Wolfgang Amadeus Mozart

2021 ◽  
Author(s):  
Lalina Goddard
Keyword(s):  
Wolfgang Amadeus Mozart ◽  
Lorenzo Da Ponte ◽  
Cosi Fan Tutte

In dit tweede deel van de reeks Operatheek verkent musicologe Lalina Goddard Così fan tutte, de beroemde komische opera van Wolfgang Amadeus Mozart en librettist Lorenzo Da Ponte. Al sinds het begin verhit Così de gemoederen omdat Da Ponte’s immorele en zelfs misogyne tekst niet te rijmen zou vallen met Mozarts verheven muziek. Achtereenvolgens duikt dit boekje in de literaire rijkdom van het libretto en de speelse ironie van de compositie die onder het oppervlak schuilgaan. Lalina Goddard zoekt hierbij antwoorden op de prangende vragen rond gender en vrouwonvriendelijkheid in deze opera. Met deze handige luistergids neemt ze de nieuwsgierige lezer en luisteraar mee langs de vernuftigste muzikale vondsten en literaire knipogen.

Così fan tutte. Wolfgang Amadeus Mozart

1986 ◽  
Vol 4 (4) ◽  
pp. 86-88
Author(s):  
Roger G. Pines
Keyword(s):  
Wolfgang Amadeus Mozart ◽  
Cosi Fan Tutte

Is Don Giovanni Evil?

Evil ◽  
2019 ◽  
pp. 306-314
Author(s):  
Elaine Sisman
Keyword(s):  
Night Time ◽  
Opening Scene ◽  
Comic Opera ◽  
Lorenzo Da Ponte ◽  
Don Giovanni ◽  
The Dead ◽  
Nozze Di Figaro ◽  
Cosi Fan Tutte ◽  
Good And Evil

Although Mozart’s librettist for Don Giovanni, Lorenzo Da Ponte, explicitly invoked Dante’s Inferno as a source of his inspiration, both text and music tell a much more ambivalent story. The parts of the action familiar to its first audiences (the night-time escape and duel, the country maid, the statue of the dead Commander coming to dinner) were complicated by Don Giovanni’s persuasive, even heroic music and the hyper-dramatic self-justifications by his would-be conquests. Chronicling the Don’s last day, the opera focuses on his behaviors both nonchalant and impassioned as well as the inability of patriarchal norms and punishments to contain him. The opening scene, the episodic introduction of the women, and the serenade in Act II are seen here as telling examples of Mozart and Da Ponte’s desire—as in their other two collaborations, Le nozze di Figaro and Così fan tutte—to accommodate a serious moral tale to the poignant delights of comic opera. They reveal a vision of the Don beyond good and evil.

Cosí fan tutte. Wolfgang Amadeus Mozart

1984 ◽  
Vol 2 (2) ◽  
pp. 130-131
Author(s):  
Matthew Gurewitsch
Keyword(s):  
Wolfgang Amadeus Mozart ◽  
Cosi Fan Tutte

scholarly journals O século XVIII é mais avançado que o XXI: uma experiência de autoetnografia

2019 ◽  
Vol 41 (2) ◽  
pp. e44694
Author(s):  
Fabio Akcelrud Durão ◽  
Ana Karla Canarinos
Keyword(s):  
Wolfgang Amadeus Mozart ◽  
Cosi Fan Tutte

Este artigo pretende fazer uma autoetnografia cultural negativa de uma ida ao cinema para assistir à ópera Cosi fan tutte (1789), de Wolfgang Amadeus Mozart, no Shopping Galleria, em Campinas. A produção foi realizada musicalmente por Philippe Jordan e coreograficamente por Anne Teresa De Keersmaeker para a orquestra da Opéra National de Paris, lançada na Europa em 2017 e que chega ao Brasil no primeiro semestre de 2018, graças ao Festival Ópera na Tela. Tendo em vista as contradições da relação entre ópera e cinema e como essas tensões se intensificam quando transferidas do eixo Europa e EUA para países de modernização tardia, este estudo autoetnográfico da ida à ópera pretende fazer uma crítica à ideia de uma noção de tempo como progressão abstrata e homogênea.

Wolfgang Amadeus Mozart: Cosi fan tutte

2009 ◽  
Vol 25 (1-2) ◽  
pp. 145-149
Author(s):  
N. Till
Keyword(s):  
Wolfgang Amadeus Mozart ◽  
Cosi Fan Tutte

In Need of God: Mozart, Faith, and Così fan tutte

2017 ◽  
Vol 74 (2) ◽  
pp. 112-137
Author(s):  
Steffen Lösel
Keyword(s):  
The Other ◽  
Human Relationships ◽  
Comic Opera ◽  
Critical Engagement ◽  
Lorenzo Da Ponte ◽  
Christian Anthropology ◽  
The Enlightenment ◽  
Cosi Fan Tutte ◽  
The One ◽  
The Church

This article offers readers a theological entrée to Wolfgang Amadeus Mozart’s comic opera, Così fan tutte, written in collaboration with Lorenzo da Ponte in 1789. It engages the opera as a means of social and theological criticism. The opera presents Mozart’s understanding of love through a critical engagement with the late Enlightenment and French materialism. While da Ponte’s libretto may well endorse materialism’s attack on the church and on Christian anthropology, Mozart’s music is more ambiguous: on the one hand, it demonstrates the weakness of Baroque Catholicism to withstand the rationalist criticism of the Enlightenment; on the other hand, it exposes the sobering reality which such rationalist materialism itself produces—a reality marked by strained and ultimately impoverished human relationships.

Così fan tutte. Wolfgang Amadeus Mozart

1987 ◽  
Vol 5 (1) ◽  
pp. 134-135
Author(s):  
George Jellinek
Keyword(s):  
Wolfgang Amadeus Mozart ◽  
Cosi Fan Tutte
Sign in / Sign up

Export Citation Format

Share Document