Opera Buffa in Mozart's Vienna

Nicole Baker; Mary Hunter; James Webster

doi:10.2307/900494

Opera Buffa in Mozart's Vienna

Notes ◽

10.2307/900494 ◽

1999 ◽

Vol 56 (1) ◽

pp. 138

Author(s):

Nicole Baker ◽

Mary Hunter ◽

James Webster

Keyword(s):

Opera Buffa

APPENDIX TWO. Musical Forms in Opera Buffa Arias

The Culture of Opera Buffa in Mozart's Vienna ◽

10.1515/9781400822751.305 ◽

1999 ◽

pp. 305-308

Keyword(s):

Opera Buffa ◽

Musical Forms

„… eine neue Art von opera buffa“.

Musik im Zusammenhang. Festschrift Peter Revers zum 65. Geburtstag ◽

10.2307/j.ctvkjb45h.36 ◽

2019 ◽

pp. 503-516

Author(s):

Carmen Ottner

Keyword(s):

Neue Art ◽

Opera Buffa

The sentimental muse of opera buffa

Essays on Opera, 1750–1800 ◽

10.4324/9781315094366-13 ◽

2017 ◽

pp. 231-261

Author(s):

Edmund J. Goehring

Keyword(s):

Opera Buffa

Of the OPERA BUFFA, or Comic-Opera, and INTER-MEZZI, or Musical Interludes, during the Seventeenth Century

A General History of Music ◽

10.1017/cbo9780511711237.004 ◽

2012 ◽

pp. 123-132

Author(s):

Charles Burney

Keyword(s):

Seventeenth Century ◽

Comic Opera ◽

Opera Buffa

Laughter between Two Revolutions: Opera Buffa in Italy, 1831-1848. By Francesco Izzo

Music and Letters ◽

10.1093/ml/gcu089 ◽

2014 ◽

Vol 95 (4) ◽

pp. 662-664

Author(s):

F. Vella

Keyword(s):

Opera Buffa

Opera buffa

10.1093/gmo/9781561592630.article.o004644 ◽

2002 ◽

Author(s):

Piero Weiss ◽

Julian Budden

Keyword(s):

Opera Buffa

How original was Mozart?: Evidence from opera buffa

Early Music ◽

10.1093/earlyj/xx.1.105 ◽

1992 ◽

Vol XX (1) ◽

pp. 105-118

Author(s):

John Platoff

Keyword(s):

Opera Buffa

A General as Arms Control Chief: Opera Buffa or Brilliant Stroke?

Science ◽

10.1126/science.202.4372.1060 ◽

1978 ◽

Vol 202 (4372) ◽

pp. 1060-1061

Author(s):

D. SHAPLEY

Keyword(s):

Arms Control ◽

Opera Buffa

Dittersdorfs „Opera buffa" in der Kammeroper

Österreichische Musikzeitschrift ◽

10.7767/omz.1973.28.1.42 ◽

1973 ◽

Vol 28 (1) ◽

Author(s):

Elisabeth Heller

Keyword(s):

Opera Buffa

Mozart's Fiordiligi: Adriana Ferrarese del Bene

Cambridge Opera Journal ◽

10.1017/s0954586700004729 ◽

1996 ◽

Vol 8 (3) ◽

pp. 199-214 ◽

Cited By ~ 2

Author(s):

Patricia Lewy Gidwitz

Keyword(s):

Artistic Value ◽

Opera Buffa ◽

Cosi Fan Tutte

Mozart's ability to craft music closely suited to his singers took a remarkable turn with the soprano Adriana Ferrarese del Bene. This singer's career, from sporadic prominence in serious opera to notoriety as a prima donna in Viennese opera buffa in the late 1780s, was capped by her association with Mozart and Da Ponte in Così fan tutte (1790). Certain reports notwithstanding, Ferrarese seems to have been far from a great artist; her successes were modest and she never before or after attained the artistic triumph she achieved in the Mozart–Da Ponte opera. Reviews and contemporary comments suggest that her comic and dramatic skills were uneven, her vocal equipment impressive but incomplete and her performances less than inspiring. Mozart's achievement was to transform a particular set of vocal skills and limitations into something of exceptional artistic value; Fiordiligi was fashioned out of the temperament, vocal style and dramatic abilities – and limitations – of his soprano.