Title Page, Copyright

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pp. 1-4

Contents

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pp. 5-6

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Preface

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pp. 7-10

At the end of Mozart and Da Ponte’s Dramma giocoso, the titular anti-hero, Don Giovanni, confronts his fate and exits the stage in a dramatic plunging into hellfire. In the ‘Prelude’ to Joseph and his Brothers, aptly subtitled ‘Descent into Hell’, Thomas Mann sets the scene for his re-telling of the familiar Biblical story, ...

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‘By their arias shall ye know them’: Characterization in Aria-based Opera

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pp. 11-32

When a student, and thus easily influenced, I read the first edition of Joseph Kerman’s Opera as Drama.1 45 years on, I still broadly agree with his dictum that in opera ‘the imaginative articulation for the drama is provided by music’.2 But the music of an opera does not come into being in creative isolation, ...

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Don Ottavio and the History of the Tenor Voice

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pp. 33-58

Most scholars regard Don Ottavio as a problematic figure. Even those who are relatively well disposed toward him and see his lack of temperament as balanced by sincerity and rationality nevertheless concede that this trade-off has its limitations. Joachim Kaiser offers an insightful view: ...

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Don Giovanni Then and Now: Text and Performance

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pp. 59-90

When approaching a work like Da Ponte and Mozart’s Don Giovanni, a person with any degree of historical consciousness feels a special responsibility. After all, this work has been defined as the ‘opera of all operas’ (E.T.A. Hoffmann) and, while such an evaluation represents an exaggeration, ...

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The Act IV Finale of Le Nozze di Figaro: Dramatic And Musical Construction

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pp. 91-129

The entire institution of musical analysis is oriented conceptually towards instrumental music. (Recent studies of popular music may perhaps be an exception.) Moreover, the vast majority of analyses of instrumental music have been devoted to individual movements (or much shorter passages), ...

Personalia

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pp. 130-134

Colophon

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pp. 135-144