- Nagel, Ivan. Autonomy and Mercy: Reflections on Mozart’s Operas. Trans.
Marion Faber and Ivan Nagel. Cambridge, Mass.: Harvard U.P., 1991. 148p.
ISBN 0-674-05477-6. ML410 .M9 N1313.
Originally Autonomie und Gnade: Über Mozarts Opern(Munich: Carl
Hanser, 1988). Seeks the “guiding idea of Mozart’s mature operas.” It is dis-
covered in the shift from domination (monarchy) to freedom (equality, espe-
cially of men and women). Critical reactions to the book have praised it as
“the standout book of the Mozart year” and one “to be read by anyone to
whom Mozart’s operas are important” or condemned it as “not worth read-
ing” and a “political and philosophical ramble.” Certainly the concepts are
sufficiently general to fit into various theories. Numerous factual errors muddy
the waters further. No bibliography or index. - Steptoe, Andrew. The Mozart–Da Ponte Operas: The Cultural and Musical
Background to “Le nozze di Figaro,” “Don Giovanni,” and “Così fan tutte.”
New York: Oxford U.P., 1988. 273p. ISBN 0-19-313215-X. ML410 .M95
S79.
Argues that “Mozart’s operas can only be understood within the social and
musical context in which they were composed” but presents no real connec-
tions between the context and the opera. Nor is there—despite the title of the
book—much said about Da Ponte. Nevertheless, there is a useful summary
analysis of the works, with focus on the ensembles, presenting tonal diagrams
and other technical approaches. Key structure in Così fan tutte is well dis-
played. Footnotes, short bibliography, expansive index. - Kunze, Stefan. “Mozart und Da Ponte: Eine glückliche Begegnung zwischen
Textdichter und Komponist?” Mozart Studien6 (1996): 15–29.
Text also in Italian. Considers the relationship between composer and libret-
tist, which had to be more than just congenial and cooperative; after all, there
have been many such pairs without special results. And Da Ponte worked with
other composers, producing no masterpieces. What is needed is in-depth study
of prosody, verse structure, rhythm, expressiveness, text, and, above all, the
scenic dimension. Examples show how Mozart composed a scene in such a
way as to exhibit character. - Lühning, Helga. “Mozart als Regisseur.” Mozart Studien3 (1993): 91–113.
Although the concept of director was still taking shape in the 18th century,
Mozart played that role; the article explains how he did it. One way was for
the music to compel certain stage actions, so that no director had to explicate
them. For instance, in dialogue arias, stage actions are conditioned by the pres-
ence or absence of the person being addressed or by direct address to the audi-
ence. Mozart indicates through rhythmic and metric configurations how a text
is to be interpreted. Dance and orchestra are other “directing forces.” - Noske, Fritz. The Signifier and the Signified: Studies in the Operas of Mozart
and Verdi.The Hague: Nijhoff, 1977. viii, 418p. Reprint, New York: Oxford
U.P., 1990. ISBN (Oxford) 0-19-81620-14. ML1700.1 .N897.
246 Opera