Casanova's heritage in the work of Wolfgang Amadeus Mozart? open-hearted symbols
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| © Sarah-Maria |
Wolfgang Amadeus Mozart (1756 - 1791 composer), his operas in a time, bound together in love and marriage in the rarest cases. Marriages were determined by gesllschaftlichen state and the parents. In addition, a family life was the purpose of or with children's education in the aristocratic circles hardly exists: the children have been brought up outside and not even breastfed by their mother. To marriage than love on paper, love affairs at court were by far not even an open secret, but just open - no secret. Sensuality was more or less public in numerous scandals, not least of symbolic and lived out even more decadent art. Like in painting, music or architecture and garden art: shell-shaped ornaments (Rocaille) with both obvious as associative sexual meaning of one of the most important stylistic device was in the Rococo.
Mozart himself was not a child of sorrow, and used as with pretty much every one of his piano students a love affair. His wife Constance was it because after in anything and even lived at times with the student and confidant of her husband, Franz-Xaver Sussmayr together in Baden - which meant that the father of the last Mozart's son - who heard typically in the name of Franz-Xaver - never could be clearly established.
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| © Sarah-Maria |
Mozart's librettist Lorenzo Da Ponte and Giacomo Casanova
not only at the Vienna Court went too freely: no less than Giacomo Casanova made hit the road together with Mozart's librettist Lorenzo Da Ponte later Europe and the bedroom. Da Ponte, almost 25 years younger than Casanova and seven years older than Mozart, was born in poverty, worked his way up to the writer, however, high the imperial court and was still in constant need of money.
But even if the literary works of Casanova and Da Ponte's acting mostly on their own Liebesabenteurn attacks, a reduction daruf far too short, because just like Mozart, they had a sharp eye for social relationships and entanglements. Your texts can be a social criticism in the spirit of the Enlightenment ethos . Close Indicative of Da Ponte flew during his training time for dissemination of philosophical ideas of Rousseau, not only from a seminary, but was completely banned from Venice. Casanova in Venice fared even worse: he became the most famous inmate of the notorious fugitive and Leads to the Palazzo Ducale.
Da Ponte made his way to Dresden to Vienna. There he wrote for the two court composer Salieri and Mozart librettos. A year after Mozart's death, he wandered in debt and banished from Vienna to New York. There, he operated an Italian first bookshop, eventually became Honorary Professor at Columbia University appointed founded there the Faculty of Italian language and literature, wrote "Memories" his autobiography, was the initiator of the first New York opera house and died in 1838 poor, almost aged 90, in good mental condition and with an incredibly rich biography .
Mozart's collaboration with Lorenzo Da Ponte accompanied
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| © Sarah-Maria |
of various Steitigkeiten between Liberttist and composer since written Ponte librettos for some of the most famous Mozart operas of all time: The Marriage of Figaro (1786), Don Giovanni (1787) and Cosi fan Tutte (1790) - all three not just an ode to loyalty:
ties The Marriage of Figaro at the play "Le Barbier de Seville" at (Beaumarchais), and later Rossini opera, the theater chases the Count Almaviva, the beautiful Rosina, and it may finally make his countess. But in the harbor of marriage arrived (at that point begins the Mozart opera), he can not keep away from others, and laments that he carried away to has had "the right of first night" to give up. Indeed, he is currently keen on marrying soon Susanna. She wants to marry Figaro, which also would have liked to Marcellina. That arises in the course of the story out to be his mother, and thus differs from a competitor. The countess in turn, maintains a more or less passive relationship to the page Cherubino and in the end they all sing together in chorus: "! Will be gracing the hand of love laughing, singing, joking and leapt Eternal grief is banned!"
Don Giovanni an opera about the Don Juan myth - but could just as well the life of Casanova and Da Ponte represent: Don not only collects the good loves, but can they hold on by his servant in writing and eventually gets into a conflict with a statue that represents something in the atmosphere of a father, conscience, law, morality or the superego.
In the opera Cosi fan Tutte Given that Ponte and Mozart, finally, direct and make the vows of love between two lovers fail miserably, at the end of the perky partner exchange are all crush again over the moon - and you can start from scratch ... ..
later luminaries of the music, such as about Beethoven responded in the face of Da Ponte's librettos quite derogatory and titled it as frivolous, immoral or banal. That too was one of the reasons why, for example the opera Cosi fan Tutte long time from the stages of opera houses disappeared.
