Music, Sexuality and the Enlightenment in Mozart's Figaro, by Charles Ford

By Charles Ford

track, Sexuality and the Enlightenment explains how Mozart's tune for Le nozze di Figaro, Don Giovanni and Così fan tutte 'sounds' the intentions of Da Ponte's characters and their relationships with each other. Mozart, when it comes to the infinitely generative and gorgeous good judgment of the sonata precept, didn't basically interpret Da Ponte's characterizations yet lent them temporal, musical varieties. Charles Ford's analytic interpretation of those musical kinds matters strategies and constructions intimately and at medium- to long term degrees. He addresses the track of quite a lot of arias and ensembles, and develops unique how you can interpret the 2 principally missed operatic genres of secco recitative and finales. in addition, Ford provides a brand new technique wherein to narrate musical information on to philosophical innovations, and thereby, the track of the operas to the inwardly contradictory deliberating the eu Enlightenment. This comprises shut readings of overdue eighteenth-century understandings of 'man' and nature, self and different, morality and transgression, and gendered identities and sexuality, with specific connection with modern writers, specifically Goethe, Kant, Laclos, Rousseau, Sade, Schiller, Sterne and Wollstonecraft. The concluding dialogue of the implied futures of the operas argues that their divided sexualities, that are these of the Enlightenment as a complete, have come to shape our personal unquestioned assumptions approximately gender changes and sexuality. This, in addition to the stylish and eloquent precision of Mozart's track, is why Figaro, Giovanni and Così nonetheless hold their important immediacy for audiences today.

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