Recognition in mozart's operas

Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Though a standard feature of opera, recognition-a moment of new awareness that brings about a crucial reversal in the action-has been largely neglected in opera studies. In Recognition in Mozart's Operas, musicologist Jessica Waldoff draws on a broad base of critical thought on recognition from Aristotle to Terence Cave to explore the essential role it plays in Mozart's operas. Theresult is a fresh approach to the familiar question of opera as drama and a persuasive new reading of Mozart's operas. Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Though a standard feature of opera, recognition--a moment of new awareness that brings abouta crucial reversal in the action--has been largely neglected in opera studies. In Recognition in Mozart's Operas, musicologist Jessica Waldoff draws on a broad base of critical thought on recognition from Aristotle to Terence Cave toexplore the essential role it plays in Mozart'soperas. The result is a fresh approach to the familiar question of opera as drama and a persuasive new reading of Mozart's operas. Table of ContentsIntroductionRecognition: An IntroductionRecognition as a New PerspectiveFigaro's "Scar" as the "Signature of a Fiction"Chapter 1: Operatic Enlightenment in Die ZauberflteEnlightenment as MetaphorTamino's Recognition: "Wann wird das Licht mein Auge finden?"Pamina, Papageno, and the End of the OperaThe "Scandal" of RecognitionChapter 2: Recognition Scenes in Theory and PracticeRecognition in Classical and Contemporary PoeticsRecognitions of Identity in Mozart Disguise and Its DiscoveryThe Quest for Self-DiscoveryWhat Recognition Brings in the EndChapter 3: Reading Opera for the PlotPlot in Contemporary Poetics and OperaPlotting in Le nozze di Figaro Mozart and the Plot that is "Well Worked Out"Chapter 4: Sentimental Knowledge in La finta giardinieraLa "vera" and la "finta" giardinieraReading Opera "for the sentiment" Sandrina as "Virtue in Distress" Count Belfiore, Madness, and the Restorative RecognitionChapter 5: Don Giovanni: Recognition DeniedThe Problem of the Ending Dnouement and lieto fine Recognition Prepared and Denied"Life without the Don"Chapter 6: Sense and Sensibility in Cos fan tutteResisting the Ending Reading Cos "for the sentimen" The Language of Sentimental Knowledge"Vorrei dir," "Smanie implacabili," and Questions of Parody Positions of KnowledgeChapter 7: Fiordiligi: A Woman of FeelingThe Ideal of the Phoenix Fiordiligi, Ferrarese, and "Come scoglio" "Per piet": Recognition Denied The Triumph of Feeling over ConstancyChapter 8: La clemenza di Tito: The Sense of the EndingThe Language of clemenza and pietThe Politics of TyrannyVitellia's Transformation Sesto's ConflictTito's ClemencyAfterword"I called him a Papageno"Beyond MozartWorks Cited

• ISBN: 978-0-19-985630-5
• Editorial: Oxford University
• Encuadernacion: Rústica
• Páginas: 352
• Fecha Publicación: 03/11/2011
• Nº Volúmenes: 1
• Idioma: Inglés