By Burton D. Fisher
Burton D. Fisher's complete historical past of opera that strains each one milestone and metamorphosis within the evolution of contemporary opera. All sessions are analysed extensive: Baroque, Classical, Romantic, Bel Canto, Opera Buffa, German Romanticism, Wagner and song drama, Verismo, post-Romanticism, Atonalism, and lots more and plenty extra. all the 17 operas that represents a "milestone" in opera background is gifted with important Characters within the Opera; short tale Synopsis; tale Narrative with song spotlight Examples; and Burton D. Fisher's insightful and intensive remark and research.
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Additional resources for A History of Opera: Milestones and Metamorphoses
Mozart and the Classical Era CHAPTER FIVE Mozart and the Classical Era Page 51 A History of Opera: Milestones and Metamorphoses Page 52 Mozart and the Classical Era D uring the latter part of the eighteenth century, Wolfgang Amadeus Mozart innovated new perspectives for opera, imbuing his operas with portrayals of profound matters of the heart, all set against the explosive social and political struggles of Enlightenment Europe. Mozart became the first psychologist of opera, conveying mood, situation, and character through his ingenious musical inventions.
Superlatives about Mozart are inexhaustible: Tchaikovsky called him “the music Christ”; Haydn, a contemporary who revered and idolized him, claimed he was the best composer he ever knew; Schubert wept over “the impressions of a brighter and better life he had imprinted on our souls”; Schumann wrote that there were some things in the world about which nothing could be said: much of Shakespeare, pages of Beethoven, and Mozart’s last symphony, the forty-first. Richard Wagner, who exalted the emotive power of the orchestra in his music dramas, assessed Mozart’s symphonies: “He seemed to breathe into his instruments the passionate tones of the human voice ...
In 1786, its premiere year, the opera experienced triumphant productions in both Vienna and Prague, even though, quite naturally, the aristocracy deemed its libretto as having emanated from the depths of vulgarity. Nevertheless, with respect to its Prague premiere, the city was not directly under the control of the imperial Hapsburgs, and, therefore, any censorship or restriction of its underlying thematic elements was limited, if nonexistent. Mozart had chosen Lorenzo da Ponte as his librettist: that peripatetic scholar, entrepreneur, and erstwhile crony of the notorious Casanova de Seingalt, reputedly a contributor of sections of the later Don Giovanni libretto.
A History of Opera: Milestones and Metamorphoses by Burton D. Fisher