Themes and examples Flashcards
presentation of women in figaro
Marcellina’s aria often omitted (Il capro e la capretta) but shows she wants to be content living with man.
Susanna and Countess scheme against the count, not without issues but eventually resolve the situation.
Women taking power where they can within their class levels.
more informed and successful in rising above than in DG or Cosi
presentation of women in Don Giovanni
Mistreatment of women throughout, rape, seducing and scheming.
DE completing obsessed/life ruined by DG.
Unlike in Figaro, not resolved by women but by supernatural figure.
DA as the most powerful and self-confident women in this opera.
Lack of power of servant Zerlina.
presentation of women in Cosi
Shown as the fickleness of women.
18th century audience may have viewed it that way but the views have hopefully changed now.
Despina as woman having the most power in this? She is servant status and does Don Alfonso’s bidding but she manipulates the situation.
Unresolved.
Don Giovanni descending class boundaries
Peasant simpler style in duet with Zerlina.
No ‘spectacular aria’ of his own. His champagne aria in Act I – Finch’han dal vino calda la testa he orders party. Taken very fast speed and forward pulse showing DG appetite for life, not particularly spectacular aria comes across as more buffa in fast speed and small range. Raucous orchestra, sounds like its lots of fun, like everyone pushing each other forwards and lots of mordents in orchestra, kinda taking the piss. Lots of sforzandos, and overall a simple bit of music, the first phrase repeating throughout.
Dressed as Leporello he seduces Zerlina again – act II aria Deh vieni all finestra. The singing is accompanied by a mandolin, which gives it a remarkable sound. It’s sung at eveningtime, which gives it a muted sound, so as not to be heard by neighbours. The verses are long and romantic, and end poetically with a weak emphasis, which gives it a gentle and undulating feeling, and the words are so sweet to the extent the border to comedy is almost crossed.
Singing in higher style in act one quartet non ti fidar to undermine DE with DO and DA against her with him.
Cosi and class
no context for the two girls
Seria parody in Dorabella’s Act I aria – smanie implicabili – unclear of her status, she could be a noble character? This aria has lots of reference to classical mythology So Dorabella’s emotions may be exaggerated but maybe not a ridicule of the genre itself from Mozart. Dorabella panics at the thought of living without Ferrando. Fast moving string parts and outburst of woodwinds sounds like instruments sobbing with Dorabella.
Fiordiligi parody aria in Act I Come scoglio - Appears to be opera seria aria, although the text and music undermine this. A sense of cliché, and double meaning in the over sentimental music, and deliberately wide leaps draws attention the artificialness of the situation. Written as a showpiece to show off the coloratura soprano’s voice, very agile, and uses extremes of emotion. Massive leaps reflects the forces pulling the character in different directions, even though the words talk of her as a rock. Emotions are sincere but Mozart’s still aware of the comicness of the opera, and pokes fun of the character and genre that takes itself too seriously. On the edge between serious and facade. Dramatic big leaps mock seriousness of opera seria style but also mock what Fiordligi is saying: she claims to be unmoveable like a rock, but the extreme leaps suggest otherwise.
Figaro and class
Count uses higher class and sense of entitlement to manipulate Susanna.
S shows knowledge beyond her class, love for Figaro and respect for institution of marriage by refusing the Count
strong presence of dance music lowering class
undermining seria elements
Countess clear in high style - S elevates her ownstyle to match this in their Act III duet
Figaro aria Act IV – Aprite un po’quegli shows elevation of his style in moment of heightened emotion. Orchestra work with him and reflect his style. Anger at women during this, libretto commented on by orchestra.
buffa/seria general points
all listed as buffa
buffa can have seria elements but seria can’t have buffa
opera seria as noble or ‘serious’ Italian opera and opera buffa focusing on comedic elements introduced into music and dramatic plots that often end happily
musical contrast between ‘high’ poetic style, melismatic vocal movement and coloratura versus a more naturalistic and declamatory style of singing
playing with convention in genre
All the Mozart and Da Ponte operas playing with these typical matters of convention, despite being marked as opera buffa, in both their musical and dramatic setting. The character of Leporello emphasising buffa (character and musical style don’t change throughout) and Donna Elvira seria.
Don Giovanni character contrast
Leporello as lower servant - lower status in syllabic musical setting and natural delivery (catalogue aria ‘Madamina’)
Donna Elvira and rage aria showing elevated style in contrast
Don Giovanni crossing boundary by singing in both styles
musical manipulation of seria and buffa trpoes revealing maniupation
Don Giovanni and the supernatural
inclusion of the supernatural and the unconventional presence of death throughout, particularly beginning with the Commandatore’s death in the first scene as confounding Alongside being faithful to many conventions of opera buffa, so that the audience are aware this isn’t typical of a seria opera, the presence of death somewhat clouds a clear genre definition with a mixing of the tragic and the comic.
librettist becoming dramatist taking convention and manipulating
Don Giovanni and seria vs buffa represented musically
underlined by its overture, which begins in the stormy key of D minor - this key recurs in the opening duel, in Anna and Ottavio’s Act I vengeance duet, in the Act I finale, and in the Commendatore’s ghostly reappearance in Act II. To enhance its impact, Mozart avoids using any other minor keys.
The second part of the overture introduces the opera’s other important and most prevalent key – D major. This contrast of D minor and D major highlights the opera’s fluctuation between comedy and high drama.
Figaro and seria vs buffa
elements of parody
Cherubino as comic character
Cosi and seria vs buffa
comic but now considered darker due to manipulation
musically comic, audience know of manipulation and so seria elements appear more comic
Dorabella Smanie implicabili as parody
Goehring - the sentimental muse of opera buffa and comic in Cosi
reform of comedy in the 1750s with natural representation over the ridiculous
fusion of natural and ridiculous using sentimentalism - anti-sentimentalism in Mozart operas
liberating comic opera from convention in favour of psychological realism
DA Vorrei dir as parody and showing sentimental distress over overwhelming passion
example of the comic plot in music in Cosi
sento oddio No.6 Quintet
sisters beg men not to leave - seriousness of this undermined by comic element of plot that the audience are aware of
musically serious
final stanza all sing the same words but set musically differently
sisters sing one melody in homophonic thirds and soldiers sing another with dotted rhythm in thirds - DA sings the sisters melody but in canon
example of comic character in cosi
Despina - aria act I in uonmini in soldati
mirrors DA aria of not trusting women by not trusting men
‘la la la’ laidback attitude
women should have fun
no sympathy - entertaining not subserviant
lines meant as recit written as aria
short phrases mocking
DG and seriousness in opening
begins with Commendatore’s death
Ma qual mai - no.2 opening duet with DA and DO sets up serious tone in fast moving strings and low pitch hints at darkness
DA makes DO swear to avenge death - sets up major plot point but steeps in seriousness, as opera goes on more comic elements added
DG and the statue (supermatural)
O statua gentillissima duet with DG and L
DG orders L to invite statue to supper - L scared and DG not
use of trombones for first time symbolising religion or supernatural
supernatural theme bought back towards the end and multiple times following
Figaro and comic character contrast
cherubino - non so piu aria in which he confesses love for all women contrasts to countess’s porgi amor a few pieces later which has high seria style
Figaro - comic undermining serious
Bartolo La vendetta
could be serious in his wanting of revenge but undermined by the buffo patter style in second half
orchestra sets up as serious
could just be him getting excited so shows lower style
Figaro - comic plot point
the revelation of Marcellina and Bartolo as Figaro’s parents
‘su madre’ ‘su padre’ interjections overlap creating comic element
Gallarti Mozart and 18th century comedy
Opera buffa offering Mozart a model but he was not satisfied.
Da Ponte and the idea of drama of organic development for a musical comedy of action – conversations more realistic.
Mixture of serious and comic.
Transition to theatre becoming a greater representation of real life.
Figaro or Giovanni do not have much in common with opera buffa – characters not as fixed types but rather individuals capable of encountering situations that may be serious, comic or in-between.
Serious and comic intertwined.
Hunter (1991) representations of opera seria in opera buffa
does suggest that it is not all parody but may be assimilation, often determined by musical context and the tone adopted
structure of finales (Platoff, 1989)
cycles of statis and active action
Action and expression.
Importance of continuity and flow.
Self-contained expressive passages (e.g regarding feelings such as love).
Final expressive passage of the act – stretta.
tonal closure within one piece not indicating larger sense of structure throughout the work
Platoff tonal organisation (1997)
Tonal organisation, planning and high level tonal structure referring to relationships between tonic keys of musical numbers in a work.
Assumption that these relationships contribute to the meaning of Mozart’s works.
Claims that an act or entire work is in one key or that there is ‘progression’ between keys.
In Mozart operas often overture and final number share the same key.
Romantic belief in unity – what can actually be heard by the audience.
ending of cosi dependent on dramatic setting
Although the libretto has the two sisters singing ‘with fidelity and with love/I will make good what I have done/And adore you evermore’, the way that this number is staged would have a significant impact on the way that audience may interpret the ending.
For example, the way in which they are positioned onstage in relation to the two men and the way they interact with them.
By leaving this element of uncertainty, this adds another layer to the happiness of the typical buffa finale in which the cast are preparing for celebration.
ironic preparations for marriage at the beginning of this finale
two women left framed by the experiment with their nature left to blame and not the men (perpetrators)
musical setting suggests return but decided by staging
DA and D return to orginal roles
Abert (2007) Cosi ending
men use melodies that they used to woo the women previously to reveal their true identity - manipulation goes to a musical level
The opera ends with the six principles singing in unison ‘fortunate is the person who is able to make the best of all adversity. Through all vicissitudes he can let reason be his guide…in the midst of a whirlwind of adversity, he will find a centre of tranquillity’.
Ford (2012) issues of infidelity and the painting of women in negative light in Cosi
Opposition of masculinity and femininity – moral strife.
Women left framed by the experiment with their nature left to blame – not those of the men (experiment perpetrators).
Issue of Enlightenment morality.
Brown (1995) cosi musical link to beginning
Just before second finale Alfonso sings motto ‘Cosí fan tutte’ to his frriends who repeat it back. Mozart put the same music in the overture, expecting that people may recognise its significance.
Figaro end finale
This is the culmination of all the drama and plot points in the opera, tying up and concluding loose ends. It comes at a moment in which Susanna and the Countess enter dressed in each other’s clothes to ensnare the Count for his misdoings in attempting to seduce Susanna.
Begins as Figaro thinks Susanna sang for the Count
Count asks for forgiveness and all is well
cycle of stasis and action to tie up all plot points
Instruments interacting with and weaving their way into the drama.
Cherubino is the only character not resolved but he is a comic character not there for the plot.
DG ending
come cut the last scene
overture returns at death scene so could be seen as cyclical moment of closure and view the extra scenes as a coda
Some see the earlier sextet as a moment of resolution for the rest of the characters.
Buffa convention of happy ending so can’t end with death.
DG and statue at end
tonal contrast and instability in the ending creating lack of sense of closure (especially if the last scene is cut – no resolution).
Closure with the recall to the beginning with the presence of the Commandatore but still a sense that this is unresolved.
Ford (2012) Don Giovanni and the Stone Man
Tonal triangle playing key part to the opera D – D minor – Bb.
Lies behind large-scale structures.
supper scene - Giovanni in high spirits in D major section, L disgust with master’s greed, popular music as heightened reality
statue scene - G# dim 7 tutti ff chord announces statue - harmonic instability and chromaticism underpinned by dissonance
after music returns to G major as characters re-enter with police officers
Campana (2009) - DG supernatural
unconventional presence of death throughout
Parakilas (1990) DG
Paris production 1834 cut final scene - showing DG as central character and all others secondary
Hunter and Webster cutting 19th c ending
Retaining the final scene ties together loose dramatic ends.
Calmer atmosphere.
Spotlight moves from DG to the other characters who react to his death by resolving their own affairs.
Less spectacular ending that does not spotlight DG as the hero.
The more the treatment concentrates on his death and loneliness the more tragic and sympathetic he becomes.
dramaturgy general points
The pairing of the composer and librettist is an important one; however, whilst their decisions are scripted, they are often adapted by the dramatist who formulates these ideas and brings them to light for the audience. This manifestation of written ideas through dramatic performance is one which is tailored to both the context of performance, the contemporary context of composition and the personal adaptation of the written ideas, as chosen by the dramatist.
process begins with composer adapting libretto which librettist took from story etc
Count rage aria Haiga vinta and dramaturgy
recit moving to settenari aria
one section ends after la sentenza sara - in libretto this is middle of the line
fully obligato recit
repetition of phrases - tempo changes
