Relevant bibliographies by topics / Nozze di Figaro (Mozart, Wolfgang Amadeus)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Nozze di Figaro (Mozart, Wolfgang Amadeus)'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Nozze di Figaro (Mozart, Wolfgang Amadeus)"

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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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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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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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Monrabal, David. "La trilogía Mozart-Da Ponte como antecedente histórico de la banda sonora cinematográfica." Popular Music Research Today: Revista Online de Divulgación Musicológica 4, no. 2 (2023): 69–85. http://dx.doi.org/10.14201/pmrt.30297.

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En las postrimerías del siglo XVIII, Wolfgang Amadeus Mozart y el libretista Lorenzo Da Ponte creaban Le nozze di Figaro, Don Giovanni y Così fan tutte. La tradicionalmente denominada trilogía Mozart-Da Ponte suponía un tratamiento dramático absolutamente inusual para el arte de la ópera de la época. Un verdadero monolito artístico dentro de la producción escénica del propio Mozart. Una referencia que llamaría la atención de compositores como, por ejemplo, Richard Wagner; de influencia incontestable en la posterior utilización de la música en el cine. Desde la óptica de los paradigmas cinemato
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Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each
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Dissertations / Theses on the topic "Nozze di Figaro (Mozart, Wolfgang Amadeus)"

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Smith, Linda S. "Mozart's dialectic with gender : Le nozze di Figaro and Piano concerto no. 25, K. 503 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/11391.

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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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Höllerer, Elisabeth. "Handlungsräume des Weiblichen : die musikalische Gestaltung der Frauen in Mozarts Le nozze di Figaro und Don Giovanni." Frankfurt am Main : P. Lang, 2001. http://catalogue.bnf.fr/ark:/12148/cb37714474c.

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Furlong, Alison Marie. "Georg Wildhagen's Figaros Hochzeit: How an Italian Opera Based on a French Play Became a German Socialist Film." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269535387.

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Wilder, Diana. "Role of Contessa Almaviva in Le Nozze di Fiagro : composer : Wolfgang Amadeus Mozart." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31572.

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The thesis for the Master of Music degree in Opera consists of the performance of a major role in one full opera production in the first or second year. My major role in one full opera production was Contessa Almaviva performed in Le Nozze di Figaro on March 3rd and 5th 2006.<br>Arts, Faculty of<br>Music, School of<br>Graduate
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Chen, Ying-chen, and 陳盈臻. "The Interpretation and Research of two female characters from Le Nozze di Figaro and Don Giovanni by Wolfgang Amadeus Mozart / Chen Ying-Chen Soprano Recital." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/24005666053424505636.

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碩士<br>東吳大學<br>音樂學系<br>95<br>In opera of Mozart, many different kinds of female characters and personalities presented are quite attractive. Some of the female characters are similar in some way and are good for specific singers to interpret. However, if the singer can analyze and compare the similarity beforehand, the style and personality of the characters can be better interpreted. The purpose of this research is to analyze two female characters（Susanna from Le Nozze di Figaro and Zerlina from Don Giovanni）from two operas of Mozart. Two Arias, one from each female character, were chosen to a
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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<br>國立臺北教育大學<br>音樂學系碩士班<br>99<br>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 emotiona
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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<br>國立東華大學<br>音樂學系<br>102<br>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
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Books on the topic "Nozze di Figaro (Mozart, Wolfgang Amadeus)"

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Carter, Tim. W. A. Mozart: Le nozze di Figaro. Cambridge University Press, 1994.

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Publishing, Opera Journeys, ed. The Marriage of Figaro: Le Nozze di Figaro. Opera Journeys, 2000.

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Ponte, Lorenzo Da. The Met Opera presents Wolfgang Amadeus Mozart's Le nozze di Figaro. Amadeus Press, 2014.

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Steptoe, Andrew. The Mozart-Da Ponte operas: The cultural and musical background to Le nozze di Figaro, Don Giovanni, and Così fan tutte. Clarendon Press, 1988.

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Steptoe, Andrew. The Mozart-Da Ponte operas: The cultural and musical background to Le nozze di Figaro, Don Giovanni, and Così fan tutte. Clarendon, 1990.

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Steptoe, Andrew. The Mozart-Da Ponte operas: The cultural and musical background to Le nozze di Figaro, Don Giovanni, and Così fan tutte. Clarendon, 1995.

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Photo by Nazzareno Luigi Todarello. Nozze Di Figaro: Wolfgang Amadeus Mozart. Independently Published, 2017.

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aso n.314 - les noces de figaro. PREMIERES LOGES, 2020.

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Babbar, Lara. Die Figur Cherubino in Mozarts «le Nozze Di Figaro». Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2017.

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Babbar, Lara. Die Figur Cherubino in Mozarts «le Nozze Di Figaro». Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2017.

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Book chapters on the topic "Nozze di Figaro (Mozart, Wolfgang Amadeus)"

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Carter, Tim. "Lorenzo da Ponte and Wolfgang Amadeus Mozart, Le nozze di Figaro (Vienna, 1786)." In Understanding Italian Opera. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780190247942.003.0004.

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Waldoff, Jessica, and James Webster. "Operatic Plotting in Le nozze di Figaro*." In Wolfgang Amadè Mozart. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164432.003.0012.

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Abstract Plot is so basic to our experience of reading, and indeed to our very articulation of experience in general, that criticism has often passed over it in silence, as too obvious to bear discussion. Yet the obvious can often be the most interesting, as well as the most difficult, to talk about.1OUR premise is that plot is equally basic to the experience of opera. Every opera acts out a story; every opera involves characters in action on the stage, who have motivations and goals, who become embroiled in conflicts that depend for their resolution on the course of events; and every opera turns on discoveries, reversals, climaxes, denouements and other standard features of dramatic plots. But plot is more than a matter of story alone:
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Edge, Dexter. "Mozart’s Reception in Vienna, 1787-1791." In Wolfgang Amadè Mozart. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164432.003.0005.

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Abstract Upon arriving in Vienna in 1781, Mozart rapidly became the darling of the upper aristocracy. During the first five years of his life in the imperial capital, he was in continual demand as a performer and teacher, he composed a popular Singspiel, and he earned a great deal of money. Then, about the time of Le nozze di Figaro in 1786, things began to go sour. Perhaps because of aristocratic uneasiness over the supposed revolutionary sentiments of Figaro and the moral ambiguity of Don Giovanni, or perhaps because of Mozart’s refusal to accept his ‘place’ as a common entertainer, his popularity declined precipitously: his music went out of fashion, invitations to perform disappeared, and his income plummeted.
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Dell’Antonio, Andrew. "‘II Compositore deluso’: the Fragments of Lo sposo deluso." In Wolfgang Amadè Mozart. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164432.003.0020.

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Abstract BETWEEN the composition of Die Entflihrung aus dem Serail and Le nozze di Figaro, Mozart started work on two comic operas that he never finished. The first of these, L’oca de! Cairo K.422, to a libretto by the Salzburg cleric and poet Gianbattista Varesco, can be dated with some certainty between August 1783 and the first months of 1784, on the basis of the extensive references to the opera in the correspondence Wolfgang exchanged with his father, Leopold, who was acting as intermediary between composer and librettist.
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Heartz, Daniel. "When Mozart Revises: the Case of Guglielmo in Cosìfan tutte." In Wolfgang Amadè Mozart. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164432.003.0016.

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Abstract OF the seven completed operas from Mozart’s last decade the composer revised Idomeneo, Le nozze di Figaro and Don Giovanni for productions subsequent to the first, mainly to accommodate different singers. He had, apparently, nothing to do with the several revivals of Die Enifuhrung aus dem Serail staged in Vienna and elsewhere while he still lived. In the case of the last three operas, of 1790-1, he did not live long enough to witness further productions; and only on the first of them, Gosz fan tutte, can he be seen performing radical surgery before the first production.
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Pirani, Federico. "Operatic links between Rome and Vienna, 1776-1790." In Wolfgang Amadè Mozart. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164432.003.0019.

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Abstract IN the period between Die Entfuhrung aus dem Serail and Le nozze di Figaro, Mozart saw the return to favour of Italian opera, when the Emperor Joseph II restored it to the Burgtheater after the popular failure of the German National Singspiel, which had used the house since 1778. In a letter dated 7 May 1783,1 Mozart told his father of the new company’s performers and performances and of his readiness to measure himself against an Italian opera. The new court librettist, Lorenzo da Ponte, was currently writing a text for Salieri (to be II ricco di un giorno), and could not at the moment supply a completely new libretto; undeterred, Mozart had read his way through some hundred librettos, he said, without finding anything to his satisfaction.
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Carter, Tim. "Mozart, Da Ponte and the Ensemble: Methods in Progress?" In Wolfgang Amadè Mozart. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164432.003.0011.

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Abstract TRADITIONAL approaches to issues of tonality and structure in the three Mozart-Da Ponte operas have come under criticism in recent years. The long-range tonal planning and tonal resolutions conventionally extolled in commentaries on these works have been shown by James Webster often to be little more than none-too-analytical wishful thinking. And judging by recent remarks from Carolyn Abbate and Roger Parker, even Mozart’s much vaunted use of the structures and dynamics of sonata form in his ensembles is coming under threat.1 The Act 2 finale of Le nozze di Figaro, once, nay still, thought an epitome of the opera buffa finale, is proving particularly vulnerable to this post-modernist dismembering of conventional views of Mozart.
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Brown, Bruce Alan. "Beaumarchais, Paisiello and the Genesis of Così fan tutte." In Wolfgang Amadè Mozart. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198164432.003.0014.

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Abstract OUR only first-hand information on the conception of Cost fan tutte is a letter of rather dubious authenticity from Mozart, inserted in the Extract from the Life of Lorenzo da Ponte, in which the composer requests a new libretto from his collaborator specifically on account of the success in Prague of Don Giovanni.1 It is far more likely that Mozart and Da Ponte’s last opera was born out of competition with pieces written expressly for the Viennese operatic troupe, their own included.2 Indeed, they advertised the connection to Le nozze di Figaro in the very title Cost fan tutte, and in the Presto section of the overture, where one hears the same neighbour-note phrase to which Basilio had sung these words in the earlier opera.
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