Austria Hotels Travel :: The Culture of Opera Buffa in Mozart's Vienna

The Culture of Opera Buffa in Mozart's Vienna

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Manufacturer: Princeton University Press

Binding: Hardcover
Dewey Decimal Number: 782.1094361309033
EAN: 9780691058122
ISBN: 0691058121
Label: Princeton University Press
Manufacturer: Princeton University Press
Number Of Items: 1
Number Of Pages: 312
Publication Date: 1999-04-12
Publisher: Princeton University Press
Studio: Princeton University Press

Related Items
The Mozart-Da Ponte Operas: The Cultural and Musical Background to Le nozze di Figaro, Don Giovanni, and Cosi fan tutte (Clarendon Paperbacks) Mozart - Cosi Fan Tutte / Gardiner, Roocroft, Gilfry, English Baroque Soloists Opera Buffa in Mozart's Vienna (Cambridge Studies in Opera) The Classical Style: Haydn, Mozart, Beethoven Mozart's Operas (A Centennial Book)

Editorial Reviews:

Mozart's comic operas are among the masterworks of Western civilization, and yet the musical environment in which Mozart and his librettist Lorenzo da Ponte wrote these now-popular operas has received little critical attention. In this richly detailed book, Mary Hunter offers a sweeping, synthetic view of opera buffa in the lively theatrical world of late-eighteenth-century Vienna. Opera buffa (Italian-language comic opera) persistently entertained audiences at a time when Joseph was striving for a German national theater. Hunter attributes opera buffa's success to its ability to provide "sheer" pleasure and hence explores how the genre functioned as entertainment. She argues that opera buffa, like mainstream film today, projects a social world both recognizable and distinct from reality. It raises important issues while containing them in the "merely entertaining" frame of the occasion, as well as presenting them as a series of easily identifiable dramatic and musical conventions.

Exploring nearly eighty comic operas, Hunter shows how the arias and ensembles convey a multifaceted picture of the repertory's social values and habits. In a concluding chapter, she discusses Cos" fan tutte as a work profoundly concerned with the conventions of its repertory and with the larger idea of convention itself and reveals the ways Mozart and da Ponte pointedly converse with their immediate contemporaries.

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