By Sergio Durante, Stefan Rohringer, Julian Rushton, James Webster
The 3 Mozart/Da Ponte operas supply a inexhaustible wellspring for serious mirrored image, owning a complexity and equivocation universal to all nice humane works. they've got the aptitude to mirror and refract no matter what locus of contemporaneity could be the place to begin for enquiry. therefore, even postmodern and postmillennial issues, faraway from seeming inappropriate to those operas, are in its place given new views via them, whereas the track and the dramatic occasions have the multivalency to simply accept each one refreshed palette of interpretation with out lack of their crucial personality. those operas appear perennially new. In exploring the evergreen features of Don Giovanni and Le Nozze di Figaro, the authors of this booklet don't shun methods that experience foundations in validated conception, yet refract them via such difficulties because the stress among operatic culture and mental realism, the coexistence of a number of but equivalent plots, and the antagonism among the tenets of culture and the necessity for self-actualization. In exploring such issues, the authors not just light up new features of Mozart's operatic compositions but additionally probe the character of musical research itself.
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Extra resources for Dramma Giocoso: Four Contemporary Perspectives on the Mozart/Da Ponte Operas
235. 29. ‘... 30 In exclaiming his relief on the newly achieved harmonic level, Don Ottavio is of course only embracing that which Donna Anna ‘says’ on the literal level while missing the subliminal dimension that her narrative ‘shows’, and with this, also the consequence that this inevitably has for their relationship: for irrespective of the question of whether or not there was any physical contact with Don Giovanni, the events of the night certainly constitute a profound sexual experience on the part of Donna Anna which, despite the negative context of attempted rape and the murder of her father, binds her to Don Giovanni.
An extension of the cadential portion of A’ does not alter the fundamental ternary nature of the form. A paradigmatic example of this type is ‘Un’aura amorosa’, Ferrando’s first aria in ‘Così fan tutte’. A comprises bars 1–23, B bars 23–41 and A’ bars 42–73 or 42–80 if one includes the final orchestral ritornello. ) is not simply an outward extension of A’ but a recomposition of B. To correspond to the changed tonal relationships in the da capo, the Quintabsatz (Heinrich Christophe Koch) in the secondary key (bars 29–35) must be replaced by that in the primary key – a process that once again suggests the sonata principle.
Immediately, there were attempts to explain the discrepancy between policy and reality, primarily through myths about the origin of the disfiguration: not surgery but accidents of all sorts – overturned carriages, biting pigs, runaway horses and so forth – were put forward to explain the castrations. 37. ’ See Birthe Schwarz ‘Das Spiel mit den Geschlechterrollen. Kastraten und Primadonnen im Musiktheater des 18. Jahrhunderts,’ Gender Studies & Musik. Geschlechterrollen und ihre Bedeutung für die Musikwissenschaft, Regensburg: Con Brio, 1998, pp.