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Informationen zum Autor Daniel Heartz is Professor of Music at the University of California! Berkeley. Thomas Bauman is Professor of Music at the University of Washington! Seattle. Klappentext 'The book is bursting with perceptive observations of detail that will enrich any sentient reader's understanding of Mozart's musical and dramatic acumen! and that many teachers will be able to use to guide their students through the operas.' --Mary Hunter! 'Notes' Zusammenfassung Renowned Mozart scholar Daniel Heartz brings his deep knowledge of social history, theater, and art to a study of the last and great decade of Mozart's operas. Mozart specialists will recognize some of Heartz's best-known essays here; but six pieces are new for the collection, and others have been revised and updated with little-known documents on the librettist's, composer's, and stage director's craft. All lovers of opera will value the elegance and wit of Professor Heartz's writing, enhanced by thirty-seven illustrations, many from his private collection. The volume includes Heartz's classic essay on Idomeneo (1781), the work that continued to inspire and sustain Mozart through his next, and final, six operas. Thomas Bauman brings his special expertise to a discussion of Die Entführung aus dem Serail (1782). The ten central chapters are devoted to the three great operas composed to librettos by Lorenzo da Ponte— Le nozze di Figaro (l786), Don Giovanni (l787), and Così fan tutte (l790). The reader is treated to fresh insights on da Ponte's role as Mozart's astute and stage-wise collaborator, on the singers whose gifts helped shape each opera, and on the musical connections among the three works. Parallels are drawn with some of the greatest creative artists in other fields, such as Molière, Watteau, and Fragonard. The world of the dance, one of Heartz's specialties, lends an illuminating perspective as well. Finally, the essays discuss the deep spirituality of Mozart's last two operas, Die Zauberflöte and La Clemenza di Tito (both l79l). They also address the pertinence of opera outside Vienna at the end of the century, the fortunes and aspirations of Freemasonry in Austria, and the relation of Mozart's overtures to the dramaturgy of the operas. Inhaltsverzeichnis List of Illustrations List of Tables Preface Editor's Preface 1. Sacrifice Dramas 2. The Genesis of Idomeneo 3· Mozart's Tragic Muse 4. Coming of Age in Vienna: Die Entfohrung aus dem Serail 5. The Poet as Stage Director: Metastasio, Goldoni, and DaPonte 6. From Beaumarchais to DaPonte: The Metamorphosis of Figaro 7. Setting the Stage for Figaro 8. Constructing Le nozze di Figaro 9. Don Giovanni: Conception and Creation IO. An Iconography of the Dances in the Ballroom Scene of Don Giovanni II. Goldoni, Don Giovanni, and the Dramma Giocoso 12. Donna Elvira and the Great Sextet 13. Three Schools for Lovers, or "Cosl fan tutte le belle" 14. Citation, Reference, and Recall in Cosi fan tutte 15. La Clemenza di Sarastro: Masonic Beneficence in the Last Operas !6. At the North Gate: Instrumental Music in Die Zauberflote 17. Mozart and His Italian Contemporaries 18. The Overture to La clemenza di Tito as Dramatic Argument Works Cited Index of Mozart's Works General Index...
