By Burton D Fisher
A entire heritage of opera that strains each one milestone in opera background from Monteverdi to Gluck to Weber via to trendy instances and Glass and Heggie. All classes are commonly analyzed: Baroque, Classical, Romantic, Bel Canto, Opera Buffa, German Romanticism, Wagner and tune drama, Verismo, plus analyses of the Tristan Chord, atonalism, minimalism, et al.
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Extra resources for A History of Opera: Milestones and Metamorphoses (Opera Classics Library Series)
As a consequence, for over two-hundred years, Mozart’s treasured characterizations have captivated opera audiences: Don Giovanni’s Donna Anna, Donna Elvira, Zerlina, Masetto, Leporello, and Don Giovanni himself; The Marriage of Figaro’s Count and Countess, Cherubino, Susanna, and Figaro. All of these Mozartian characters are profoundly human: they act with passion as well as sentiment, yet they always retain that special Mozartian dignity. In the end, like Shakespeare, Mozart’s characterizations have become timeless representations of humanity; they can be great, or they can be flawed.
Al lampo dell’armi” Caesar leaves to face his enemies in combat. ”) Ptolemy’s seraglio Achillas brings new to Ptolemy, advising him that Caesar leaped from a palace window into the sea and certainly drowned to death. Sextus arrives. Achillas immediately disarms him. Believing that Caesar is dead, Achillas demands Cornelia as his promised reward. Ptolemy refuses and becomes Achillas’s bitter enemy: his rival for Cornelia. Handel: Julius Caesar Page 35 Act III: On the shore near Alexandria Achillas, betrayed by Ptolemy, transfers his allegiance to Cleopatra.
But she also radiates assuredness and omniscience, whether in her conversations with the Countess, or in her attempts to fight off becoming a victim of the lecherous Count. Susanna proves to be the one character in the opera who is stable and capable of sorting out everybody’s troubles as well as her own. From the very beginning, she demonstrates her intuitive intelligence and insight when she opens Figaro’s eyes to the Count’s ulterior motives in placing their room so close to his quarters. But it is in the last act, when Mozart provides Susanna with that sensuous aria, “Deh viene non tardar,” that she overwhelms Figaro with great tenderness and emotion.
A History of Opera: Milestones and Metamorphoses (Opera Classics Library Series) by Burton D Fisher