Music and Literature Arne Herman
Mozart’s Da Ponte – operas
Wolfgang Amadeus Mozart (1756-1791)
Salzburg (under wings of father Leopold)
1781: Vienna (independent composer)
Lorenzo Da Ponte (1749-1838)
Venetian librettist
Austria (librettist for Salieri, Cimarosa, Mozart, …)
Le Nozze di Figaro, Don Giovanni, Cosi fan Tutte
Characteristics of Da Ponte-operas
Classicism: music emancipates itself as an art form
New genres: symphony, chamber music, …
Opera gains popularity: forum for intellectual class
Mozart operas (esp. Da Ponte):
Pure entertainment: virtuosity, humour, …
Intellectual content: political context, double layers, …
Structural aspects:
Structure in function of drama (2 acts)
Less strict distinction recitative / aria (action unfolds in aria)
Extended role of the orchestra (e.g. accompaniment of recitative)
Conclusion: musical representation of content! (Music // drama)
Le Nozze di Figaro (1786)
Opera buffa in 4 acts
Pierre Beaumarchais: La folle journée, ou le Mariage de Figaro (1778)
Topic: unfaithfulness
Almost banned because of delicate subject
Da Ponte adapts, but message is still clear…
Le Nozze di Figaro (1786)
Complicated plot, but very symmetrical
Count Almaviva is married to the Countess but longs for Susanna
Figaro is Almaviva’s servant and is getting married with Susanna
The young boy Cherubino is Almaviva’s page, and in love with every woman…
Story: Figaro, Susanna, Cherubino and the Countess try to trick Almaviva into exposing himself as unfaithful to the Countess
Le Nozze di Figaro (1786)
Musical aspects:
Introduction: Duettino Figaro and Susanna
Two characters / two musical themes
Figaro is measuring and counting (dotted rhythm), Susanna wants his attention (sweet melody)
Eventually, Figaro sings ‘her’ melody. They are happy together!
FIGARO measuring the room Five ... ten ... twenty ... thirty ... Thirty-six ... forty-three SUSANNA to herself, gazing into the mirror Yes, I'm very pleased with that; It seems just made for me. Take a look, dear Figaro, Just look at this hat of mine. She continues to gaze at herself
FIGARO Yes, my dearest, it's very pretty; It looks just made for you. SUSANNA and FIGARO On this morning of our wedding How delightful to my (your) dear one Is this pretty little hat Which Susanna made herself.
Le Nozze di Figaro (1786)
Recitativo accompagnato ‘E Susanna non vien?’
Sentences start on an after-beat: doubt!
Later: frustration.
‘O cielo!’: outcry on the (second) beat!
Increasing harmonic pace + highest note authorizes action
Le Nozze di Figaro (1786)
Countess’ aria ‘Dove Sono’
Andantino
Emotional depth: very contemplative mood with long phrases
Oboe = nostalgia
Faster section: expanding vocal tessitura
Determination to act
Interruptions from woodwinds
Allegro: full confidence that she will soften the heart of the Count
Emotional journey from doubt (looking back) to determination (looking forward)
Where are those happy moments Of sweetness and pleasure? Where have they gone, Those vows of a deceiving tongue? Then why, if everything for me Is changed to tears and grief, Has the memory oft hat happiness Not faded from my breast?
Ah! if only my constancy In yearning lovingly for him always Could bring the hope Of changing his ungrateful heart!
Don Giovanni (1787)
= Don Juan: Spanish womanizer
Important topos in history of literature
Story:
Don Giovanni:
Beginning: kills Il Commendatore, father of Donna Anna
End: Is dragged into hell by (statue of) Il Commendatore
Leporello = servant of DG
Don Ottavio = fiancé of Donna Anna
Promises to kill whoever killed Donna Anna’s father
Donna Elvira = victim of DG, still in love
(Zerlina and Masetto = couple from lower social class)
Don Giovanni (1787)
Structure:
ACT I : acquaintance with characters and their situation
Turning point: Donna Anna recognizes DG
ACT II: dynamics of revenge
DG is dragged into hell
Don Giovanni (1787)
Musical aspects:
Affinities between music and action
No ‘opera seria’ + no ‘opera buffa’
= ‘Mezzocarrattere’ (sometimes seria, sometimes buffa)
Dramma Giocoso
Characters evolve
Leporello (servant): simple melodies
Except when he dresses as Don Giovanni: complex melodies
Donna Anna (nobility): complex rhythms and intervals
Don Giovanni (nobility): complex melodies, except when he is lying
Don Giovanni (1787): analysis
Overture:
Opera buffa? No!
Two parts:
slow introduction (d minor: key of revenge): opening chords; ‘death march’; scales
Molto allegro (d major): dialogue of various motives
All themes are present:
Humour, mystery, death, treason, …
= opera in miniature
Introduction:
‘Notte e giorno faticar’ VS ‘Voglio far il gentiluomo’
Donna Anna: more noble vibe: dotted rhythms, big vocal leaps, …
Commendatore: threat! (tremolo in strings)
Don Giovanni (1787): analysis
Aria di Catalogo:
Cavatina
ABA’
Leporello is counting (eighth notes)
Menuet
Repetitive structure
Don Giovanni’s way of working
Quartet ‘Non ti fidar’
Turning point: DG is guilty
Donna Elvira accuses (and sings hysterically: big leaps, ‘uncontrolled’ melisms)
Don Giovanni defends (sometimes truthful, sometimes lying)
Don Giovanni : interpretation
Problematic status of Don Giovanni:
Translated into music
Destructive villain? Charming nobleman? Drama + music is ambiguous
“Chi son io, tu non saprai!” (You will never know who I am)
Creates possibilities for staging and interpretation
Claus Guth (2008)
DG is fatally injured (Il Commendatore = hallucination? Does he act like he does because he is fatally injured?)
Peter Sellars (1989)
DG is criminal: goes down because of his deranged sexual preferences (Il Commendatore = voice of conscience?)
Da Ponte: conclusion
Mozart’s Da Ponte-operas:
Colourful scores with lively characters
Shifting point between past and future:
Possibility for character development (no archetypes)
existing mechanisms used in an innovative way (recitative/aria, buffa/seria, …)
New musical/dramatic unity
= foundation of romantic symphonic/opera music