектаклей в более поздние годы. Материалом исследования послужили язвительные шаржи режиссера периода сотрудничества с кабаре и театрами малых форм 1910-х годов, а также неоконченные проекты и осуществленные постановки опер Моцарта, Глинки и Римского-Корсакова 1920-х - начала 1930-х годов. The article deals with the transformation of N. Evreinov’s views on the opera: from nihilism and parody in the early representations—to the creation of classical performances in later years. The research material were caricatures of the stage director of the period of his collaboration with cabaret and small theaters in the 1910s, as well as unfinished projects and completed productions of operas by Mozart, Glinka and Rimsky-Korsakov in the 1920s аnd early 1930s.

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Heartz, Daniel. "Constructing Le nozze di Figaro." Journal of the Royal Musical Association 112, no. 1 (1987): 77–98. http://dx.doi.org/10.1093/jrma/112.1.77.

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Lorenzo Da Ponte is our main witness as to how he and Mozart put together their three operas. His memoirs, first published in 1823, mystify the topic more than they illuminate it. Some additional light is shed by an earlier publication entitled An Extract from the Life of Lorenzo Da Ponte, with the history of several dramas written by him, and among others, II Figaro, II Don Giovanni e La Scuola degh Amanti set to music by Mozart. Whoever translated this from Da Ponte's original Italian worked from a text different in many details from what was published four years later as the Memorie. The well-known passage about how the poet must rack his brains in order to invent situations for the buffo finales will be familiar to most readers from its version in the memoirs.

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Woodfield, Ian. "Mozart and His Operas - By David Cairnsï¿½Words about Mozart: Essays in Honour of Stanley Sadie - Edited by Dorothea Link and Judith Nagley." Journal for Eighteenth-Century Studies 32, no. 1 (March 2009): 131–35. http://dx.doi.org/10.1111/j.1754-0208.2008.00088.x.

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Glasow, E. T. "From "Idomeneo" to "Die Zauberflote": A Conductor's Commentary on the Operas of Wolfgang Amadeus Mozart." Opera Quarterly 19, no. 2 (April 1, 2003): 280–84. http://dx.doi.org/10.1093/oq/19.2.280.

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Villanueva, Isabel, and Ivan Lacasa-Mas. "The audiovisual recreation of operas filmed in theaters: An analysis of Don Giovanni by W. A. Mozart." Communication & Society 34, no. 1 (January 12, 2021): 77–91. http://dx.doi.org/10.15581/003.34.1.77-91.

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This article analyzes select opera films produced during the 20th and 21st centuries by international opera houses in order to determine whether, when the diegesis of these films is recreated, there is also an attempt made for the films to reflect the conventions of operatic performance. We performed content analysis of the end of the first act in 29 filmed versions of the opera Don Giovanni by W.A. Mozart by evaluating 44 variables related to three categories that are central to translating the original story to the new audiovisual discourse: recreation of time and space and use of scenery. The main results reveal that in translating Don Giovanni to audiovisual media, the films continue to be influenced by the institutional conventions of operatic theater. In relying on the original performance, these films, even in the 21st century, do not exhibit full narrative autonomy. Our article proposes several ways to better adapt—from a cinematographic perspective—these scenic representations based on elements such as depth of field or scenery, without the need for greater resources than those already available to opera houses.

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Murata, Margaret. "Why the first opera given in Paris wasn't Roman." Cambridge Opera Journal 7, no. 2 (July 1995): 87–105. http://dx.doi.org/10.1017/s095458670000447x.

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Genealogies persist in the writing of histories, if not to suggest lineages then to delight or dismay us with the effects of accident and circumstance. The first generation of Italian operas were all court, that is private, entertainments, whether produced in Florence, Mantua, Rome or Turin. When this new form of entertainment first emigrated, it spoke Italian in foreign courts (except in Madrid), perhaps because it was so identified in its novelty with still novel Italian musical styles, with the dramaturgy of Italian spectacle and above all with the Italian way of singing. It travelled to the Habsburg imperial court early, in Prague, 1627. Like this performance, later occasional stagings in Vienna and Innsbruck remained in Italian and at first by Italians, though eventual progeny included scores by Gluck and Mozart. The court in Madrid, however, heard in 1627 a version of opera with a libretto by Lope de Vega, La selva sin amor; its score was by a theatrically inexperienced Tuscan lutenist, Filippo Piccinni. Madrid did not essay opera again until 1660. The court of Sigismund III in Warsaw heard Italian opera beginning in 1628, possibly with a Mantuan score. Opera made its way to Paris only in 1645, where, after acquiring a French text and French dancing and singing, it became one of the glories of the royal court. The cradle of opera, in all these cases, was the court, with all its resources in terms of money, an obligated audience and more than willing professionals, whether imported or local.

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Barshack, Lior. "The Sovereignty of Pleasure: Sexual and Political Freedom in the Operas of Mozart and Da Ponte." Law and Literature 20, no. 1 (March 2008): 47–67. http://dx.doi.org/10.1525/lal.2008.20.1.47.

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Bennett, Lawrence. "IGNAZ HOLZBAUER AND THE ORIGINS OF GERMAN OPERA IN VIENNA." Eighteenth Century Music 3, no. 1 (March 2006): 63–90. http://dx.doi.org/10.1017/s1478570606000492.

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Ignaz Holzbauer (1711–1783) is best known for his singspiel Günther von Schwarzburg (1777), a work that deeply impressed Mozart during his sojourn in Mannheim. A much earlier German opera by Holzbauer, however, has gone virtually unnoticed. In the summer or autumn of 1741 the composer’s full-length, three-act teutsche Opera entitled Hypermnestra was performed at the Kärntnertortheater in Vienna. Following the death of Emperor Charles VI and the accession of Maria Theresia, the Kärntnertortheater Intendant Joseph Selliers commissioned a German-language opera, selecting Holzbauer, who had recently returned to Vienna from Moravia, to compose the music and the court printer Johann Leopold van Ghelen to write the libretto.Although it is widely known that Holzbauer composed several operas in Italian before 1741, Hypermnestra appears to be the earliest opera by the composer for which a score survives. The music provides ample evidence of a mature composer in full command of opera seria style. Although Holzbauer had not yet found a satisfactory solution to the problem of narrative recitative, the opera nevertheless illustrates many of the virtues found in Günther von Schwarzburg: outstanding accompanied recitatives, a great variety in the treatment of da capo aria form and a rich array of orchestral colours.Apart from the music, Hypermnestra is remarkable for historical reasons. It reveals that the composer had received a commission to compose an opera in the German language long before Günther von Schwarzburg. On the basis of current research it appears to hold the distinction of being one of the earliest, if not the first, full-length German opera produced in Vienna. Maria Theresia soon re-established the dominance of French and Italian styles. Nevertheless, Hypermnestra is an early example of an idea that would gradually gain acceptance and blossom during the reign of Joseph II.

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Schroeder, David. "Mozart and His Operas. By David Cairns. (Berkeley, Calif.: University of California Press, 2006. Pp. xi, 290. $29.95.)." Historian 69, no. 4 (December 1, 2007): 815–16. http://dx.doi.org/10.1111/j.1540-6563.2007.00197_47.x.

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Mitchell, Katie, and Mario Frendo. "A Conversation on Directing Opera." New Theatre Quarterly 37, no. 3 (July 19, 2021): 246–55. http://dx.doi.org/10.1017/s0266464x21000142.

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Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

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Fairleigh, James P., and Andrew Steptoe. "The Mozart-Da Ponte Operas: The Cultural and Musical Background to Le nozze di Figaro, Don Giovanni, and Cosi fan tutte." Notes 47, no. 4 (June 1991): 1126. http://dx.doi.org/10.2307/941631.

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Robertson-Kirkland, Brianna. "Christina Fuhrmann, Foreign Operas at the London Playhouse: From Mozart to Bellini (Cambridge: Cambridge University Press, 2015). vii+262 pp. $99.99." Nineteenth-Century Music Review 14, no. 2 (December 5, 2016): 243–45. http://dx.doi.org/10.1017/s147940981600032x.

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Arif, Muhammad, and Yuli Permata Sari. "EFEKTIFITAS TERAPI MUSIK MOZART TERHADAP PENURUNAN INTENSITAS NYERI PASIEN POST OPERASI FRAKTUR." Jurnal Kesehatan Medika Saintika 10, no. 1 (June 1, 2019): 69. http://dx.doi.org/10.30633/jkms.v10i1.310.

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ABSTRAKNyeri dapat diatasi dengan berbagai metode yang dapat dilakukan oleh pasien dalam membantu mengurangi dan menghilangkan nyeri khususnya nyeri pasca operasi fraktur salah satunya adalah dengan terapi musik mozart. Studi pendahuluan di Ruang Bedah RS. Dr. Achmad Mochtar Bukittinggi, didapatkan data informasi dari perawat ruangan bahwa dalam mengatasi nyeri pasien post operasi belum ada yang menerapkan tindakan pemberian terapi musik Mozart. Tujuan penelitian ini adalah Untuk mengetahui Efektifitas Terapi Musik Mozart Terhadap Penurunan Intensitas Nyeri Pasien Post Operasi Fraktur.Desain penelitian ini adalah Pre Experimental Design,dengan mengunakan One-grup pretest postest, sampel pada penelitian ini adalah pasien post operasi fraktur yang berjumlah15 orang yang diambil dengan tekhnik Accidental Sampling. Hasil analisis uji statistik non parametrik dengan menggunakan Wilcoxondengan tingkat kepercayaan 95% (α = 0,05) diperoleh nilai p value adalah 0,001, dengan demikian p value> α (0,001>0,05) sehingga dapat disimpulkan bahwa terapi mozart efektif dalam penurunan Intensitas Nyeri Pasien Post Operasi Fraktur. Disarankan kepada responden untuk dapat menerapkan terapi mozart sebagai alternatif untuk meminimalkan nyeri tidak hanya di rumah sakit melainkan di rumah saat sudah keluar dari rumah sakit.Kata Kunci: Terapi Musik Mozart, Intensitas Nyeri, Pasien Post Op Fraktur EFFECTIVENESS OF MOZART MUSIC THERAPY TOWARDS REDUCTION OF PATIENT INTENSITY POST OPERATION FRACTURESABSTRACTPain can be overcome by various methods that can be done by the patient in helping reduce and eliminate pain, especially post-fracture pain, one of which is Mozart's music therapy. Preliminary study in the Surgery Room. Dr. Achmad Mochtar Bukittinggi Hospital, obtained information data from room nurses that there was no one in overcoming the pain of postoperative patients applying Mozart's music therapy. The purpose of this study was to determine the effectiveness of Mozart's music therapy on the reduction of pain intensity in post patients fracture. The design of this study was Pre Experimental Design, using the One-group pretest posttest, the sample in this study were 15 postoperative fracture patients taken with the technique of Accidental Sampling. The results of non parametric statistical test analysis using Wilcoxon with a confidence level of 95% (α = 0.05) obtained p value is 0.001, thus p value> α (0.001> 0.05) so it can be concluded that mozart therapy is effective in decreasing Pain Intensity of Post Patients Fracture Surgery. It is recommended for respondents to be able to apply Mozart therapy as an alternative to minimize pain not only in the hospital but at home when they are discharged from the hospital.Key Words : Mozart Music Therapy, Pain Intensity, Patient Fracture Post Op

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Gidwitz, Patricia Lewy. "Mozart's Fiordiligi: Adriana Ferrarese del Bene." Cambridge Opera Journal 8, no. 3 (November 1996): 199–214. http://dx.doi.org/10.1017/s0954586700004729.

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Mozart's ability to craft music closely suited to his singers took a remarkable turn with the soprano Adriana Ferrarese del Bene. This singer's career, from sporadic prominence in serious opera to notoriety as a prima donna in Viennese opera buffa in the late 1780s, was capped by her association with Mozart and Da Ponte in Così fan tutte (1790). Certain reports notwithstanding, Ferrarese seems to have been far from a great artist; her successes were modest and she never before or after attained the artistic triumph she achieved in the Mozart–Da Ponte opera. Reviews and contemporary comments suggest that her comic and dramatic skills were uneven, her vocal equipment impressive but incomplete and her performances less than inspiring. Mozart's achievement was to transform a particular set of vocal skills and limitations into something of exceptional artistic value; Fiordiligi was fashioned out of the temperament, vocal style and dramatic abilities – and limitations – of his soprano.

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EDGE, DEXTER. "Attributing Mozart (i): three accompanied recitatives." Cambridge Opera Journal 13, no. 3 (November 2001): 197–237. http://dx.doi.org/10.1017/s0954586701001975.

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In a recent issue of the Cambridge Opera Journal, Dorothea Link has proposed that Mozart may have been the author of an unattributed accompanied recitative that precedes the aria ‘‘Vado, ma dove?,” K. 583, in the Viennese court theatre’s original performing score of Martín y Soler's Il burbero di buon cuore. The present article re-examines the case for Mozart's authorship of this recitative in the wider context of Mozart studies as a whole, and through a detailed reconsideration of the source and stylistic evidence. The recitative preceding K. 583 is compared to two other accompanied recitatives with plausible connections to Mozart: an unattributed one that precedes a score of Mozart's aria ‘‘No, che non sei capace,” K. 419, in a Viennese manuscript of extracts from Paisiello’s Fedra; and one that is explicitly attributed to Mozart in the Viennese court theatre's original performing score of a pasticcio based on Guglielmi's La quacquera spirituosa.

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Košenina, Alexander. "nr="83"Hinter der Opernbühne: Thomas Bernhards : ,,Der Ignorant und der Wahnsinnige“ knüpft an die Tradition der ,metamelodrammi‘ an." Zeitschrift für Germanistik 31, no. 2 (January 1, 2021): 83–93. http://dx.doi.org/10.3726/92169_83.

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Abstract Der Beitrag geht über musikalische Korrespondenzen und Kontrafakturen von Mozarts Zauberflöte in Thomas Bernhards Der Ignorant und der Wahnsinnige hinaus. Diskutiert werden Rückgriffe auf das Genre der ,metamelodrammi‘ oder Metaopern – am Beispiel von William Hogarths Kupferstich Strolling Actresses Dressing in a Barn (1738), von Pietro Metastasios Der Opern-Meister (1733) und Mozarts / Stephanie d. J. Der Schauspieldirektor (1786). Der Wechsel in die Rollenfigur sowie der Kampf um die Stellung als Primadonna kehrt im geradezu pathologischen Perfektionsstreben von Bernhards Königin der Nacht wieder. Die Künstlichkeit dieser herausragenden ,,Koloraturmaschine“ steht in unauflösbarer Spannung zur Darstellerin, die an Erschöpfung, Überforderung und Überdruss leidet. Während die Zauberflöte aus dem Dunkel ins Licht führt, drohen in Bernhards Stück Selbstaufgabe, Eskapismus und totale Finsternis.This essay suggests some parallels between Thomas Bernhard’s Der Ignorant und der Wahnsinnige and the genre of ,metamelodrammi‘ or ,meta-opera‘. Musical correspondences with Mozart’s The Magic Flute have previously been demonstrated. This article considers meta-operas such as Pietro Metastasio’s The Opera Master (1733) and Mozart’s Der Schauspieldirektor (1786), and engravings such as William Hogarth’s Strolling Actresses Dressing in a Barn (1738) as further possible reference points for Bernhard’s play. The actors’ role changes as well as the struggle for the lead as prima donna reappear in the almost pathological struggle for perfection of Bernhard’s Queen of the Night. The artificiality of this outstanding ,,coloratura machine“ is inextricably linked to the performer herself, who suffers from exhaustion, physical and mental overload. Whereas The Magic Flute leads audiences from the darkness into the light, Bernhard’s play deals with self-abandonment, escapism, and utter darkness.

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Winemiller, John T. "Book Review: Opera and the Enlightenment, and: Haydn, Mozart and the Viennese School, 1740-1780, and: Gluck: An Eighteenth-Century Portrait in Letters and Documents, and: Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728, and: On Mozart, and: Handel's Oratorios and Eighteenth-Century Thought." Eighteenth-Century Studies 30, no. 2 (1996): 199–202. http://dx.doi.org/10.1353/ecs.1997.0003.

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RATHEY, MARKUS. "MOZART, KIRNBERGER AND THE IDEA OF MUSICAL PURITY: REVISITING TWO SKETCHES FROM 1782." Eighteenth Century Music 13, no. 2 (August 16, 2016): 235–52. http://dx.doi.org/10.1017/s1478570616000063.

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ABSTRACTWhen Beethoven praised Mozart's Die Zauberflöte, he emphasized the multitude of musical styles and genres to be found in the opera, ranging from folk tunes to arias to hymn-like textures. The most extraordinary stylistic and generic allusions occur during the ‘Song of the Armoured Men’ in Act 2. This movement owes its extraordinary character to a ‘baroque’ accompaniment and a Lutheran-hymn quotation, the source and meaning of which continue to be discussed in Mozart research. While scholars have often suggested that Mozart took the hymn melody from Johann Philipp Kirnberger's Die Kunst des reinen Satzes in der Musik (where it is quoted without its text), Reinhold Hammerstein argues that because the composer also appears to have known the hymn's text, he must have encountered the melody elsewhere. This article, based on a study of Mozart's sketches for Die Zauberflöte and a close reading of Kirnberger's writings, supports the thesis that Mozart borrowed the hymn melody – and significant details of his setting of it in the ‘Song of the Armoured Men’ – from Die Kunst des reinen Satzes in der Musik.

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Winiszewska, Hanna. "Professional career and family life of Viennese Primadonnas. The case of Catarina Cavalieri and Aloysia Weber (Lange)." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 31–40. http://dx.doi.org/10.14746/ism.2019.19.2.

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The aim of this article is to present the issue of female singers and their role in the society of eighteenth-century Vienna on the example of two women: Mozart’s sister-in-law Aloysia, née Weber, later Lange, and Catarina Cavalieri, the first Constance. These singers were rivals on the opera stage in late 18th century Vienna, as evidenced by the parts written for them by Mozart in his Der Schauspieldirektor. From the social point of view, the biographies of these two outstanding singers are very different.

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Hunter, Mary, Daniel Heartz, and Thomas Bauman. "Mozart's Operas." Notes 48, no. 2 (December 1991): 486. http://dx.doi.org/10.2307/942044.

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Oldani, Robert W., Daniel Heartz, and Thomas Bauman. "Mozart's Operas." German Studies Review 16, no. 2 (May 1993): 347. http://dx.doi.org/10.2307/1431662.

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Waldoff, Jessica, and Daniel Heartz. "Mozart's Operas." Eighteenth-Century Studies 27, no. 3 (1994): 503. http://dx.doi.org/10.2307/2739371.

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Rais, Ali, and Dera Alfiyanti. "Penurunan Skala Nyeri Pada Anak Post Operasi Laparatomi Menggunakan Terapi Musik Mozart." Ners Muda 1, no. 2 (August 31, 2020): 127. http://dx.doi.org/10.26714/nm.v1i2.5653.

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Laparatomi merupakan salah satu penatalaksanaan pembedahan yang dilakukan pada daerah abdomen. Prosedur pembedahan menyebabkan sensasi rasa nyeri pada anak. Studi kasus ini bertujuan untuk menganalisa penerapan terapi musik mozart terhadap penurunan nyeri pada anak post laparotomi. Studi kasus ini menggunakan metode deskriptif. Responden adalah 2 anak post operasi laparatomi hari ke 1 dan dikelola selama 3 hari dengan pemberian tindakan keperawatan berupa terapi musik mozart dengan frekuensi 1 kali/hari selama 15 menit. Pengumpulan data menggunakan rekam medik, wawancara, observasi dan metode asuhan keperawatan. Alat pengumpulan data meliputi handphone, airphone, musik mozart dan alat untuk skala nyeri menggunakan Visual Analogue Scale (VAS). Hasil studi menunjukkan bahwa ada perbedaan skala nyeri sebelum dan sesudah dilakukan terapi musik mozart, baik pada responden pertama mapun responden kedua. Skala nyeri pada kedua responden menurun dari skala sedang menjadi skala ringan. Terapi Musik Mozart dapat menurunkan nyeri pada anak post operasi laparatomi.

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GOEHRING, EDMUND J. "MUCH ADO ABOUT SOMETHING; OR, COSÌ FAN TUTTE IN THE ROMANTIC IMAGINATION: A COMMENTARY ON AND TRANSLATION OF AN EARLY NINETEENTH-CENTURY EPISTOLARY EXCHANGE." Eighteenth Century Music 5, no. 1 (March 2008): 75–105. http://dx.doi.org/10.1017/s1478570608001206.

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ABSTRACTAmong the gems buried in Johann Friedrich Reichardt’s short-lived Berlinische musikalische Zeitung is a ‘Musikalischer Briefwechsel’ that appeared over three volumes in September 1805. The text, cast as an epistolary exchange between the fictional characters Arithmos and Phantasus, argues the merits of Mozart’s Così fan tutte. (The opera had recently returned to the Berlin stage after a thirteen-year absence.) The exchange has received little scholarly attention, and yet it is a remarkable document for the glimpse it gives both into Berlin’s musical politics and, most of all, the reception history of Mozart’s opera.The authorship of the ‘Briefwechsel’, which appeared pseudonymously, has been attributed to Georg Christian Schlimbach, a frequent contributor to the journal. This article, in contrast, argues that Reichardt himself makes the more likely author: the correspondence more closely reflects his personality, his ambitions for the advancement of opera in the Prussian capital and his theory of art. Indeed, arising from his defence of Mozart’s opera is an extraordinary claim in the history of Così’s reception: that the work exemplifies romantic irony. E. T. A. Hoffmann is famous for his terse praise of the opera’s ‘ergötzlichste Ironie’. Reichardt, however, goes further by showing how the opera amalgamates, in quintessentially romantic fashion, the opposing forces of the comic and serious. Employing a Shakespearean conceit, he argues that Mozart’s music amounts to more than ‘much ado about nothing’.Reichardt’s move is the more significant given that he builds his reading not on Da Ponte’s libretto but on German adaptations by Bretzner and Treitschke, translations that modern scholarship has widely faulted for lacking the original’s subtlety. Thus, although Così fan tutte has generally been viewed as a work that runs counter to romantic tastes, Reichardt’s ‘Briefwechsel’, along with some newly discovered material, provides a basis for revisiting that claim about the opera’s place in nineteenth-century thought.

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Platoff, John. "Myths and realities about tonal planning in Mozart's operas." Cambridge Opera Journal 8, no. 1 (March 1996): 3–15. http://dx.doi.org/10.1017/s0954586700002822.

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An assumption widespread in twentieth-century analyses of Mozart's operas is that ‘high-level tonal planning’ – that is, a network of relationships among the tonic keys of separate numbers of an opera – contributes significantly to structure and meaning. A relatively recent example can be found in writings by Daniel Heartz and Tim Carter on Act I of Le nozze di Figaro, which concludes in C major with Figaro's aria ‘Non più andrai’.

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Journal articles on the topic 'Mozart Operas'

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