Search results for: opera-buffa-in-mozarts-vienna

Opera Buffa in Mozart s Vienna

Author : Assistant Professor of Art History Mary Hunter
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This collection of essays, presented by an internationally known team of scholars, explores the world of Vienna and the development of opera buffa in the second half of the eighteenth century. Although today Mozart remains one of the most well-known figures of the period, the era was filled with composers, librettists, writers and performers who created and developed opera buffa. Among the topics examined are the relationship of Viennese opera buffa to French theatre; Mozart and eighteenth-century comedy; gender, nature and bourgeois society on Mozart's buffa stage; as well as close analyses of key works such as Don Giovanni and Le nozze di Figaro.

The Culture of Opera Buffa in Mozart s Vienna

Author : Mary Hunter
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Mozart's comic operas are among the masterworks of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has received little critical attention. In this richly detailed book, Mary Hunter offers a sweeping, synthetic view of opera buffa in the lively theatrical world of late-eighteenth-century Vienna. Opera buffa (Italian-language comic opera) persistently entertained audiences at a time when Joseph was striving for a German national theater. Hunter attributes opera buffa's success to its ability to provide "sheer" pleasure and hence explores how the genre functioned as entertainment. She argues that opera buffa, like mainstream film today, projects a social world both recognizable and distinct from reality. It raises important issues while containing them in the "merely entertaining" frame of the occasion, as well as presenting them as a series of easily identifiable dramatic and musical conventions. Exploring nearly eighty comic operas, Hunter shows how the arias and ensembles convey a multifaceted picture of the repertory's social values and habits. In a concluding chapter, she discusses Cos" fan tutte as a work profoundly concerned with the conventions of its repertory and with the larger idea of convention itself and reveals the ways Mozart and da Ponte pointedly converse with their immediate contemporaries.

From Garrick to Gluck

Author : Daniel Heartz
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A collection of 18 essays on musical theatre in the eighteenth century, written between 1967 and 2001

The Mozart Da Ponte Operas

Author : Mary Du Mont
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This reference guide provides access to almost 1,000 books, book chapters, articles, and dissertations about the three Mozart-Da Ponte operas, Le nozze di Figaro, Don Giovanni, and Cosi fan tutte. Mozart and Da Ponte collaborated on these operas between 1786 and 1791. The literature detailed in this volume includes material published from Mozart's death to the present. Following an introduction to the operas, the bibliography section lists the literature by works in general and by each of the three operas. A discography groups entries by opera and original recording date. This guide will appeal to music and opera scholars. As an essential research tool, sections are cross-referenced throughout. Separate author, title, and subject indexes complete the volume.

The Italian Opera Singers in Mozart s Vienna

Author : Dorothea Link
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Dorothea Link examines singers’ voices and casting practices in late eighteenth-century Italian opera as exemplified in Vienna’s court opera from 1783 to 1791. The investigation into the singers’ voices proceeds on two levels: understanding the performers in terms of the vocal-dramatic categories employed in opera at the time; and creating vocal profiles for the principal singers from the music composed expressly for them. In addition, Link contextualizes the singers within the company in order to expose the court opera's casting practices. Authoritative and insightful, The Italian Opera Singers in Mozart's Vienna offers a singular look at a musical milieu and a key to addressing the performance-practice problem of how to cast the Mozart roles today.

Morality and Viennese Opera in the Age of Mozart and Beethoven

Author : Martin Nedbal
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This book explores how the Enlightenment aesthetics of theater as a moral institution influenced cultural politics and operatic developments in Vienna between the mid-eighteenth and early nineteenth centuries. Moralistic viewpoints were particularly important in eighteenth-century debates about German national theater. In Vienna, the idea that vernacular theater should cultivate the moral sensibilities of its German-speaking audiences became prominent during the reign of Empress Maria Theresa, when advocates of German plays and operas attempted to deflect the imperial government from supporting exclusively French and Italian theatrical performances. Morality continued to be a dominant aspect of Viennese operatic culture in the following decades, as critics, state officials, librettists, and composers (including Gluck, Mozart, and Beethoven) attempted to establish and define German national opera. Viennese concepts of operatic didacticism and national identity in theater further transformed in response to the crisis of Emperor Joseph II’s reform movement, the revolutionary ideas spreading from France, and the war efforts in facing Napoleonic aggression. The imperial government promoted good morals in theatrical performances through the institution of theater censorship, and German-opera authors cultivated intensely didactic works (such as Die Zauberflöte and Fidelio) that eventually became the cornerstones for later developments of German culture.

Gegliederte Zeit

Author : Marcus Aydintan
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Inhalt: Kaiser: Von der Sequenz zur Kadenz. Zur Entstehungsgeschichte der Interpunktion von Sonatenmusik Jeßulat: Urchoräle Bahr: Das Vorspiel zu den Meistersingern, 3. Akt, und Bachs Fuga in g, BWV 861 Chernova: Die fünfte Klaviersonate op. 53 (1907) – das letzte ›tonale‹ Werk Skrjabins? Schreiber: Contemporary composers and the repertoire of the Viennese classics Habryka: Der Einfluss von Kanonmodellen auf Grundtonfortschreitungen Hardt: Vivaldi und das Bausteinprinzip Sprick: Überlegungen zur Anfangswendung von Bachs Suite für Violoncello solo, BWV 1011 Reichel: Dramaturgische und harmonisch kontrapunktische Zeitgestaltung in Mozarts Bühnenwerken Venegas: The Bruckner Challenge: The Third Symphony’s Slow Movement(s) Komatovic: Exemplarische Untersuchungen zu spättonalen Phänomenen im Werk César Francks Reutter: ›Alla napolitana‹ oder Abschiedsgestus. Ein ›Satzmodell‹ bei Strawinsky? Holm: Die Zeitgestaltung in der Interpretationskunst Wilhelm Furtwänglers Žuvela: Der ›Goldene Schnitt‹ und die Fibonacci-Folge als Zeitgliederungsmuster in der Musik des 20. Jahrhunderts Olive: Temporal dimensions and expressive processes in Pierrot Lunaire of Arnold Schoenberg Schmidt: Polyphonie oder Kontrapunkt Dreps: Thema mit Variablen. Zur Phänomenologie der Jazzkomposition und musikalischer Analyse Temes: Das Verbiegen des Zeitpfeils. Ligetis ametrische Uhren Knowles: Meter and Memory in George Crumb’s Dream Images from Makrokosmos Volume 1 Andreatta: On Two Computational Models of the Pitch-Rhythm Correspondence: A Focus on Milton Babbitt’s and Iannis Xenakis’s Theoretical Constructions Barthel-Calvet: Categories of Rhythmic Organization in Xenakian Textures Poller: Makro- und Mikrozeit. Zur Temporalität zeitgenössischer Musik Gatz: Zur Zeitartikulation in Chaya Czernowins Ensemblestück Lovesong Farolfi: Der Modernismus in den Schriften Pierre Boulez’, 1948–1952 Hyun Kim: Rhythmus als erlebtes Phänomen Fuß: Das musikalische Werkganze – ein rein theoretisches Konstrukt? Jerrold Levinsons Music in the Moment Pawlowska: Narrative and Time in Music: A Few Insights Zenkin: Time as the Material and Idea of Music Polak: Non-Isochronous Meter Is Not Irregular: A Review of Theory and Evidence Goldberg: Timing of Unequal Beats in Bulgarian Drumming Holzapfel: A Corpus Study on Rhythmic Modes in Turkish Makam Music and Their Interaction with Meter Guillot: Multi-level Anisochrony in Afro-Brazilian music London: Response to Goldberg, Holzapfel, and Guillot Maschke: Von Leonin und Perotin zum »Tod des Autors«. Aktuelle Notre-Dame-Forschung Sprau: Zur Umsetzung sprachlicher Akzentmuster in Vertonungen lateinischer Dichtung Bassani: Zur Interpretationsgeschichte von Loewes Die Uhr seit den Anfängen der Tonaufnahme Grabow: Voglers Modulationslehre im aktuellen Theorieunterricht Mooiman: Commonplacing: On Historically Inspired Improvisation and Music Theory Winter: Grund-, Sext-, Sext-, Grund- … Ein Vergleich von oktavregelähnlichen Systemen vor 1716 Graybill: Drawing Inspiration from Europe: A Three-Pronged Approach to Keyboard Pedagogy

Essays on Opera 1750 1800

Author : JohnA. Rice
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The study of opera in the second half of the eighteenth century has flourished during the last several decades, and our knowledge of the operas written during that period and of their aesthetic, social, and political context has vastly increased. This volume explores opera and operatic life of the years 1750-1800 through a selection of articles intended to represent the last few decades of scholarship in all its excitement and variety.


Author : Jan Swafford
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From his celebrated early childhood, Mozart has been caught up in myths: the superhuman prodigy, the adult who was still a child, the neglect, the pauper's grave. None of these myths are true, at least not at face value. Wolfgang Amadè Mozart is not primarily a myth-busting book, but in the process of bringing to vivid life the man and composer absorbed in writing for his public rather than for posterity, the myths topple en route. Swafford portrays a man who had his sorrows like everybody else, but who was a high-spirited, high-living bon vivant fond of games of skill, well-read and thoughtful if also at times playing the clown: in the end fundamentally a happy and happily married man who had a wide circle of friends.

Antonio Salieri and Viennese Opera

Author : John A. Rice
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