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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Von Hildebrand, Dietrich, and John Henry Crosby. "Wolfgang Amadeus Mozart." Logos: A Journal of Catholic Thought and Culture 7, no. 2 (2004): 189–212. http://dx.doi.org/10.1353/log.2004.0015.

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12

Hatzinger, M., A. Häcker, S. Langbein, S. Bross, P. Honeck, and P. Alken. "Wolfgang Amadeus Mozart." Der Urologe 45, no. 4 (2006): 489–92. http://dx.doi.org/10.1007/s00120-005-0978-2.

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13

Leupp, Roderick T. "Review: Wolfgang Amadeus Mozart." Christianity & Literature 36, no. 1 (1986): 39–40. http://dx.doi.org/10.1177/014833318603600117.

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14

Law, J. K. "Idomeneo. Wolfgang Amadeus Mozart." Opera Quarterly 14, no. 1 (1997): 169–72. http://dx.doi.org/10.1093/oq/14.1.169.

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15

Glasow, E. T. "Zaide. Wolfgang Amadeus Mozart." Opera Quarterly 15, no. 2 (1999): 336–38. http://dx.doi.org/10.1093/oq/15.2.336.

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16

Law, Joe K. "Idomeneo. Wolfgang Amadeus Mozart." Opera Quarterly 5, no. 1 (1987): 153–55. http://dx.doi.org/10.1093/oq/5.1.153.

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17

Richardson, Paul A. "Book Review: Wolfgang Amadeus Mozart." Review & Expositor 84, no. 2 (1987): 345–46. http://dx.doi.org/10.1177/003463738708400235.

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18

Glasow, E. T. "Der Schauspieldirektor. Wolfgang Amadeus Mozart." Opera Quarterly 13, no. 1 (1996): 123–24. http://dx.doi.org/10.1093/oq/13.1.123.

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19

Graeme, R. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 18, no. 1 (2002): 114–17. http://dx.doi.org/10.1093/oq/18.1.114.

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20

Huck, William. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 3, no. 1 (1985): 152–53. http://dx.doi.org/10.1093/oq/3.1.152.

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21

Pines, Roger G. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 4, no. 4 (1986): 105–6. http://dx.doi.org/10.1093/oq/4.4.105.

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22

Jellinek, George. "Don Giovanni. Wolfgang Amadeus Mozart." Opera Quarterly 5, no. 4 (1987): 128–30. http://dx.doi.org/10.1093/oq/5.4.128.

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23

Glasow, E. Thomas. "Die Zauberflöte. Wolfgang Amadeus Mozart." Opera Quarterly 7, no. 1 (1990): 220–22. http://dx.doi.org/10.1093/oq/7.1.220.

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24

Wolff, Christoph. ": Wolfgang Amadeus Mozart. Requiem . Alfred Schnerich. ; Wolfgang Amadeus Mozart. Requiem, K. 626 . Gunter Brosche." 19th-Century Music 15, no. 2 (1991): 162–65. http://dx.doi.org/10.1525/ncm.1991.15.2.02a00070.

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25

Till, N. "Wolfgang Amadeus Mozart: Cosi fan tutte." Opera Quarterly 25, no. 1-2 (2009): 145–49. http://dx.doi.org/10.1093/oq/kbp022.

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26

Hunter, Mary, and Christoph-Hellmut Mahling. "Wolfgang Amadeus Mozart. Violinkonzerte und Einzelsatze." Notes 43, no. 1 (1986): 166. http://dx.doi.org/10.2307/897854.

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27

Glasow, E. Thomas. "Il re pastore. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 2 (1993): 184–86. http://dx.doi.org/10.1093/oq/10.2.184.

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28

McKee, David. "Two Don Giovannis. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 2 (1993): 191–95. http://dx.doi.org/10.1093/oq/10.2.191.

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29

Glasow, E. Thomas. "La finta giardiniera. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 3 (1994): 188–90. http://dx.doi.org/10.1093/oq/10.3.188.

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30

Glasow, E. T. "Three Coslfan tuttes. Wolfgang Amadeus Mozart." Opera Quarterly 16, no. 4 (2000): 673–77. http://dx.doi.org/10.1093/oq/16.4.673.

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31

Pines, Roger G. "Così fan tutte. Wolfgang Amadeus Mozart." Opera Quarterly 4, no. 4 (1986): 86–88. http://dx.doi.org/10.1093/oq/4.4.86.

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32

Jellinek, George. "Così fan tutte. Wolfgang Amadeus Mozart." Opera Quarterly 5, no. 1 (1987): 134–35. http://dx.doi.org/10.1093/oq/5.1.134.

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33

Bomberger, E. Douglas. "Cosȶ fan tutte. Wolfgang Amadeus Mozart." Opera Quarterly 10, no. 1 (1993): 131–33. http://dx.doi.org/10.1093/oq/10.1.131.

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34

Sacau, E. "Wolfgang Amadeus Mozart: La clemenza di Tito." Opera Quarterly 22, no. 3-4 (2008): 571–74. http://dx.doi.org/10.1093/oq/kbn014.

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35

Rice, John A., Baird Hastings, Peter J. Davies, Alexander Wheelock Thayer, and Theodore Albrecht. "Wolfgang Amadeus Mozart: A Guide to Research." Notes 47, no. 4 (1991): 1128. http://dx.doi.org/10.2307/941632.

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36

Glasow, E. Thomas. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 11, no. 1 (1994): 136–38. http://dx.doi.org/10.1093/oq/11.1.136.

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37

McKee, David. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 11, no. 3 (1995): 151–53. http://dx.doi.org/10.1093/oq/11.3.151.

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38

Buller, Jeffrey L. "La clemenza di Tito. Wolfgang Amadeus Mozart." Opera Quarterly 12, no. 2 (1995): 133–35. http://dx.doi.org/10.1093/oq/12.2.133.

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39

Glasow, E. T. "Mitridate, re di Ponto. Wolfgang Amadeus Mozart." Opera Quarterly 16, no. 2 (2000): 301–3. http://dx.doi.org/10.1093/oq/16.2.301.

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40

Glasow, E. T. "Die Gartnerin aus Liebe. Wolfgang Amadeus Mozart." Opera Quarterly 17, no. 2 (2001): 304–6. http://dx.doi.org/10.1093/oq/17.2.304.

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41

Glasow, E. T. "Il sogno di Scipione. Wolfgang Amadeus Mozart." Opera Quarterly 17, no. 4 (2001): 739–43. http://dx.doi.org/10.1093/oq/17.4.739.

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42

Hamilton, David. "Le nozze di Figaro. Wolfgang Amadeus Mozart." Opera Quarterly 6, no. 4 (1989): 107–11. http://dx.doi.org/10.1093/oq/6.4.107.

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43

Zegers, Richard H. C., Peerooz Saeed, and Wilmar M. Wiersinga. "The large eyes of Wolfgang Amadeus Mozart." International Ophthalmology 26, no. 6 (2007): 201–6. http://dx.doi.org/10.1007/s10792-006-9014-9.

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44

Gribenski, Jean, and Gertraut Haberkamp. "Die Erstdrucke der Werke von Wolfgang Amadeus Mozart." Revue de musicologie 77, no. 2 (1991): 349. http://dx.doi.org/10.2307/947435.

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45

Hatzinger, M., A. Haecker, J. K. Badawi, S. Kamp, and P. Alken. "WOLFGANG AMADEUS MOZART. THE DEATH OF A GENIUS." European Urology Supplements 5, no. 2 (2006): 173. http://dx.doi.org/10.1016/s1569-9056(06)60609-x.

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46

Keynes, Milo. "The Personality and Illnesses of Wolfgang Amadeus Mozart." Journal of Medical Biography 2, no. 4 (1994): 217–32. http://dx.doi.org/10.1177/096777209400200405.

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47

Gasenzer, Elena Romana, Ayhan Kanat, and Edmund Neugebauer. "Neurosurgery and Music; Effect of Wolfgang Amadeus Mozart." World Neurosurgery 102 (June 2017): 313–19. http://dx.doi.org/10.1016/j.wneu.2017.02.081.

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48

Steptoe, A. "Wolfgang Amadeus Mozart: A Biography. By Piero Melograni." Music and Letters 89, no. 1 (2008): 117–18. http://dx.doi.org/10.1093/ml/gcm074.

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49

Carretero, Mª B. "Wolfgang Amadeus Mozart nos ayuda a estudiar anatomía." Revista Eureka sobre enseñanza y divulgación de las ciencias. 4, no. 1 (2007): 176–88. http://dx.doi.org/10.25267/rev_eureka_ensen_divulg_cienc.2007.v4.i1.11.

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50

Glasow, E. T. "Die Entfuhrung aus dem Serail. Wolfgang Amadeus Mozart." Opera Quarterly 18, no. 1 (2002): 108–10. http://dx.doi.org/10.1093/oq/18.1.108.

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