An interesting attempt to apply semiotic critical method to the operatic genre.
Noske finds the “musical figure of death,” “ironic signs,” and other devices to
indicate mood and situation. He studies “relationships, coherence, and conti-
nuity” in the operas. Unity is not found in formal design but in process, espe-
cially the unfolding of melody. Aside from the thesis being pursued—which
could be more clear in premise and execution—there are good musical analy-
ses of the operas, with references to earlier literature. No bibliography, how-
ever. Name and title index.- Federhofer, Hellmut, et al. “Tonartenplan und Motivstruktur (Leitmotivtech-
nik) in Mozarts Musik.” Mozart-Jahrbuch1973–1974: 82–144.
A wide-ranging discussion by a working party, considering tonal design and
other unifying devices. Contributors are László Somfai, Janos Liebner, Daniel
Heartz, Frederich Neumann, Georg Feder, and Gernot Gruber. Not indexed. - Moberly, Robert B. Three Mozart Operas: “Figaro,” “Don Giovanni,” “The
Magic Flute.”London: Gollancz, 1967. 303p. MT100 .M91 M69.
A sophisticated critique of the libretti, with some allusions to the music.
Moberly moves line-by-line through the texts, with illuminating and often
entertaining results. For instance, there is the story of Figaro measuring the
room, which is told here in remarkable depth. The scene-order puzzle of
Figaro,act 3 is less clearly expounded, based on the idea that the composer
and librettist casually shifted the order to accommodate a performer’s need for
a costume change. (See Tyson, #1320.) Indexed.
See also #1325.
- Webster, James. “Mozart’s Operas and the Myth of Musical Unity.” COJ2-2
(July 1990): 197–218.
Taking Kunze (#1275) as a point of departure, Webster disputes the necessity
of text to give shape to the music. Musical events in an aria would be clear and
ordered even disregarding the words. He is also concerned about the custom-
ary reliance on instrumental forms as a basis for analyzing opera. The sonata
form is actually rare in Mozart. Kunze, Steptoe and others follow this practice,
building on Abert (#1306) and Levarie (#1322). Why think of numbers as key
related when they are separated by recitatives, and by long stretches of time? Is
D major the dominant or tonic in the opening of Figaro? In fact, Webster finds
that the whole notion of unity in Mozart’s operas “leads to absurd results”
and that unity has an “irrelevance to opera now seems obvious.” However, see
his “Understanding opera buffa” (#2141). - Webster, James. “The Analysis of Mozart’s Arias.” Mozart Studies2 (1997):
101–199.
Aria types, the role of the orchestra, textual and musical “parameters,” aria as
drama. Detailed studies of eight major arias. Believes arias to be equal in
importance to ensembles.
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