“My happiness is in your hands.”1 This is the Countess’ plea as Susanna enters the Count’s study. She is about to accept the Count’s offer to meet after her wedding at her mistress’s request. This riveting scene in “The Marriage of Figaro” premiered on the stage of the Burgtheater in Vienna on May 1st, 1986.2 With the music by Wolfgang Amadeus Mozart and the libretto by Lorenzo Da Ponte, the Italian opera was an adaption of Pierre- Augustin Caron de Beaumarchais’ play “The Follies of a Day or, The Marriage of Figaro”. The play finally made it to the stage on April 27th, 1984, of the Comedie-Française after being banned by King Joseph II and being revised by a second censor board.3 “The Marriage of Figaro” takes place on the wedding day of the Count’s valet, Figaro, and the Countess’s personal maid, Susanna. The Count, who has foresworn the feudal custom of a master deflowering any female servant, has his eyes set on Susanna. Susanna, Figaro, and the Countess plot to reveal the Count’s infidelity. The Countess, lonely and heartbroken, convinces Susanna to arrange a meeting with the Count following her wedding, where the Countess will go in Susanna’s place. Troubles arise, including an amorous teenage boy, a mother with misguided affections and a sour gardener. As plots thicken and confusion grows, all is revealed in the end, and the follies of the day are resolved. While the title features Figaro as the main character, it could be argued that the story revolves around Susanna. Susanna’s development throughout the play can be analyzed on three levels: her individual character, her role in the relationship she and the Countess develop, and the function of their relationship in the greater scheme of the play.
Mozart had a great appr...
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...Countess would never have been able to resurrect her spirit and rise up to help foil the Count’s plan. It is thanks to Susanna that the Countess rediscovers herself, and gratitude is owed to the Countess for helping the marriage of Susanna and Figaro to successful transpire. The letter aria is the pinnacle of their friendship, and “the only duet [written by Mozart] that portrays both females in a favorable light.”15 He sought to depict a state of equality between the two, despite social differences, in which they would “be defined by the nobility of their souls rather than their social rank.”16 Here we see the ideals of the Enlightenment shine through, as Mozart gives us a glimpse of a world without class barriers, where two people build a relationship on mutual respect, and judge each other by their actions in relation to their character, not their social station.
The way perspectives of composers and the cultural paradigms that they are influenced by are of a peculiar and often hidden nature. Through thorough textual analysis, the possibility of revealing these cultural values is enhanced, allowing the observation and appreciation of the how different ways of thinking have developed over time. Cultural values that deal with topics of gender inequalities, racial and social status prejudices and the result of societal dynamic are often hidden in texts from the Victorian Era, and this is absolutely true of Vanity Fair by William Thackeray as well as Virginia Woolf’s A Room of One’s Own. The two texts hold many areas of diversification and commonality which provide a basis of characters and their ways of thinking, in turn exposing attitudes towards certain cultural values.
In literature, deception can provide motivation for the characters, provide comedy, play a part in the advancement of plot or exist as a sub-theme. The works considered in our studies thus far provide prime examples of the use of deception in the aforementioned ways. This essay will focus on the act or acts of deception in Tartuffe by Molière, Phaedra by Racine, and The Marriage of Figaro by Beaumarchais.
One of the most interesting challenges in operatic composition , is composing for all the specific characters. A composer has to distinguish between characters through his music. Jan can’t sound like Fran , and Dan can’t sound like Stan. Each character must have his or her own traits. Mozart’s opera , Don Giovanni , provides us with many different characters to compare and contrast. One scene in particular lends itself to the comparison of Don Giovanni , Leporello , and The Commendator. Scene fifteen of Act two, places all three characters in close interaction with each other , making it easy to compare and find out how Mozart and his Librettist Lorenzo da Ponte brought them all to life.
Complications also arose when viola fell in love with her master, duke orsino, while at the same time had the love interest of orsino, the countess Olivia, trying to woo her. This placed viola in an extremely difficult and complex situation on one hand, she loved the duke and would have liked to do all she could to win his heart. But because she was his servant, she was obliged to serve him and help him win the hand of Olivia. What was a poor girl to do ?
“Leopold Mozart, a court musician, began teaching Maria Anna, his first-born child, to play harpsichord when she was 8 years old. She progressed quickly, with 3-year-old Wolfgang often at her side.” Maria Anna was getting very good very quickly, with the help from her brother Wolferl. Both siblings helped eachother out , “Nannerl probably interpreted for Wolfgang and reinforced for Wolfgang what Leopold was trying to teach. She showed him that music is not only fun, but a way to communicate without words.” He learned from his sister the true meaning behind music, which made him grow as a performer. Support from family or friends is what separates a person from achieving their goals, or stumbling under the pressure, but both Maria Anna and Wolferl persevered with the help of each other and there dad and both achieved great
In the play, the devout Salieri bargains with God for the ability to compose great music, in return for pious behavior. He feels betrayed by God when the foul-mouthed, libertine Mozart outdoes him with little apparent effort.
In conclusion this film gave a good depiction of Mozart. Some of the points in the
And a musical genius Mozart was indeed! As I analyzed this piece, I was continually struck by his following of major voice leading and counterpoint rules. The times Mozart did break away from the standard were masterfully done, engaging to the ear, and he was always able to bring us back home. In this paper I will share with you what I learned about Mozart’s Requiem, Domine Jesu measures 1 through 43. I will start with the big picture and whittle it down to the minute details.
The tragedy "Othello" by William Shakespeare is a story based upon the tragic end of Othello and Desdemona’s marriage. Othello, a Moorish general in the Venetian army is provoked into killing Desdemona; his beloved wife because of Iago a villain and Othello’s ancient has been feeding him lies about his wife. Iago tells Othello that his wife does not love him, that she will find another, and that she is having an affair with Cassio; his loyal lieutenant. The Moor is so easily convinced that all this is true without any sufficient evidence. Could anyone be so easily deceived into believing without seeing? It seems that Iago’s evil plot was beyond successful, not only did he end their marriage but drove Othello into suicide. The marriage may have ended mostly because of Iago’s brainwashing and deceit but I believe the marriage between Othello and Desdemona was doomed from the very beginning, Partly due to the racial nature of the marriage, the inferiority Othello feels, and the jealousy. "O, beware, my lord, of Jealousy. It is the green-eyed monster." Othello thinks of Desdemona instead
Wolfgang Amadeus Mozart is perhaps the most well-known composer of all time. Countless accounts of his life have been created through the years, and all of them approach the topic of his life with a slightly different perspective. Amadeus provides a humorous and insightful look into the life of Mozart through the flashbacks of an elderly Italian man named Salieri. In his old age, Salieri confesses to a priest that he felt God taunting him throughout life because he always had a profound appreciation for Mozart’s music, but yet could never produce anything like it. Therefore, he turned bitter and spent his life trying to ruin Mozart and his career. Through Salieri’s lense, the audience learns about Mozart’s unique personality. Mozart is shown in the movie as a musical prodigy with an impeccable ability to play and compose. However, Mozart also has a childish, socially awkward side that causes him to be misunderstood by many adults. He lacks practicality and appreciation for social graces, instead preferring to make inappropriate jokes and attend wild parties. Our class’s textbook, The Enjoyment of Music, also
In the mid-1763, Mozart’s father, Leopold, decided to leave his position as deputy Kapellmeister (which was quite well paying) , so he and his family could set out on a prolonged tour across Europe. Not surprisingly, soon the Mozarts’ set out on the tour, where Amadeus and his sister played at almost all the main musical centers of Western Europe: Munich, Stuttgart, Augsburg, Mannheim, Brussels, Frankfurt, Mainz, Paris, and London (where the Mozart’s spent 15 months). They returned to Salzburg only in November 1766, being ...
The Classical Period brought forward new musical innovation. The sudden change in emotion and contrast in the music from the classical era is one of the many fascinating topics. However, the topic most talked about to this very day is Mozart’s Requiem. The mystery of which parts were composed by Mozart puzzles many. Even the rumor that surrounds Mozart’s cause of death is fascinating. Peter Shaffer’s play Amadeus, added more controversy to this intriguing mystery.
In view of these intentions, it is surprising that not greater attention was paid to the young Archduchess's education, especially since Maria Antonia exhibited little ability or inclination to concentrate, nor any great desire to apply herself to her studies. Music alone was capable of arousing moderate interest in the young princess. She showed some talent here and even played duets with the young Mozart in the Palace of Schönbrunn.
To give a little background on the play, the pursuit of marriage is the driving force behind the play. “I now pronounce you, man and wife.” This traditional saying, commonly used to announce a newlywed couple during a wedding ceremony, marks the happily ever after that many dream of today. In today’s society, marriage is an expression of love between two individuals. Marriage has not, however, always been an act of love.
However, Florinda does not argue against the marriage to Antonio saying that she “has no defense to Antonio’s love” (879) because the only reason she does not want to be with him is her own feelings, which unfortunately do not account for much. Once their brother leaves, Florinda devises a plan to meet with Belville, in hopes of running away with him. She goes to the carnival in disguise and slips Belville a letter instructing him to come to “the Garden-Gate” (885) at “ten at night.” (885) The fact that Florinda must go to the trouble of disguising herself, sneaking out to a carnival, and slipping Belville a note filled with instructions just to meet with him against her brothers wishes, illustrates just how difficult it was for women to rebel against the men who control their lives.