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Chapter 31 Making It Real: Mozart & Classical Opera

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Laura Riddle
Laura Riddle

Mozart and Opera: Don Giovanni

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THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis SECOND EDITION Lecture Slides
Chapter 31 Making it Real: Mozart and Classical Opera
Opera of the Classical Period • Enjoyed by middle class and aristocracy. • Public opera houses were very popular. • Both Haydn and Mozart composed many operas, thought most of Haydn’s are lost. • Although Haydn’s operas were in traditional Italian, Mozart wrote some in German. – Mozart produced some in folk theaters, called singspiel, rather than in opera houses. – Plots often attacked aristocracy or made fun of current figures of the day.
Mozart and the Classical Opera • Opera types – Opera buffa and opera seria – Opéra comique, Singspiel, ballad opera – Castrato vs. buffo
Wolfgang Amadeus Mozart • Master of Opera-wrote in both German & Italian • Opera buffa-Italian, all composed to librettos by Lorenzo da Ponte • The Marriage of Figaro- extremely successful • Cosi fan tutte(They’re All Like That)
Don Giovanni • Commissioned by Prague opera company • Not popular with Viennese • Blend of serious & comic opera, violence & the supernatural • Based on tale of Don Juan
• Lengthy recitative • Speechlike pattern • Continuo instruments Mozart’s Opera Don Giovanni
Don Giovanni • Madamina
by Kristine Forney Andrew Dell’Antonio Joseph Machlis Lecture Slides THIRD EDITION THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION http://wwnorton.com/web/enjoyess2

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Chapter 31 Making It Real: Mozart & Classical Opera

  • 1. THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION by Kristine Forney Andrew Dell’Antonio Joseph Machlis SECOND EDITION Lecture Slides
  • 2. Chapter 31 Making it Real: Mozart and Classical Opera
  • 3. Opera of the Classical Period • Enjoyed by middle class and aristocracy. • Public opera houses were very popular. • Both Haydn and Mozart composed many operas, thought most of Haydn’s are lost. • Although Haydn’s operas were in traditional Italian, Mozart wrote some in German. – Mozart produced some in folk theaters, called singspiel, rather than in opera houses. – Plots often attacked aristocracy or made fun of current figures of the day.
  • 4. Mozart and the Classical Opera • Opera types – Opera buffa and opera seria – Opéra comique, Singspiel, ballad opera – Castrato vs. buffo
  • 5. Wolfgang Amadeus Mozart • Master of Opera-wrote in both German & Italian • Opera buffa-Italian, all composed to librettos by Lorenzo da Ponte • The Marriage of Figaro- extremely successful • Cosi fan tutte(They’re All Like That)
  • 6. Don Giovanni • Commissioned by Prague opera company • Not popular with Viennese • Blend of serious & comic opera, violence & the supernatural • Based on tale of Don Juan
  • 7. • Lengthy recitative • Speechlike pattern • Continuo instruments Mozart’s Opera Don Giovanni
  • 9.
  • 10.
  • 11.
  • 12. by Kristine Forney Andrew Dell’Antonio Joseph Machlis Lecture Slides THIRD EDITION THE ENJOYMENT OF MUSIC ESSENTIAL LISTENING EDITION http://wwnorton.com/web/enjoyess2

Notas do Editor

  1. ■ In the Classical era, two types of Italian opera prevailed: opera seria (serious opera) and opera buffa (comic opera). ■ While serious opera continued a tradition of idealized characters and plots, comic opera aimed at a more realistic depiction of human concerns and emotions. ■ Mozart’s Don Giovanni combines elements of serious and comic opera to create a powerful dramatic work that is performed all over the world.
  2. By the Classical era, opera had become the branch of musical entertainment that reached the widest public. The opera houses were now the centers of experimentation. The prevalent form of opera was opera seria (serious or tragic Italian opera). Eventually, there was a desire for more naturalness in opera—and for it to reflect the simplicity of day-to-day life. This desire had its fulfillment in every country of Europe. The names for this type of opera were: in England, ballad or dialogue opera; in Germany Singspiel; in France, opéra comique; and in Italy, opera buffa. The buffo was a traditional character who spoke to the audience in a bass voice, with a wink and a nod. This is in stark contrast to the type of sound of the artificial soprano—the castrato.
  3. Don Giovanni and Leporello overhear her, and in this recitative, Giovanni wishes to “console” her. But, when she raises her veil, he recognizes her, as she does him. In the lengthy recitative, as found on this Listening Guide, he dodges the situation but insists that Leporello tell her everything. He does so in the famous Catalog Aria, which is the subject of the Listening Guide that follows. Listen for more static lines in a speechlike pattern in the melody. The rhythm consists of quick notes delivered freely. The different voices are accompanied by the continuo instruments only. Pictured: Baritone Bryn Terfel as Leporello, singing the famous Catalogue Aria, with soprano Carol Vaness as Donna Anna in Mozart’s Don Giovanni on stage at the Metropolitan Opera in New York.
  4. Listening Guide 19—Mozart: Don Giovanni
  5. Listening Guide 19—Mozart: Don Giovanni
  6. Listening Guide 19—Mozart: Don Giovanni