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Mozart's Operas

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Renowned Mozart scholar Daniel Heartz brings his deep knowledge of social history, theater, and art to a study of the last and great decade of Mozart's operas. Mozart specialists will recognize some of Heartz's best-known essays here; but six pieces are new for the collection, and others have been revised and updated with little-known documents on the librettist's, compose Renowned Mozart scholar Daniel Heartz brings his deep knowledge of social history, theater, and art to a study of the last and great decade of Mozart's operas. Mozart specialists will recognize some of Heartz's best-known essays here; but six pieces are new for the collection, and others have been revised and updated with little-known documents on the librettist's, composer's, and stage director's craft. All lovers of opera will value the elegance and wit of Professor Heartz's writing, enhanced by thirty-seven illustrations, many from his private collection. The volume includes Heartz's classic essay on Idomeneo (1781), the work that continued to inspire and sustain Mozart through his next, and final, six operas. Thomas Bauman brings his special expertise to a discussion of Die Entführung aus dem Serail (1782). The ten central chapters are devoted to the three great operas composed to librettos by Lorenzo da Ponte—Le nozze di Figaro (l786), Don Giovanni (l787), and Così fan tutte (l790). The reader is treated to fresh insights on da Ponte's role as Mozart's astute and stage-wise collaborator, on the singers whose gifts helped shape each opera, and on the musical connections among the three works. Parallels are drawn with some of the greatest creative artists in other fields, such as Molière, Watteau, and Fragonard. The world of the dance, one of Heartz's specialties, lends an illuminating perspective as well. Finally, the essays discuss the deep spirituality of Mozart's last two operas, Die Zauberflöte and La Clemenza di Tito (both l79l). They also address the pertinence of opera outside Vienna at the end of the century, the fortunes and aspirations of Freemasonry in Austria, and the relation of Mozart's overtures to the dramaturgy of the operas.


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Renowned Mozart scholar Daniel Heartz brings his deep knowledge of social history, theater, and art to a study of the last and great decade of Mozart's operas. Mozart specialists will recognize some of Heartz's best-known essays here; but six pieces are new for the collection, and others have been revised and updated with little-known documents on the librettist's, compose Renowned Mozart scholar Daniel Heartz brings his deep knowledge of social history, theater, and art to a study of the last and great decade of Mozart's operas. Mozart specialists will recognize some of Heartz's best-known essays here; but six pieces are new for the collection, and others have been revised and updated with little-known documents on the librettist's, composer's, and stage director's craft. All lovers of opera will value the elegance and wit of Professor Heartz's writing, enhanced by thirty-seven illustrations, many from his private collection. The volume includes Heartz's classic essay on Idomeneo (1781), the work that continued to inspire and sustain Mozart through his next, and final, six operas. Thomas Bauman brings his special expertise to a discussion of Die Entführung aus dem Serail (1782). The ten central chapters are devoted to the three great operas composed to librettos by Lorenzo da Ponte—Le nozze di Figaro (l786), Don Giovanni (l787), and Così fan tutte (l790). The reader is treated to fresh insights on da Ponte's role as Mozart's astute and stage-wise collaborator, on the singers whose gifts helped shape each opera, and on the musical connections among the three works. Parallels are drawn with some of the greatest creative artists in other fields, such as Molière, Watteau, and Fragonard. The world of the dance, one of Heartz's specialties, lends an illuminating perspective as well. Finally, the essays discuss the deep spirituality of Mozart's last two operas, Die Zauberflöte and La Clemenza di Tito (both l79l). They also address the pertinence of opera outside Vienna at the end of the century, the fortunes and aspirations of Freemasonry in Austria, and the relation of Mozart's overtures to the dramaturgy of the operas.

30 review for Mozart's Operas

  1. 5 out of 5

    Karen

    Not much new here, but the parts on DaPont were interesting. I also enjoyed the excerpts from Mozart's letters, even though I've read most of them previously in other books. The stage direction parts were also interesting. Not much new here, but the parts on DaPont were interesting. I also enjoyed the excerpts from Mozart's letters, even though I've read most of them previously in other books. The stage direction parts were also interesting.

  2. 5 out of 5

    Marianna

    wonderful book to have, nothing new though

  3. 5 out of 5

    Stephen

  4. 5 out of 5

    natasha elliott

  5. 4 out of 5

    Aleks Farrugia

  6. 5 out of 5

    Laura Lebow

  7. 4 out of 5

    Rashmi

  8. 4 out of 5

    Steve Morrison

  9. 5 out of 5

    Mark

  10. 4 out of 5

    Diana

  11. 5 out of 5

    Michael Flick

  12. 4 out of 5

    Andrea

  13. 4 out of 5

    Tyler

  14. 4 out of 5

    Ksenija

  15. 5 out of 5

    Lukas

  16. 4 out of 5

    Ada

  17. 5 out of 5

    Rick Schmidt

  18. 5 out of 5

    KC

  19. 4 out of 5

    Tim Janiszewski

  20. 5 out of 5

    Treehouse

  21. 4 out of 5

    Katerina Elisieieva

  22. 4 out of 5

    Sam

  23. 5 out of 5

    BookDB

  24. 4 out of 5

    Jackson Cyril

  25. 5 out of 5

    rêveur d'art

  26. 4 out of 5

    Elisa Clawson

  27. 5 out of 5

    Michael Evans

  28. 5 out of 5

    SC

  29. 4 out of 5

    Daniel Arnaldos

  30. 4 out of 5

    Leon

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