The book first opens up to Mary Hunter diving into Mozart’s Le nozze di Figaro. In Hunter’s words this opera participates in what she calls a theatrical conversation which involves the composers, librettists, performers, and the audience. Ms. Hunter attempts to eavesdrop on said conversation to show the reader how the opera buffa was able to behave as entertainment in Vienna. She also states that studying opera buffas as entertainment does not mean that these works have any less artistic value as others do. This book is split into three parts, all pertaining to the idea of how the opera buffa functioned as a source of entertainment for the Viennese audience and how it reflected a realistic and an imaginary setting simultaneously. The first
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An important factor is that the plot is focused on a single behavior of the main character that personifies the moral of the story. An example Hunter gives is in Mozart’s Le nozze di Figaro at the end of La finta giadiniera, where there is praise about love and happiness. The end of this opera buffa feels like a celebration with cheery music and joyous crowds of people happily together. Part one also discusses another crucial factor on how opera buffa is an entertainment; by using familiar and well-known themes that assist the audience in connecting with the show. There are infamous plot tropes that opera buffas play into such as the happy couple in hopeless love at odds against an older man who attempts to destroy their relationship to benefit himself. Now the young couple have to fight their way through it all to finally achieve their happy ending. Another archetype that is commonly used is the struggling heroine. The heroine is usually of lower social class, but is so beautiful that she attracts the attention of a nobleman. She struggles with his advances and eventually ends up with someone from her class. By using relatable premises and moralities, the audience is easily able to find interest in the opera and enjoy it more. Which is how the opera buffa genre proving itself as
An important factor is that the plot is focused on a single behavior of the main character that personifies the moral of the story. An example Hunter gives is in Mozart’s Le nozze di Figaro at the end of La finta giadiniera, where there is praise about love and happiness. The end of this opera buffa feels like a celebration with cheery music and joyous crowds of people happily together. Part one also discusses another crucial factor on how opera buffa is an entertainment; by using familiar and well-known themes that assist the audience in connecting with the show. There are infamous plot tropes that opera buffas play into such as the happy couple in hopeless love at odds against an older man who attempts to destroy their relationship to benefit himself. Now the young couple have to fight their way through it all to finally achieve their happy ending. Another archetype that is commonly used is the struggling heroine. The heroine is usually of lower social class, but is so beautiful that she attracts the attention of a nobleman. She struggles with his advances and eventually ends up with someone from her class. By using relatable premises and moralities, the audience is easily able to find interest in the opera and enjoy it more. Which is how the opera buffa genre proving itself as