By Burton D. Fisher
Burton D. Fisher's complete background of opera that lines each one milestone and metamorphosis within the evolution of recent opera. All sessions are analysed extensive: Baroque, Classical, Romantic, Bel Canto, Opera Buffa, German Romanticism, Wagner and song drama, Verismo, post-Romanticism, Atonalism, and masses extra. all of the 17 operas that represents a "milestone" in opera heritage is gifted with critical Characters within the Opera; short tale Synopsis; tale Narrative with track spotlight Examples; and Burton D. Fisher's insightful and extensive observation and research.
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Extra info for A History of Opera: Milestones and Metamorphoses
Certainly, in Da Ponte’s librettos for three of Mozart’s operas, he indeed ascribed religiously to those literary and dramatic disciplines and qualities he so eloquently described and congratulated himself for in his autobiography. Mozart and the Classical Era T Page 57 he Da Ponte-Mozart source for The Marriage of Figaro was the trilogy of plays written by Pierre Augustin Caron de Beaumarchais (1732-1799). Beaumarchais was as colorful a real-life character as those he created in his plays. He was the son of a clockmaker and initially followed in his father’s footsteps, subsequently appointed clockmaker and watchmaker to the court of Louis XV.
When characters are in trouble, their key is far removed from the home key: as they get out of trouble, they return to the home key, reducing the tension. In both Mozart’s Don Giovanni and The Marriage of Figaro, social classes clash, but with sentiment and insight. Mozart’s characterizations range from underdogs to demigods, but in particular, when he deals with peasants and the lower classes, his music is subtle, compassionate, and loving. Therefore, Mozart’s heroes are those bright characters who occupy the lower social levels, those Figaros, Susannas, and Zerlinas, characters whom he ennobles with poignant musical portrayals of their complex personal emotions, feelings, hopes, sadness, envy, passion, revenge, and yearning for love.
Nevertheless, although Mozart was writing in the Italian opera buffa genre and in the Italian language, Italians have historically shunned his Italian works, claiming that they were not “Italian” enough; contemporary productions of Mozart “Italian” operas in Italy are rare events. Mozart also composed operas in the German singspiel genre, a style that generally defines an opera containing spoken dialogue instead of accompanied recitative. ”) Mozart wrote over 18 operas, among them: Bastien and Bastienne (1768); La Finta Semplice (1768); Mitridate, Rè di Ponto (1770); Ascanio in Alba (1771); Il Sogno di Scipione (1772); Lucio Silla (1772); La Finta Giardiniera (1774); Idomeneo, Rè di Creta (1781); Die Entführung aus dem Serail (“The Abduction from the Seraglio”) (1782); Der Schauspieldirektor (1786); Le Nozze di Figaro, (“The Marriage of Figaro”) (1786); Don Giovanni (1787); Così fan tutte (1790); Die Zauberflöte (“The Magic Flute”) (1791); La Clemenza di Tito (1791).
A History of Opera: Milestones and Metamorphoses by Burton D. Fisher