Dramma Giocoso: Four Contemporary Perspectives on the by Sergio Durante, Stefan Rohringer, Julian Rushton, James

By Sergio Durante, Stefan Rohringer, Julian Rushton, James Webster

The 3 Mozart/Da Ponte operas provide a inexhaustible wellspring for severe 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 beside the point to those operas, are as an alternative given new views via them, whereas the tune and the dramatic occasions have the multivalency to simply accept every one refreshed palette of interpretation with no lack of their crucial personality. those operas appear perennially new. In exploring the evergreen traits of Don Giovanni and Le Nozze di Figaro, the authors of this booklet don't shun methods that experience foundations in confirmed idea, yet refract them via such difficulties because the rigidity 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 topics, the authors not just remove darkness from new facets of Mozart's operatic compositions but additionally probe the character of musical research itself.

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32 – as the prophesy of an irreversible conviction? ’33 Aside from the fact that, strictly speaking, no proof has actually been provided for Don Giovanni’s guilt even now, Don Ottavio seems to believe that he must convince the other pursuers of his newly formed opinion. Is such a disconnection from reality possible, or is someone trying to excuse his failure to act earlier by pretending that this is a new insight? No, simply cutting out Don Ottavio’s two arias does nothing whatsoever to erase the inconsistencies in his character.

12 Ulrich Schulz-Buschhaus used this scene as the basis for portraying Don Ottavio as a symbol of bourgeois gender identity: ‘He is exemplary in his willingness to respect the specific bourgeois duality of ‘sposa’ and ‘amica’ in his future wife. ] And at one point he even announces his desire – carried away by a sort of familial exuberance that counteracts Don Giovanni’s 11. ’ 12. ‘Your father? Banish, my dear, the bitter memory. ’13 But even if we are accustomed to spans of time generally unfolding more rapidly in operas than in real life, the haste with which Don Ottavio seeks to fill the role of the Commendatore not only shows a disconcerting lack of respect toward the murder victim, whose corpse is not even cold yet, but also disregards Donna Anna’s right to mourn her father fully.

55 Stefan Rohringer Figure 1. Il mio tesoro, bars 15–23, structural outline Starting with the opening ritornello, Mozart combined two ‘open’ two-bar phrases with a cadential three-bar phrase. This pattern remained intact for the first vocal phrase, though a different cadential formula was substituted. In the consequent, this pattern is initially extended to 2+2+4 bars, and in the final closing, the four-bar phrase is lengthened to six bars. In this context, further subdividing the individual bars 19 and 20 inhibits the construction of a higher-level two-bar phrase.

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