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Relevant bibliographies by topics / Mozart, Wolfgang Amadeus, Operas

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Academic literature on the topic 'Mozart, Wolfgang Amadeus, Operas'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Mozart, Wolfgang Amadeus, Operas"

1

Pérez Martel, José María. "El mundo clásico en las primeras óperas de Wolfgang Amadeus Mozart." FORTUNATAE. Revista Canaria de Filología, Cultura y Humanidades Clásicas 28 (July 2018): 275–86. http://dx.doi.org/10.25145/j.fortunat.2018.28.021.

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Tråvén, Marianne. "Mozarts musikaliska retorik: en studie av musikaliskt avbildande element i Mozarts operor." Sjuttonhundratal 8 (October 1, 2011): 209. http://dx.doi.org/10.7557/4.2399.

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<p>This article investigates and describes the components of Wolfgang Amadeus Mozart's musical rhetoric as they are visible in his operas from <em>Zaide</em> (1780) to <em>Die Zauberfl&ouml;te</em> (1791). The relationship between verbal text and musical text is in these operas especially intimate, and Mozart used the musical text to illustrate, paint and comment the verbal text. Mozart's views on the compositional process, visible in his letters, rested on the notion that music should portray the characters, emotional content and action of the play, all withi

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Soloviova, Oksana. "Concerts for Clavier and Orchestra by Wolfgang Amadeus Mozart: Trends in the Development of the Genre in the Context of His Composer Method." Ukrainian musicology 46 (October 27, 2020): 127–39. http://dx.doi.org/10.31318/0130-5298.2020.46.234610.

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In recent years, research opportunities in the field of Mozart studies have expanded. As a result, new scientific paradigms are emerging that differ from the generally accepted ones. Even the well-known facts of the composer's biography and work can be viewed in a new way today. The interdependence of Mozart's instrumental and theatrical music has long been studied, but still remains an inexhaustible source for new research – this determines the relevance of the study. Main objective of the study – to determine the interaction of the two sides of Mozart's work: instrumental and theatrical and

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Тетяна Младенова. "ORIENT В. А. МОЦАРТА: ВІД АЛЮЗІЇ ДО ЕТИКО- ЕСТЕТИЧНОЇ СТИЛЬОВОЇ МОДЕЛІ". World Science 2, № 4(56) (2020): 14–20. http://dx.doi.org/10.31435/rsglobal_ws/30042020/7028.

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Throughout the history of music, the dialogue of cultures in the West- East discourse has produced various Orientalism models. Introducing a fashion for oriental decorations in Europe, using new instruments, borrowing modes of musical expression, as well as alluding to signs and symbols of oriental religions and philosophies gave rise to reshaping European musical aesthetics as early as the 18th century. At that time, Wolfgang Amadeus Mozart and his work were undoubtedly pivotal for the art. One can retrospectively observe that Turkish Janissary musical traditions significantly freshened and e

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Glasow, E. T. "From "Idomeneo" to "Die Zauberflote": A Conductor's Commentary on the Operas of Wolfgang Amadeus Mozart." Opera Quarterly 19, no. 2 (2003): 280–84. http://dx.doi.org/10.1093/oq/19.2.280.

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Hiltner-Hennenberg, Beate. "Piècen aus „La clemenza di Tito” von Wolfgang Amadé Mozart auf mechanischen Musikinstrumenten." Die Musikforschung 50, no. 3 (2021): 319–24. http://dx.doi.org/10.52412/mf.1997.h3.993.

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Der Aufsatz befaßt sich unter dem Aspekt der Rezeptionsgeschichte mit der letzten Opera seria Wolfgang Amadeus Mozarts, <La clemenza di Tito>. Vor allem die mechanischen Musikinstrumente, die zwischen 1750 und 1865 weit verbreitet waren, galten als Indikatoren für das Interesse des Publikums. Insbesondere der Marsch und die beiden Arien der Vitellia wurden von fast jedem mechanischen Instrument gespielt.

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Lösel, Steffen. "In Need of God: Mozart, Faith, and Così fan tutte." Theology Today 74, no. 2 (2017): 112–37. http://dx.doi.org/10.1177/0040573617716616.

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This article offers readers a theological entrée to Wolfgang Amadeus Mozart’s comic opera, Così fan tutte, written in collaboration with Lorenzo da Ponte in 1789. It engages the opera as a means of social and theological criticism. The opera presents Mozart’s understanding of love through a critical engagement with the late Enlightenment and French materialism. While da Ponte’s libretto may well endorse materialism’s attack on the church and on Christian anthropology, Mozart’s music is more ambiguous: on the one hand, it demonstrates the weakness of Baroque Catholicism to withstand the rationa

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Rudnicka, Justyna. "Don Juan Wolfganga Amadeusa Mozarta w reżyserskiej interpretacji Lii Rotbaumówny – próba rekonstrukcji." Res Facta Nova. Teksty o muzyce współczesnej, no. 20 (29) (December 15, 2019): 55–68. http://dx.doi.org/10.14746/rfn.2019.20.5.

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Don Juan by Wolfgang Amadeus Mozart, directed by Lia Rotbaum (Opera Wrocławska, 1969), turned out to be an unorthodox staging supported by deep theoretical reflection. This article attempts to reconstruct this staging, on the basis of what is known as the work’s documentation (director’s copy, photographs, opera programme), reviews, accounts by the singers, as well as the director’s theoretical writings. Don Juan in the interpretation of Lia Rotbaum is an ambivalent figure, who combines contradictory attitudes. He is not a thoroughly negative protagonist; it is the other characters in the oper

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Mitchell, Nathaniel. "The Volta: A Galant Gesture of Culmination." Music Theory Spectrum 42, no. 2 (2020): 280–304. http://dx.doi.org/10.1093/mts/mtaa006.

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Abstract This article presents an overview of a new pre-cadential schema in the galant style: the Volta. The Volta is a two-part schema featuring a prominent chromatic reversal: stage one charges up the dominant with a ♯4^–5^ melodic string, while stage two releases to the tonic using a ♮4^–3^ string. The schema sheds light on many aspects of galant music-making: its variants illustrate how central features of a schematic prototype motivate or constrain plausible manipulations, its pre-cadential function reveals the intimate communion between surface schemas and the harmonic patterns inscribed

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LUMBAN GAOL, DEDI BENSAMAS. "ANALISIS TEKNIK BERNYANYI DIANA DAMRAU PADA OPERA “THE MAGIC FLUTE ARIA QUEEN OF THE NIGHT” KARYA WOLFGANG AMADEUS MOZART." Grenek Music Journal 7, no. 2 (2018): 224. http://dx.doi.org/10.24114/grenek.v7i2.10987.

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This study aims to analyze, Technique of Singing Diana Damrau oin Opera TheMagic Flute Aria Queen Of The Night Works Wolfgang Amadeus Mozart. Thepurpose of this research is to know Technique of Singing, how to interpret andartistic overall Diana Damrau sing Opera The Magic Flute Aria Queen Of TheNight.The theory used is analyze, vocal technique, sound processing, sound formation,breathing, frasering, head voice, powering, vibrato, interpretation, singing, opera,aria,The method used in this research is qualitative descriptive method, namely aresearch method that aims to describe in detail and c

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Dissertations / Theses on the topic "Mozart, Wolfgang Amadeus, Operas"

1

Guhr, Glenn Dale. "The mask of the seducer : deceit, disguise, and seduction in the da Ponte operas of Mozart /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11404.

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Kim, Hak Min. "A critical analysis of Peter Sellars's three stage productions of the Mozart/da Ponte operas /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004200.

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McDonald, Rachel. "Almaviva a contemporary adaptation of Mozart's Le nozze di Figaro /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20080115.105636/index.html.

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Yang, Hyun Joo. "Which arias better represent Susanna's character : the original or replaced arias? /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11199.

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Sinkewitsch, Elena. "Mozarts Opern auf der Kiewer Bühne des 19. Jahrhunderts." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-218515.

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Nelson, Sarah Patterson. "Costumes for "The Magic Flute", composed by W.A. Mozart, libretto by Emanuel Schikaneder." Connect to this title, 2008. http://scholarworks.umass.edu/theses/203/.

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Sinkewitsch, Elena. "Mozarts Opern auf der Kiewer Bühne des 19. Jahrhunderts." Musikgeschichte in Mittel- und Osteuropa ; 1 (1997), S. 47-56, 1997. https://ul.qucosa.de/id/qucosa%3A15298.

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Lieberzeit, Michal. "Don Giovanni - historie díla,jeho vznik a interpretace opery ve 20.století." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-177883.

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The master thesis "Don Giovanni - history, its origin and interpretation in the 20th century" is dealing with an entire development of the opera and it reflects staging approaches of the 20th century. The thesis offers a brief analysis of the opera and the literary work it is based on. Furthermore it summarizes information about the origin of the work and its creators. Finally in the supplement there are cast lists of the productions of National Theatre Prague, photographs and pictures of the production in various opera houses worldwide.

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Viskotová, Edita. "Figarova svatba se zaměřením na roli hraběnky." Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-253653.

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This diploma thesis deals with the theme of Mozart's opera The Marriage of Figaro, focusing on the role of the Countess and her contextualisation into the work of W. A. Mozart. The fundamental objective of this thesis is to analyze Mozart's work in the broader context of the composer's life story, the plot of the opera and interpretative concept of the role of Countess by three selected protagonists. A secondary aim of the thesis highlights the importance of Mozart's operas in music history. The introductory part covers the life of Mozart, followed by an overview and analysis of the formation

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Phillips, Edward. "Mozartean gesture and rhetoric in Hummel's Concerto for trumpet." Thesis, Recital, recorded June 13, 2006, in digital collections. Access restricted to the University of North Texas campus. connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6062.

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Thesis (D.M.A.)--University of North Texas, 2008.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 13, 2006, Feb. 12, 2007, Nov. 8, 2007, and Mar. 5, 2008. Includes bibliographical references (p. 38-40).

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Books on the topic "Mozart, Wolfgang Amadeus, Operas"

1

ill, Stevens Daniel, ed. Operantics with Wolfgang Amadeus Mozart. Sunstone Press, 1987.

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2

Mozart's operas: A critical study. 2nd ed. Clarendon Press, 1991.

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3

Mann, William Somervell. The Operas of Mozart. Cassell, 1986.

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4

Faravelli, Danilo. Invito all'opera Cosí fan tutte di Wolfgang Amadeus Mozart. Mursia, 1992.

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5

Lamarque, Vivian. Il flauto magico: Dall'opera di Wolfgang Amadeus Mozart. 2nd ed. Fabbri Editori, 2000.

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6

1751-1812, Schikaneder Emanuel, and Alier Aixalà Roger 1941-, eds. La flauta mágica de Wolfgang Amadeus Mozart. Ma non troppo, 2000.

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7

Paul, Gruber, and Metropolitan Opera Guild, eds. The Metropolitan Opera book of Mozart operas. HarperCollins, 1991.

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8

The complete operas of Mozart: A critical guide. Victor Gollancz, 1986.

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The complete operas of Mozart: A critical guide. Indigo, 1997.

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10

Till, Nicholas. Mozart and the Enlightenment: Truth, virtue, and beauty in Mozart's operas. W.W. Norton, 1995.

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Book chapters on the topic "Mozart, Wolfgang Amadeus, Operas"

1

Ruf, Wolfgang. "Mozart, Wolfgang Amadeus (Amadé)." In Komponisten. J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_32.

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Ruf, Wolfgang. "Mozart, Wolfgang Amadeus (Amadé)." In Komponisten Lexikon. J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_195.

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Ruf, Wolfgang. "Mozart, Wolfgang Amadeus [Amadé];." In Metzler Komponisten Lexikon. J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_200.

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Eisen, Cliff. "Wolfgang Amadeus Mozart c1760–92." In New Mozart Documents. Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-21646-8_1.

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László, Ferenc. "Wolfgang Amadeus Mozart als „Zwölftöner“?" In Mozart und Schönberg. Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205792208.227.

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Hartung, Günter. "Mozart, Wolfgang Amadeus (1756–1791)." In Goethe Handbuch. J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03656-8_30.

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Krones, Hartmut. "„Redende Musik“ bei Wolfgang Amadeus Mozart und Arnold Schönberg." In Mozart und Schönberg. Böhlau Verlag, 2012. http://dx.doi.org/10.7767/boehlau.9783205792208.119.

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Meißner, Thomas. "Wolfgang Amadeus Mozart: Bis heute nicht verwundener Verlust." In Der prominente Patient. Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-662-57731-8_34.

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Brandstätter, Ursula. "Hans Mersmanns Analyse der »Klaviersonate KV 311« von Wolfgang Amadeus Mozart." In Musik im Spiegel der Sprache. J.B. Metzler, 1990. http://dx.doi.org/10.1007/978-3-476-04460-0_5.

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10

Suppan, Wolfgang. "Möglichkeiten und Grenzen (musik-)kultureller Traditionsbildung: Von Johann Joseph Fux zu Wolfgang Amadeus Mozart." In Europa im Zeitalter Mozarts. Böhlau Verlag, 1995. http://dx.doi.org/10.7767/boehlau.9783205122098.33.

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