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Dissertations / Theses on the topic 'Così fan tutte'
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1
Kubicová, Jana. "Dorabella, Così fan tutte." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391683.
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This thesis introduce readers with a role of Dorabella and the opera Così fan tutte. At first from a general aspects of literature which was allready written but also according advices and observation from experiences of opera singers, who performed this role. It is offering several views for one and the same role.
2
Vagts, Andrew. "Fanfare and Pastoral Topics in Mozart's Così fan tutte." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707282/.
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This dissertation explores the use of topics for dramatic purposes in Mozart's Così fan tutte. The five analytical chapters are organized around a central question: how do pastoral and fanfare topics shape the plot of Così fan tutte? Chapter 2 highlights the role topics and tropes play in emplacing and nuancing emergent meaning in the Così fan tutte motto. Chapter 3 examines transformative topical tropes in "Ah guarda, sorella." Chapter 4 shows how the horn fifths and fanfare topics in "Per pietà, ben mio" frame Fiordiligi's choice: the Albanian or Guglielmo. Chapter 5 illustrates the relationship between fanfare topics and galant recitative schemas to articulate formal boundaries between accompanied recitatives and arias. The expectations of closure emplaced by the examples from Così fan tutte nuance a reading of "Hai già vinta la causa!" from Le nozze di Figaro. Chapter 6 discusses the role of recitative intrusions and their articulation of the Count's unrest in "Vedrò mentre io sospiro." Detailed analyses and close readings of the topics and tropes in this dissertation drawn from throughout Così fan tutte showcase Mozart's rich deployment of topics in varied musical and dramatic roles.
3
Tsai, Meng-Jung. "Così fan tutte? A Study of Character Development through Key Characteristics in the Prima Donna and Soubrette Roles from Four of W.A. Mozart's Late Italian Operas." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707355/.
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This dissertation investigates how W. A. Mozart applies the concept of key characteristics—the affective properties of each tonality—as discussed by three of his contemporaries, Johann Mattheson, C.F.D. Schubart and G.J. Vogler, to four soubrette and four prima donna characters from four of his late Italian operas: La Contessa and Susanna in Le nozze di Figaro; Donna Anna and Zerlina in Don Giovanni; Fiordiligi and Despina in Così fan tutte; Vitellia and Servilia in La clemenza di Tito. The analytical method of this dissertation provides a hermeneutical tool to search for meanings in Mozart's music. The application compares the libretto text and its corresponding tonal center with the description of key characteristics on a micro level, to reveal significant dramatic and practical implications from Mozart's key usage in his operas.
4
Murphy-Geiss, Kathleen. "The Art of the Ensemble Opera: A Comparative Study of the Uses of Ensemble in 1790s Vienna Through W.A. Mozart’s Così fan tutte and Domenico Cimarosa’s Il Matrimonio Segreto." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19227.
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Ensembles have become iconic of the eighteenth-century opera buffa. Previous studies have focused their efforts on form, analyzing ensembles with instrumental structures. However, these forms do not provide information as to how ensemble texts are set musically or function in terms of drama. This study follows Ronald Rabin’s dissertation research on opera buffa performed at the Burgtheater in Vienna between 1783 and 1791. Rabin asserts an ‘ensemble principle’, explaining the broad form of buffa ensembles. This study focuses on the ensembles of two Viennese works: W.A. Mozart’s Così fan tutte (1790) and Domenico Cimarosa’s Il Matrimonio Segreto (1792). Using Rabin’s ‘ensemble principle’ as a foundation, a close reading of each ensemble from these two works reveals that these composers took very different approaches to ensemble writing. By sticking to or straying from conventions, Mozart and Cimarosa made musical choices that enhance character relationships and drama in diverse ways.
5
Chan, Tong-ti Trudy. "Cosi fan tutte on video." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20454880.
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Di, Profio Alessandro. "Cosi fan tutte e i suoi codici di lettura /." Roma [A. Di Profio], 1991. http://catalogue.bnf.fr/ark:/12148/cb37215813n.
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Dunstan, Elizabeth Mary. "'Cosi fan tutte' : the third Ferrarese libretto of Lorenzo de Ponte." Thesis, University of Birmingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.393817.
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Kněžíková, Kateřina. "W. A. Mozart Le Nozze di Figaro a cosi fan tutte se zřetelem na interpretační pojetí role Susanny a Despiny." Master's thesis, Akademie múzických umění v Praze. Hudební fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79448.
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In my thesis I have decided to focus on the two most famous operas buffa
by Wolfgang Amadeus Mozart. First, it is the opera Le nozze di Figaro (The
Marriage of Figaro) and later the opera Cosí fan tutte (Thus Do They All). In my
text I mainly concentrate on the interpretation approach to the title characters of
Susanna and Despina, compared in the three outstanding opera singers and
concerning my personal experience with these roles. To depict overall Mozart´s
profile as an opera wizard I include his complete opera work in the first chapter.
To by analysed in detail I have selected my favourite scene of Susanna, Act 4,
Giunse al fin momento (Finally, there comes the moment) and Deh, vieni, non
tartar, o gioia bella (Oh, come, don´t delay, joy beautiful). In case of Despina I
have chosen the aria from the beginning of Act 2, Una donna a quindici anni (A
Fifteen year old woman). I have divided my thesis into five chapters. I titled the
first chapter Wolfganga Amadea Mozarta´s Opera Work, the second chapter is
called Le nozze di Figaro, the third is Susanna, the fourth bears the name Cosí
fan tutte and the fifth is Despina.
9
Brayfield, Celia. "A critical review of four novels by Celia Brayfield considering their production and impact in the context of contemporary literature." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/12922.
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This critical review of four novels by Celia Brayfield, Getting Home, Mister Fabulous And Friends, Heartswap and Wild Weekend, outlines the themes that give the works defining coherence, which are a feminist evaluation of gender roles and an exploration of the relationship between space or place in millennial Britain. The author contextualises her novels in considering literary representations of the suburb in literature and use of the device of gender reversal in fiction. The review demonstrates that the novels make a significant and coherent contribution to knowledge as resonant and well-received creative works and provides an assessment of their international and national impact. In discussing the inspiration and influences of her work, her choices in characterisation, narrative and dramatised argument, and in particular her decision to create responses to two classic texts using the device of gender reversal, the author justifies the overarching approach and methodologies used for these novels.
10
Boukellal, Ali. "Contribution à l'étude des corrélations masses-énergies cinétiques, charges nucléaires des fragments de fission à l'aide du spectromètre "Cosi Fan Tutte"." Grenoble 2 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37596312b.
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PANG, LONG-KEI, and 彭朗琪. "Performance and interpretation of Fiordiligi from Mozart's opera "Così fan tutte"." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/4336kg.
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碩士國立臺灣藝術大學
音樂學系
106
Wolfgang Amadus Mozart (1756 – 1791) is an Austrian composer who enjoys a world-recognized fame. He composed more than six hundred instrumental and vocal music works. In the musical creation of Mozart, apart from the famous symphony and concerto, twenty-two operas composed in his mature period also play important role to the world. During the time in Vienna, Mozart composed three famous opera buffa with Lorenzo Da Ponte, among which there is the Così fan tutte finished in 1790. The thesis studies two arias of Fiordiligi, the soprano role in Così fan tutte, combined with the discussion of Mozart’s lifetime and his opera works. The author also investigates into the creation background of the opera and the influence of the social climate and moral ideal of the time. The author analysis the creation motivation and the characteristic of Fiordiligi, the voice feature of Adriana Ferrarese del Bene, the style and the dramatic elements of two arias. This thesis includes six chapters. The first chapter introduces the motivation and the research method. The second chapter introduces the lifetime of Mozart and Lorenzo Da Ponte. The third chapter studies the composition background and the premiere of opera, with a detailed introduction of the moral ideal of the time, and focuses on the discussion of Adriana from the perspective of her lifetime, vocal performance experiences and the influence of her voice characteristic on the creation of the opera. The fourth chapter presents the scenario and the relationship between different characters of the opera and also analysis the characteristic of Fiordiligi. The fifth chapter investigates into the two arias of Fiordiligi by analysing how Mozart combines the music with the elements of drama and the emotional evolution of the characters. This chapter also studies the key points and difficulties in interpretation from the perspective of personal study experience. The sixth chapter draws a conclusion to the thesis.
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TE-CHANG, KAO, and 高德昌. "The Conducting and Interpretation of Wolfgang Amadeus Mozart’sOpera Overture Così fan tutte K. 588The Conducting and Interpretation of Wolfgang Amadeus Mozart’sOpera Overture Così fan tutte K. 588." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/83765155160212826960.
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碩士輔仁大學
音樂研究所
98
Abstract Opera plays a key role in Wolfgang Amadeus Mozart’s music compositions. Mozart openly admitted his love for opera and wrote his first opera at the age of 11. He proceeded to write 22 operas throughout his life. Only after the 1780s, did Mozart finally reach artistic maturity in his music composition. During the second half of the 18th century and the reign of the Emperor Franz Joseph II, Vienna had a lively music scene whilst Italian comic opera, “Opera buffa,” was regarded as the most important form of play at the time. Mozart collaborated with Italian poet Lorenz da Ponta on 3 operas and at the same time, reflecting his view of love and relationships in Così fan tutte (the last of 3 operas). When Così fan tutte was first performed on the stage, it was considered socially unacceptable, and was criticized as “immoral,” “reveals the strongest contempt for women,” etc. Despite comments and criticisms, Mozart remained strong and focused on composing music. The motif Così fan tutte (Thus do they all) is ingeniously carved into this short playful, overture. For the playwright and composer working hand in hand on this particular piece, Mozart arranged three men singing the phrase, so that audiences could have an immediate grasp of the playwright’s actual sarcasm and humour. This not only adds to the dramatic effect, but builds a deep emotional connection to the play. Generally speaking, the music style of this opera is typical of Mozart: rhythmic wit and liveliness with a hint of melancholy and emotional suffering. The overture of this opera was the subject of this research. With an attempt to examine the music composition and dramatic implication of the music structure, we aim to gain a broad understanding and reveal different angles of this genius while showing our heartfelt respect to the 18th century - the golden age of Italian opera.
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"Reason and Desire, Education and Regression: Aspects of Rousseauist Gender Roles in Così fan tutte." Thesis, 1999. http://hdl.handle.net/1911/20470.
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Mozart's opera Così fan tutte encapsulates various theories of
Enlightenment sexual expression and presents a didactic program aiming at
appropriate male comportment in a love situation. Through various musical
devices, Mozart establishes ideal Rousseauist gender characteristics
and their debased forms, and applies them to the respective sexes as evidence of
weakened or enlightened states. Mozart also provides an educative voice in the
character of Don Alfonso, whose musical lines are appropriately instructive. An
exploration of sexual ideals in the Enlightenment as expressed in contemporary
texts and civil documents will provide a framework for Rousseau's theories of
education and gender formation as postulated in Emile, ou de l'education and
Sophie, ou la Nouvelle Héloïse. A musical analysis of several numbers in Cosi
demonstrates the unfolding weaknesses of the characters. While the men
progress towards an enlightened education in the natures of the sexes, the
women undergo a regression of character.
14
Liau, Pei Yin, and 廖珮瑩. "W.A.Mozart’s《Cosi fan tutte》：Genre , Social and Compositional Techniques." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/33087201118348550083.
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Wen, Yin-hui, and 溫穎慧. "The dramaturgy and the musical characterization of ensembles in W. A. Mozart’s “Cosi fan tutte”." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/25488215782196686742.
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碩士國立中山大學
音樂學系研究所
94
Under the leadership of the King Joseph II, various musical activities were flourishing in Vienna during the late 18th century. Among all, the opera buffa was one of the major forms of musical performances. During the stay in Vienna, Mozart and Theater Poet Da Ponte composed three opere buffe together, and the last one was Così fan tutte composed in 1790. Among all the opere buffe performed in Vienna from 1783 to 1791, the ratio of ensembles to arias in Così fan tutte was the highest. Therefore, the purpose of this thesis is to study the ensembles in this work, analyze the musical characterization of all characters, and carefully examine the dramatic meaning from the musical structure. In this thesis, there are three chapters except the preface and conclusion. The first chapter introduces the opere buffe performed in Vienna from 1783 to 1791 and describes its social meaning at the time, which provides the background as Mozart composed his opere buffe. The second chapter discusses the origin of the libretto and the influence of the Commedia dell''arte to the characteristic structure. This chapter therefore expresses its ideas more distinctly about two origins of the major play, the historical basis of six characters’ temperaments, and Da Ponte’s inductive composition technique. In addition, the third chapter further probes the musical intention of the ensembles in Così fan tutte. Furnishing characters in this play with vivid portraits and energetic vitality, Mozart composed this opera by innovative music language and various structure. Così fan tutte was harshly disparaged by critics in 19th century and being neglected for almost one century. Nevertheless, it was being highly recognized as moral standard was gradually dropped. It is fairly stated that Così fan tutte is a major achievement of opera buffa in late 18th century for Mozart’s overflowing creativity in composing ensembles as well as his keen penetration for drama.
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Hung, Chi-wen, and 洪琪雯. "Study of Mozart’s Opera Buffa: Cos? fan tutte (KV588) Despina / Chi-Wen Hung vocal recical." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/00331156410376703476.
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碩士東吳大學
音樂學系
99
This thesis focuses on the personality of the character Despina, and the interpretation of two arias in Mozart's Cos? fan tutte. The chapters introduce Mozart's life and the opera Cos? fan tutte, discuss the character Despina, and analyze musical forms in two arias of “In uomini, in soldati, sperare fedelt?遄 and “Una donna a quindici anni” respectively. The final concludes the vocal performance and interpretation. W. A. Mozart 1756~1777 In uomini, in soldati Una donna a quinici anni from Cosi fan tutte M. A. Cesti 1623~1669 Tu mancavi a tormentarmi V. Bellini 1801~1835 Vaga luna inargenti Ma rendi pur contento R. Schumann 1810~1856 Widmung Die soldatenbraut H.Wolf 1890~1903 Verborgenheit M. Ravel Cinq Melodies Populaires Grecques 1.Chanson ge la mariee 2.La-bas, vers leglise 3.Quel gallant m’est comparable 4.Chanson des cueilleuses de lentisques 5.Tout gai! 錢南章 曲 洛 夫 詞 雨中獨行 雲南民歌 姑娘生來愛唱歌 黃自 曲 龍七 詞 玫瑰三願 G. Verdi 1813~1901 Libiamo Ne' Lieti Calici from La traviata C. V. Stanford 1852~1924 The Rain It Raineth Every Day from The Clown"s Songs H. Parry 1848~1918 My Heart Is Like a Singing Bird from English Lyrics Set 10 E. Elgar 1857~1934 Where Corals Lie from Sea Pictures F.Lehar 1870~1948 Lippen schweigen from Die LustigeWitwe G. Puccini 1858~1924 O Soave Fanciulla Quando men vo from La Boh?嫥e
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Lee, Sing-sang, and 李幸珊. "The Analysis and Vocal Interpretation of Two Despina''s Aris In Mozart''s Opera“ Cosi fan tutte ”." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/73097488360499607407.
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碩士台南應用科技大學
音樂研究所
100
Mozart skilled carved figures, and their combination in the music, his melodies and dramatic performance, fully integrated as a reach of Music and Drama.The interpretation of the report tutte by Mozart''s comic opera“Cosi fan tutte”and explore the maid Despina, although she is not an important player, but her go-between role, but immaterial. In particular, she has a lot of love“dogma”, to see that she is able to articulate "preaching" is no wonder that two sisters convince her. Mozart for Despina''s preaching, to convince the ability to chant in two arias “In uomini in soldati ”,“Una donna a quindici” anni in the weak beat, dotted, fauna, homophone repetitive music designed to show; and often will be a short phrase repeated and symmetrical sentence or molded into the way the formation of large phrases, fully showing the look of Despina chatter preaching. Two chant tune from the music section, shoot, play speed and tonality of the music, the design seems different on mood and atmosphere.
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"Mozart: A Musical Advocate." Doctoral diss., 2010. http://hdl.handle.net/2286/R.I.8775.
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abstract: W.A. Mozart was a masterful creator of music and drama as well as a keen observer of human relationships. Librettists were enamored of his ability to bring their words to life with his music. His truthful portrayal of human relationships, particularly involving women, was highly influenced by his own life experiences. Through these relationships he learned to create characters and music that clearly depict female sibling relationships in the eighteenth century. A review of educational opportunities for women during the eighteenth century, Mozart's personal relationships, as well as selected roles in his operas will help to explain Mozart's portrayal of the eighteenth-century female sibling stereotypes. While Mozart's self-centeredness is well documented in biographies by Cliff Eisen and Ruth Halliwell, and the argument can be made that he surrounded himself with females who fulfilled his needs, he was often drawn to operas in which he could advocate musically for a female character's liberation from the overbearing influence of powerful men. Although Mozart's "musically empowered" women appear in nearly every opera, for the purpose of this paper, I will focus on the characters of Così fan tutte's Fiordiligi and Dorabella, and Le Nozze di Figaro's Countess. First, however, a closer analysis of Mozart's early life and his relationships with his sister and mother is necessary. The ways Mozart set characters created by DaPonte and Beaumarchais cannot be separated from the ways he was taught to appreciate females in his family of origin. Social structure during the eighteenth century dictated a woman's education, responsibility to her family, and therefore, played a fundamental role in defining her life. This situation often created expectations within the birth order that had an impact on sibling relationships as well as individual personalities. Many social and familial influences are represented through the operas of Mozart. Così fan tutte (January 26, 1790) and Le Nozze di Figaro (May 1, 1786) both contain a central female sibling relationship that reflects aspects of Mozart's relationships with women throughout his life.Dissertation/Thesis
D.M.A. Performance 2010
19
Hwang, Yu-Chen, and 黃羽晨. "A Research of the Compositional Analysis and Performance By Soprano～ According to Wolfgang Amadeus Mozart's "Le nozze di Figaro", "Don Giovanni", and "Cosi fan tutte" ～." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/99149744669060349729.
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碩士國立臺北教育大學
音樂學系碩士班
99
Mozart (Wolfgang Amadeus Mozart, 1756-1791) is the most important composers in the classical period, life made more than 650 songs, whenever symphonies, concertos, chamber music, religious music, piano, opera and so on. This paper I will focus on interpretation of the role of soprano singer of Mozart’s three harmonic opera "Le nozze di Figaro", "Don Giovanni", "Così fan tutte", from the musical form analysis, lyrics, actor between interactive, music melody, piano accompaniment, etc. to refine the role of chanting in tune when singing mood changes and emotional changes caused by plot-depth study. Mozart’s opera wide variety of female roles, whenever maid, country girls, the countess, the role of housekeeper and so on. The author, after studying the three operas, concludes in common are: (1) the happy ending of the harmonic opera (2) the role of the lower class women, maid or country girls for example (3) including types of both Recitative and Aria; differences between the following: (1) only "Così fan tutte" to describe the woman's infidelity, the other two men are described in bothering to bring (2) emotional singing of "Le nozze di Figaro" relatively calm and "Don Giovanni" more volatile. Mozart had explained the different types of female roles by soprano tone and sound quality. Personal and emotional performance differ among them, so each suitable for certain singer to interpret. If the singer in concert before, will make analysis and comparison of the same and different characteristics of the role, it was believed a better grasp of the role of work style and personality on the character.
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wen, Chen Hsu, and 陳緒文. "莫札特歌劇《女人皆如此》（Cosi fan tutte, KV588）之四首女高音詠唱調研究/碩士畢業音樂會." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/cn7nbw.
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Tsai, Jui-Tzu, and 蔡瑞慈. "A Study on the Role Features of Maids and the Musical Interpretation in Wolfgang Amadeus Mozart's Operas – Taking as examples《Die Entfuhrung aus dem Serail》,《Le Nozze di Figaro》, and《Cosi fan tutte》." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/s3m742.
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碩士國立東華大學
音樂學系
102
This thesis is written up with a view to exploring the Role Features of Maids as well as the Musical Interpretation in three Wolfgang Amadeus Mozart's three Operas: 《Die Entführung aus dem Serail》, 《Le nozze di Figaro》, and 《Cosi fan tutte》. The main scope of this research covers the European opera development in 18th century in which Mozart’s best works were created: how the creations were worked out along with the progrss of Italian opera buffa and German Singspiel in the epoch. Hopefully, this research is able to help better understand the interactions between the formation of the three operas and the features of the then European operas. By means of scenario analysis, this thesis explores the role features of and difference between Blondchen, Susanna, Despina, the three maids in said operas, their musical interpretations as well as their drama implications. The research relies heavily on available documentations in this country, among them, biographies, researches on opera development, history of the times involved, information on drama performance and material on European opera works. In the author’s view, the role features of the three maids meet perfectly the interpretation requirement of soubrettes: their characters are bright, appearances are cute and the performance styles are comprehensive, going with actions as well as stillness. In terms of the vocal technique, the six arias sung by the three maids present actually certain difficulties. The author of this paper hopes this paper can help potential singers master better the skills by the interpretation on the songs and the body language of the corresponding roles. The key concept in this regard is “Where there is intention, there is chi (energy in form of air)”. As for the drama exploration, the author suggests the singer/performers plunge emotionally deeper into the settings of the three maids, so as to interpret the roles’ feelings in a way more natural and refined.