Recognition in Mozart's OperasOxford University Press, 13. 4. 2006 - Počet stran: 352 Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Though a standard feature of opera, recognition--a moment of new awareness that brings about a crucial reversal in the action--has been largely neglected in opera studies. In Recognition in Mozart's Operas, musicologist Jessica Waldoff draws on a broad base of critical thought on recognition from Aristotle to Terence Cave to explore the essential role it plays in Mozart's operas. The result is a fresh approach to the familiar question of opera as drama and a persuasive new reading of Mozart's operas. |
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CHAPTER 1 Operatic Enlightenment in Die Zauberflöte | 17 |
CHAPTER 2 Recognition Scenes in Theory and Practice | 44 |
CHAPTER 3 Reading Opera for the Plot | 80 |
CHAPTER 4 Sentimental Knowledge in La finta giardiniera | 104 |
CHAPTER 5 Recognition Denied in Don Giovanni | 165 |
CHAPTER 6 Sense and Sensibility in Così fan tutte | 184 |
A Woman of Feeling | 224 |
CHAPTER 8 The Sense of the Ending in La clemenza di Tito | 265 |
Afterword | 309 |
Beyond Mozart | 311 |
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| 325 | |
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a≠ection accompagnato act 1 finale action Allanbrook Allegro Andante appears aria Aristotle Aristotle’s Arminda audience B. A. Brown Belfiore characters clemency constancy context Così fan tutte critical culture of sensibility dénouement di≠erent di√culties dialogue Die Zauberflöte discovery disguise distress Don Alfonso Don Giovanni Dorabella duet e≠ect earlier eighteenth-century emotional enlightenment ensemble example fan tutte feeling Ferrando Ferrando and Guglielmo Figaro Fiordiligi garden girl Giardiniera heart identity Idomeneo Kerman knowledge La buona figliuola La vera costanza letter libretto lieto lovers melisma melody minor moments moral Mozart’s operas o≠ers Opera as Drama opera bu≠a Pamela Pamina Papageno parody peripeteia pietà plot Podestà Poetics Ponte priest question recitative recognition scene recognizes reconciliation reveals role rondò Sandrina Sarastro scoglio sentimental heroine seria Sesto stage story suggests Susanna Tamino tempo theater theme thought tion Tito’s understanding Violante Vitellia W. A. Mozart women words Zauberflöte