Recognition in Mozart's Operasby Jessica Waldoff
Pub. Date: 04/13/2006
Publisher: Oxford University Press
Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Though a standard feature of opera, recognitiona moment of new awareness that brings about a crucial reversal in the actionhas been largely neglected in opera studies. In Recognition in Mozart's Operas, musicologist Jessica Waldoff draws on a broad base… See more details below
Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Though a standard feature of opera, recognitiona moment of new awareness that brings about a crucial reversal in the actionhas been largely neglected in opera studies. In Recognition in Mozart's Operas, musicologist Jessica Waldoff draws on a broad base of critical thought on recognition from Aristotle to Terence Cave to explore the essential role it plays in Mozart's operas. The result is a fresh approach to the familiar question of opera as drama and a persuasive new reading of Mozart's operas.
- Oxford University Press
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- Product dimensions:
- 9.40(w) x 6.10(h) x 1.20(d)
Table of Contents
Table of Contents
Recognition: An Introduction
Recognition as a New Perspective
Figaro's "Scar" as the "Signature of a Fiction"
Chapter 1: Operatic Enlightenment in Die Zauberflöte
Enlightenment as Metaphor
Tamino's Recognition: "Wann wird das Licht mein Auge finden?"
Pamina, Papageno, and the End of the Opera
The "Scandal" of Recognition
Chapter 2: Recognition Scenes in Theory and Practice
Recognition in Classical and Contemporary Poetics
Recognitions of Identity in Mozart
Disguise and Its Discovery
The Quest for Self-Discovery
What Recognition Brings in the End
Chapter 3: Reading Opera for the Plot
Plot in Contemporary Poetics and Opera
Plotting in Le nozze di Figaro
Mozart and the Plot that is "Well Worked Out"
Chapter 4: Sentimental Knowledge in La finta giardiniera
La "vera" and la "finta" giardiniera
Reading Opera "for the sentiment"
Sandrina as "Virtue in Distress"
Count Belfiore, Madness, and the Restorative Recognition
Chapter 5: Don Giovanni: Recognition Denied
The Problem of the Ending
Dénouement and lieto fine
Recognition Prepared and Denied
"Life without the Don"
Chapter 6: Sense and Sensibility in Così fan tutte
Resisting the Ending
Reading Così "for the sentimen"
The Language of Sentimental Knowledge
"Vorrei dir," "Smanie implacabili," and Questions of Parody
Positions of Knowledge
Chapter 7: Fiordiligi: A Woman of Feeling
The Ideal of the Phoenix
Fiordiligi, Ferrarese, and "Come scoglio"
"Per pietà": Recognition Denied
The Triumph of Feeling over Constancy
Chapter 8: La clemenza di Tito: The Sense of the Ending
The Language of clemenza and pietà
The Politics of Tyranny
"I called him a Papageno"
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