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35 Cards in this Set
- Front
- Back
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Constanze Weber
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Mozart's Wife
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Josef II
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Hapsburg emperor, employed WAM in his court, enlightened ruler
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Countess Wilhelmine Thun
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Best Salon in Vienna, greater nobility
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Baron Gottfried van Swieten
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Director of Commission on Censorship
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Francesco Benucci
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Comic Bass (Leporello, Gugliamo, Figaro)
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Nancy Storace
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English Soprano (Susanna,
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Lorenzo da Ponte
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Librettist (Figaro, D.G., Cosi)
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Caterina Cavalieri
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Austrian Soprano, Donna Anna, Konstanze
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Antonio Salieri
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Court composer & Director of Italian opera
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Count Orsini-Rosenberg
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Director of Theater at Court
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Pierre Augustin Caron de Beaumarchais
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Wrote the Figaro Trilogy
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Cosi fan Tutte
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Da Ponte ; original story (inspired by school of lovers idea, Wager & husband test devices), 1790 Vienna ; opera buffa
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Don Giovanni
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Da Ponte ; 1787 Prague (Hapsburg weddings) ; score of another opera from the Tenor who sang it
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Le Nozze di Figaro
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Da Ponte; Vienna 1786; Beaumarchais; opera buffa
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Die Zauberflote
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Schikaneder; Vienna 1791; Singspiel
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La clemenza di Tito
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Metastasio (Mazzola); Prague 1791; opera seria
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Der Schauspieldirektor
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Staphanie ; 1786 Singspiel
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Giambattista Varesco
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Idomeneo
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Johann Andreas Schachtner
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Family friend, Zaide (incomplete)
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Elector Karl Theodore
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Commissioned Idomeneo, Idomenee by Danchet
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Johann Gottlieb Stephanie
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Der Schauspieldirektor, Die Entfuhrung
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Vicente Martin y Soler
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Spanish composer, also worked with Da Ponte, often his operas were more popular
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Giovanni Paisiello
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Wrote the first Barber of Seville, which influenced Mozart
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Giovanni Bertati
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imperial poet after Da Ponte,
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Christoph Friedrich Bretzner
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First version of die Entfuhrung
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Michael Kelly
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Don Basilio, Don Curzio
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Adriana del Bene
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Italian Soprano, Fiordilini
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Josef II’s reforms in Vienna in the early 1780s (8)
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- Reformed the Catholic Church (removed Saint’s days, restricted Clerical powers & priviliges)
- Allowed non-Catholics to practice - Relief for the poor - Ban on child labor - Est. schools, hospitals, asylums - Abolished child marriage & death penalty - Censorship commission - Allowed Freemasonry to flourish |
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dramma giocoso
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interchangable for opera buffa (Heartz argues Goldoni created the term to mean comic play that combined the comic & serious)
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Parti buffe, parti serie and di mezzo carattere
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Role types in dramma giocoso
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The use of dance forms in Don Giovanni, identify them and their social “class ranking”
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- Minuet: grace & elegance, upper classes (Anna, Elvira, Ottavio)
- Contredanse: English Country dance (Zerlina, D.G.) - German Dance; Deutscher: whirling dance for embracing couples (Masetto & Leporello) - Waltz: risque |
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Mozart’s use of tonality in Le nozze di Figaro; consider harmonic movement within a piece as well as the movement from one piece to another within a finale or within an act
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- Modulations to the dominant increase tension, away reduce tension
- Key shifts also introduce new material - Lack of harmonic movement timelessness |
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“Sturm und Drang” and Don Giovanni as a “Sturm und Drang” work
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- Wild festivities, camaraderie
- Back to nature, super romantic - Anything goes - Self-indulgence/hedonism personified - Nature v. Society (eg. Finta Giardiniera) - Violence as proof of feeling |
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Devices Mozart uses, musically, for characterization, with specific examples
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- Dance Movements, Sturm und Drang
- Steptoe argues about false, neutral, and true key choices in Cosi (eg. Come scolio is false, Per pieta is true) - Key changes (eg. Nozze) |
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Aria forms used by Mozart
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- Cavatina: slow & limited harmonic movement (Vedrai Carino)
- Rondo (ABACA), Elvira - 2-part (slow-fast), Non mir dir - Strophic Song, Deh vieni alla finestra - Mini-sonata (expo, dev, recap) Or sai chi l’onore, dalla sua pace |
