Lorenzo Da Ponte editore a Londra

2012 ◽  
Vol 189 (627) ◽  
pp. 395-414
Author(s):  
Laura PAOLINO
Keyword(s):  
1989 ◽  
Vol 1 (3) ◽  
pp. 225-247 ◽  
Author(s):  
Paolo Gallarati

In his trilogy of masterpieces composed to texts by Lorenzo Da Ponte, Mozart radically changed the musical and theatrical nature of Italian opera. The dramma giocoso became a true ‘comedy in music’ through the use of psychological realism: a vivid representation of life in continuous transformation and in all its naked immediacy is now the real protagonist of the story, an all-embracing totality within which each character represents a separate feature. This influx of a non-rationalist sense of life into the classical proportions of sonata form (whose tonal relationships and free approach to thematic development controlled the vocal set pieces) made for an explosive mixture. Even before his collaboration with Da Ponte, Mozart himself seemed well aware of his uniqueness: ‘I guarantee that in all the operas which are to be performed until mine [L'oca del Cairo] is finished, not a single idea will resemble one of mine.’


Slavic Review ◽  
1999 ◽  
Vol 58 (2) ◽  
pp. 329-336
Author(s):  
David Shengold
Keyword(s):  
Don Juan ◽  

Leporello: Milady, this is the list of the beauties that my master has loved: it's a list that I have made; look at it, read it with me. In Italy, six hundred and forty; in Germany, two hundred and thirty-one; a hundred in France; in Turkey, ninety-one; but in Spain there are already a thousand and three.(Madamina, il catalogo e questo delle belle die amb ilpadron mio: un catalogo egli e che hofatt'io; osservate, leggete con me. In Italia seicentoquaranta, in Almagna duecentotrentuna, cento inFrancia, in Turchia novantuna, ma in Ispagna son gid mille e trLorenzo da Ponte, Il dissoluto punito ossia UDon Giovanni: Dramma giocoso in due atti, 1.5


PMLA ◽  
1943 ◽  
Vol 58 (4_1) ◽  
pp. 1057-1072
Author(s):  
Howard R. Marraro

The appointment of Lorenzo Da Ponte in 1825 as professor of Italian in Columbia College failed to arouse any considerable interest among the students of the institution in the study of the language. As was the case with the other modern foreign languages, the study of Italian remained optional. In fact Da Ponte had no chair in the Faculty and no salary, and he received only the fees of the students who chose his courses. Despite his insistent offers to the trustees of the college, all aiming at putting the study of Italian on a firmer basis in the curriculum, he remained, as he humorously styled himself, professor sine exemplo. It is true that during his long residence in New York City, Da Ponte taught his native tongue privately to no less than two thousand students, but he was not satisfied with these sporadic results, for his constant aim was to make the Italian language and literature generally available to an increasing number of American students. When he finally became convinced that the trustees of the college were firm in their unwillingness to change their actual statutes which would have placed Italian as a subject of study in the curriculum, Da Ponte turned his efforts in other directions in the hope that he might thus perpetuate the rich heritage of the Italian language, literature, and culture on American soil. He thought that the next best means by which to accomplish this purpose was to establish a permanent, carefully selected, and ever increasing Italian library. Taking advantage of a celebration held in his honor on the occasion of his seventy-ninth birthday (March 10, 1828), Da Ponte delivered an oration to a select audience of pupils and friends, with the specific object of interesting them in becoming subscribers to the projected Italian library. Though everyone had applauded his plan, his triumph ended in fine words. The oration won for him only one subscriber!


Notes ◽  
1987 ◽  
Vol 43 (4) ◽  
pp. 792
Author(s):  
Emerita Cuesta ◽  
Sheila Hodges
Keyword(s):  

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