Themes and examples

Question 1

presentation of women in figaro

Answer 1

Marcellina’s aria often omitted (Il capro e la capretta) but shows she wants to be content living with man.
Susanna and Countess scheme against the count, not without issues but eventually resolve the situation.
Women taking power where they can within their class levels.
more informed and successful in rising above than in DG or Cosi

Question 2

presentation of women in Don Giovanni

Answer 2

Mistreatment of women throughout, rape, seducing and scheming.
DE completing obsessed/life ruined by DG.
Unlike in Figaro, not resolved by women but by supernatural figure.
DA as the most powerful and self-confident women in this opera.
Lack of power of servant Zerlina.

Question 3

presentation of women in Cosi

Answer 3

Shown as the fickleness of women.
18th century audience may have viewed it that way but the views have hopefully changed now.
Despina as woman having the most power in this? She is servant status and does Don Alfonso’s bidding but she manipulates the situation.
Unresolved.

Question 4

Don Giovanni descending class boundaries

Answer 4

Peasant simpler style in duet with Zerlina.
No ‘spectacular aria’ of his own. His champagne aria in Act I – Finch’han dal vino calda la testa he orders party. Taken very fast speed and forward pulse showing DG appetite for life, not particularly spectacular aria comes across as more buffa in fast speed and small range. Raucous orchestra, sounds like its lots of fun, like everyone pushing each other forwards and lots of mordents in orchestra, kinda taking the piss. Lots of sforzandos, and overall a simple bit of music, the first phrase repeating throughout.
Dressed as Leporello he seduces Zerlina again – act II aria Deh vieni all finestra. The singing is accompanied by a mandolin, which gives it a remarkable sound. It’s sung at eveningtime, which gives it a muted sound, so as not to be heard by neighbours. The verses are long and romantic, and end poetically with a weak emphasis, which gives it a gentle and undulating feeling, and the words are so sweet to the extent the border to comedy is almost crossed.
Singing in higher style in act one quartet non ti fidar to undermine DE with DO and DA against her with him.

Question 5

Cosi and class

Answer 5

no context for the two girls
Seria parody in Dorabella’s Act I aria – smanie implicabili – unclear of her status, she could be a noble character? This aria has lots of reference to classical mythology So Dorabella’s emotions may be exaggerated but maybe not a ridicule of the genre itself from Mozart. Dorabella panics at the thought of living without Ferrando. Fast moving string parts and outburst of woodwinds sounds like instruments sobbing with Dorabella.
Fiordiligi parody aria in Act I Come scoglio - Appears to be opera seria aria, although the text and music undermine this. A sense of cliché, and double meaning in the over sentimental music, and deliberately wide leaps draws attention the artificialness of the situation. Written as a showpiece to show off the coloratura soprano’s voice, very agile, and uses extremes of emotion. Massive leaps reflects the forces pulling the character in different directions, even though the words talk of her as a rock. Emotions are sincere but Mozart’s still aware of the comicness of the opera, and pokes fun of the character and genre that takes itself too seriously. On the edge between serious and facade. Dramatic big leaps mock seriousness of opera seria style but also mock what Fiordligi is saying: she claims to be unmoveable like a rock, but the extreme leaps suggest otherwise.

Question 6

Figaro and class

Answer 6

Count uses higher class and sense of entitlement to manipulate Susanna.
S shows knowledge beyond her class, love for Figaro and respect for institution of marriage by refusing the Count
strong presence of dance music lowering class
undermining seria elements
Countess clear in high style - S elevates her ownstyle to match this in their Act III duet
Figaro aria Act IV – Aprite un po’quegli shows elevation of his style in moment of heightened emotion. Orchestra work with him and reflect his style. Anger at women during this, libretto commented on by orchestra.

Question 7

buffa/seria general points

Answer 7

all listed as buffa
buffa can have seria elements but seria can’t have buffa
opera seria as noble or ‘serious’ Italian opera and opera buffa focusing on comedic elements introduced into music and dramatic plots that often end happily
musical contrast between ‘high’ poetic style, melismatic vocal movement and coloratura versus a more naturalistic and declamatory style of singing

Question 8

playing with convention in genre

Answer 8

All the Mozart and Da Ponte operas playing with these typical matters of convention, despite being marked as opera buffa, in both their musical and dramatic setting. The character of Leporello emphasising buffa (character and musical style don’t change throughout) and Donna Elvira seria.

Question 9

Don Giovanni character contrast

Answer 9

Leporello as lower servant - lower status in syllabic musical setting and natural delivery (catalogue aria ‘Madamina’)
Donna Elvira and rage aria showing elevated style in contrast
Don Giovanni crossing boundary by singing in both styles
musical manipulation of seria and buffa trpoes revealing maniupation

Question 10

Don Giovanni and the supernatural

Answer 10

inclusion of the supernatural and the unconventional presence of death throughout, particularly beginning with the Commandatore’s death in the first scene as confounding Alongside being faithful to many conventions of opera buffa, so that the audience are aware this isn’t typical of a seria opera, the presence of death somewhat clouds a clear genre definition with a mixing of the tragic and the comic.
librettist becoming dramatist taking convention and manipulating

Question 11

Don Giovanni and seria vs buffa represented musically

Answer 11

underlined by its overture, which begins in the stormy key of D minor - this key recurs in the opening duel, in Anna and Ottavio’s Act I vengeance duet, in the Act I finale, and in the Commendatore’s ghostly reappearance in Act II. To enhance its impact, Mozart avoids using any other minor keys.

The second part of the overture introduces the opera’s other important and most prevalent key – D major. This contrast of D minor and D major highlights the opera’s fluctuation between comedy and high drama.

Question 12

Figaro and seria vs buffa

Answer 12

elements of parody
Cherubino as comic character

Question 13

Cosi and seria vs buffa

Answer 13

comic but now considered darker due to manipulation
musically comic, audience know of manipulation and so seria elements appear more comic
Dorabella Smanie implicabili as parody

Question 14

Goehring - the sentimental muse of opera buffa and comic in Cosi

Answer 14

reform of comedy in the 1750s with natural representation over the ridiculous
fusion of natural and ridiculous using sentimentalism - anti-sentimentalism in Mozart operas
liberating comic opera from convention in favour of psychological realism
DA Vorrei dir as parody and showing sentimental distress over overwhelming passion

Question 15

example of the comic plot in music in Cosi

Answer 15

sento oddio No.6 Quintet
sisters beg men not to leave - seriousness of this undermined by comic element of plot that the audience are aware of
musically serious
final stanza all sing the same words but set musically differently
sisters sing one melody in homophonic thirds and soldiers sing another with dotted rhythm in thirds - DA sings the sisters melody but in canon

Question 16

example of comic character in cosi

Answer 16

Despina - aria act I in uonmini in soldati
mirrors DA aria of not trusting women by not trusting men
‘la la la’ laidback attitude
women should have fun
no sympathy - entertaining not subserviant
lines meant as recit written as aria
short phrases mocking

Question 17

DG and seriousness in opening

Answer 17

begins with Commendatore’s death
Ma qual mai - no.2 opening duet with DA and DO sets up serious tone in fast moving strings and low pitch hints at darkness
DA makes DO swear to avenge death - sets up major plot point but steeps in seriousness, as opera goes on more comic elements added

Question 18

DG and the statue (supermatural)

Answer 18

O statua gentillissima duet with DG and L
DG orders L to invite statue to supper - L scared and DG not
use of trombones for first time symbolising religion or supernatural
supernatural theme bought back towards the end and multiple times following

Question 19

Figaro and comic character contrast

Answer 19

cherubino - non so piu aria in which he confesses love for all women contrasts to countess’s porgi amor a few pieces later which has high seria style

Question 20

Figaro - comic undermining serious

Answer 20

Bartolo La vendetta
could be serious in his wanting of revenge but undermined by the buffo patter style in second half
orchestra sets up as serious
could just be him getting excited so shows lower style

Question 21

Figaro - comic plot point

Answer 21

the revelation of Marcellina and Bartolo as Figaro’s parents
‘su madre’ ‘su padre’ interjections overlap creating comic element

Question 22

Gallarti Mozart and 18th century comedy

Answer 22

Opera buffa offering Mozart a model but he was not satisfied.
Da Ponte and the idea of drama of organic development for a musical comedy of action – conversations more realistic.
Mixture of serious and comic.
Transition to theatre becoming a greater representation of real life.
Figaro or Giovanni do not have much in common with opera buffa – characters not as fixed types but rather individuals capable of encountering situations that may be serious, comic or in-between.
Serious and comic intertwined.

Question 23

Hunter (1991) representations of opera seria in opera buffa

Answer 23

does suggest that it is not all parody but may be assimilation, often determined by musical context and the tone adopted

Question 24

structure of finales (Platoff, 1989)

Answer 24

cycles of statis and active action
Action and expression.
Importance of continuity and flow.
Self-contained expressive passages (e.g regarding feelings such as love).
Final expressive passage of the act – stretta.
tonal closure within one piece not indicating larger sense of structure throughout the work

Question 25

Platoff tonal organisation (1997)

Answer 25

Tonal organisation, planning and high level tonal structure referring to relationships between tonic keys of musical numbers in a work. Assumption that these relationships contribute to the meaning of Mozart’s works. Claims that an act or entire work is in one key or that there is ‘progression’ between keys. In Mozart operas often overture and final number share the same key. Romantic belief in unity – what can actually be heard by the audience.

Question 26

ending of cosi dependent on dramatic setting

Answer 26

Although the libretto has the two sisters singing ‘with fidelity and with love/I will make good what I have done/And adore you evermore’, the way that this number is staged would have a significant impact on the way that audience may interpret the ending. For example, the way in which they are positioned onstage in relation to the two men and the way they interact with them. By leaving this element of uncertainty, this adds another layer to the happiness of the typical buffa finale in which the cast are preparing for celebration. ironic preparations for marriage at the beginning of this finale two women left framed by the experiment with their nature left to blame and not the men (perpetrators) musical setting suggests return but decided by staging DA and D return to orginal roles

Question 27

Abert (2007) Cosi ending

Answer 27

men use melodies that they used to woo the women previously to reveal their true identity - manipulation goes to a musical level The opera ends with the six principles singing in unison ‘fortunate is the person who is able to make the best of all adversity. Through all vicissitudes he can let reason be his guide…in the midst of a whirlwind of adversity, he will find a centre of tranquillity’.

Question 28

Ford (2012) issues of infidelity and the painting of women in negative light in Cosi

Answer 28

Opposition of masculinity and femininity – moral strife. Women left framed by the experiment with their nature left to blame – not those of the men (experiment perpetrators). Issue of Enlightenment morality.

Question 29

Brown (1995) cosi musical link to beginning

Answer 29

Just before second finale Alfonso sings motto ‘Cosí fan tutte’ to his frriends who repeat it back. Mozart put the same music in the overture, expecting that people may recognise its significance.

Question 30

Figaro end finale

Answer 30

This is the culmination of all the drama and plot points in the opera, tying up and concluding loose ends. It comes at a moment in which Susanna and the Countess enter dressed in each other’s clothes to ensnare the Count for his misdoings in attempting to seduce Susanna. Begins as Figaro thinks Susanna sang for the Count Count asks for forgiveness and all is well cycle of stasis and action to tie up all plot points Instruments interacting with and weaving their way into the drama. Cherubino is the only character not resolved but he is a comic character not there for the plot.

Question 31

DG ending

Answer 31

come cut the last scene overture returns at death scene so could be seen as cyclical moment of closure and view the extra scenes as a coda Some see the earlier sextet as a moment of resolution for the rest of the characters. Buffa convention of happy ending so can’t end with death.

Question 32

DG and statue at end

Answer 32

tonal contrast and instability in the ending creating lack of sense of closure (especially if the last scene is cut – no resolution). Closure with the recall to the beginning with the presence of the Commandatore but still a sense that this is unresolved.

Question 33

Ford (2012) Don Giovanni and the Stone Man

Answer 33

Tonal triangle playing key part to the opera D – D minor – Bb. Lies behind large-scale structures. supper scene - Giovanni in high spirits in D major section, L disgust with master's greed, popular music as heightened reality statue scene - G# dim 7 tutti ff chord announces statue - harmonic instability and chromaticism underpinned by dissonance after music returns to G major as characters re-enter with police officers

Question 34

Campana (2009) - DG supernatural

Answer 34

unconventional presence of death throughout

Question 35

Parakilas (1990) DG

Answer 35

Paris production 1834 cut final scene - showing DG as central character and all others secondary

Question 36

Hunter and Webster cutting 19th c ending

Answer 36

Retaining the final scene ties together loose dramatic ends. Calmer atmosphere. Spotlight moves from DG to the other characters who react to his death by resolving their own affairs. Less spectacular ending that does not spotlight DG as the hero. The more the treatment concentrates on his death and loneliness the more tragic and sympathetic he becomes.

Question 37

dramaturgy general points

Answer 37

The pairing of the composer and librettist is an important one; however, whilst their decisions are scripted, they are often adapted by the dramatist who formulates these ideas and brings them to light for the audience. This manifestation of written ideas through dramatic performance is one which is tailored to both the context of performance, the contemporary context of composition and the personal adaptation of the written ideas, as chosen by the dramatist. process begins with composer adapting libretto which librettist took from story etc

Question 38

Count rage aria Haiga vinta and dramaturgy

Answer 38

recit moving to settenari aria one section ends after la sentenza sara - in libretto this is middle of the line fully obligato recit repetition of phrases - tempo changes

Question 39

figaro sextet riconosci in questo dramaturgy

Answer 39

poetry disrupted across the six characters shortened phrase interjection of 'sua madre' and 'sua padre' - musical mimicry and comedy parody element and comic plot point

Question 40

no.26 aprite un po'quegli occhi dramaturgy figaro

Answer 40

Figaro heightened emotion libretto phrases marked by orchestra obbligato recit adds to emotion - orchestra punctuates pain and anger matches higher style of count undulating arpeggios and darkness

Question 41

DG ma quell mai (DO and DA duet) and dramaturgy

Answer 41

begins with short secco then obbligato recit builds tension and reflects anger DO recit less lyrical - orchestra with DA feels like musical number change of key for duet - separation that isn't in orchestra

Question 42

DG finch'han dal vino - DG champagne aria and dramaturgy

Answer 42

fast, DG appetite for life music undermines his playfulness with over ornamentation in mordents

Question 43

DG Ah! Chi mi dice mai - DE and dramaturgy

Answer 43

8 settenari lines for DE suggest aria lines for DG interjection as recit but incorporated into aria reflect on their characters differently repeated lines and interjections orchestra stabs and fast movement - anger musical exclamations at times over board (parody - orchestra mimics her)

Question 44

DG sextet sola sola and dramaturgy

Answer 44

dotted sigh motif in orchestra for DE highlights her separation ottonari lines Zerlina and Masetto change to quinari parts and voices shuffled chaneg in poetic metre as interruption not change in number stretta finish as mini-finale active and expressive cycles

Question 45

Cosi una bella serenta (no.3) dramaturgy

Answer 45

sure they will win the bet (Ferrando and Guglielmo) but trill motif in orchesta undermines them alternating military and lyrical themes - suggesting it won't be easy

Question 46

Cosi Come scoglio dramaturgy

Answer 46

draws on comic elements in musical reflection mozart manipulates stanzas brass adds to sincerity wide leaps - not unshakeable as she suggests extremes of emotion undermines seria overly sentimental music

Question 47

Fragli amplessi Cosi dramaturgy

Answer 47

begins as though it were an aria - interrupted and musically manipulated requires directional decision making on outcome of characters Fiordiligi reluctant to Ferrando - shown in libretto but music manipulates this by framing as love duet Fiordiligi establishes the piece as an aria and is interrupted by Ferrando who seemingly to her arises from nowhere. his addition of g naturals and c naturals direct the harmony to cadence in E minor

Question 48

cosi and marriage

Answer 48

marriage of the two sisters to two ‘different’ men. Fiordiligi is less easily manipulated than Dorabella who seems to fall in love faster

Question 49

evolution of Fiordiligi in relation to marriage

Answer 49

Act I aria Come scoglio - steadfast in unmoveable nature, undermined by large leaps in orchestra Duet prendero quell brunettino - duet between sisters after Despina has left as they decide to flirt - echo melodies, Mozart repeats text twice through showing more affimration second time, F moves from mimicking to singing Act II aria per pieta - falling in love against her will - sincere and not parody. set as rondo as reflected by the pathos in her guilt for falling for Ferrando Act II duet Fragli amplessi - seduction, shared melodies

Question 50

Dorabella and marriage

Answer 50

Il core vi dono duet with Guglielmo sounds like genuine love story Dorabella echoes Guglielmo’s music and repeats his melodies. Very genuine sounding that may sound as though the love goes both ways. However, her repeating his melodic lines shows an element of control. They sing together at the end. Lyrical and slow, typical love duet and quickly begin to sing in harmony with each other.

Question 51

Figaro and the echoing of 18th century marriage in Count and Countess

Answer 51

Porgi amor - Countess loneliness Act I finale - Susanna and Countess agianst count, asks for forgiveness but in dominant and not near conclusion Count Act III rage aria Hai gia vinta - seria blind fury reflecting in orchestra Countess act III dove sono - Countess taking control, lamenting over happier days, nostalgia and mourning Act III Countess and Susanna duet against Count Countess forgives in end

Question 52

Figaro and Susanna and marriage

Answer 52

experience many issues cinque, dieci, venti opening duet - running semiquavers straight into action, separate activities and tension and resolution forshadowing, singing in harmony suggests they will last Riconosci in questo act III sextet - reconciles M and B subplot Figaro act IV aria aprite un po'quegli occhi - obbligato recit and heightened emotion as he feels berefeft

Question 53

Cherubino and marriage

Answer 53

ends up with Barbarina eventually aria non so pio - in love with everyone

Question 54

Don Giovanni and abusing marriage

Answer 54

DE reveals in Ah! Chi mi dicce mai Leporello further shows in Madamina! sextet act II sola sola shows how they think L is DG and DE still shows compassion

Question 55

DA and DO manipulated by DG

Answer 55

Act I duet Ma qual mai - find C dead and DO made to swear revenge. fast moving strings and woodwind, DO lyricism contrast to DA frantic Act I quartet non ti fidar - DA and DO not realising DG killed C and DE tries to expose DG but the others don't believe Act I Or sai (DA) and Dalla sua pace (DO) - immediately follow each other and DA's passion aria shows she wants revenge, tremolo and unrest in orchetsra. DO's shows love for DA - lyrical and sincere

Question 56

DA feelings about DO

Answer 56

DA’s many solo moments confirm she perhaps doesn’t need DO, exemplified in Act II aria – non mi dir in which she confirms her love for him. Dramatically this aria is not necessary. The orchestra begins with the supernatural theme just heard, and Donna Anna then repeats it. It takes on an almost ecclesiastical prayer like character. The chromaticism describes her pain and sorrow. Reminds us of DG and how DO hasn’t avenged yet she is perhaps the stronger character, he is not typical operatic tenor, but she still loves him - cute

Question 57

Masetto and Zerlina manipulated

Answer 57

Zerlina nearly seduced aby DG, abused. Begins by celebrating their wedding. Duet Act I – La ci darem la mano between Zerlina and DG shows Zerlina reminding him of her husband and says noble men often cheat on women (emphasising the abuse of power and marriage from DG). Alternate verses for the two characters but as Dg continues to flirt the two blend in harmony, reflecting unity. They agree to marry. DG attempts at seduction revealed in the music with lyrical melodies and lies, he adapts to a lower style to fit Zerlina’s servant class with a simple melody. The music for Zerlina shows her being seduced as she repeats all that DG sings. Batti batti Act I aria - Zerlina begging for forgiveness from Masetto. This is a beautiful love song, where Zerlina has Masetto wrapped around her finger. In the music there are teasing moments, trills and a solo cello which plays with the singer’s voice throughout this aria. Semiquavers in middle string parts throughout, very flowing easy and pleasant. Act I finale shows three dances at once – one for DG and Zerlina, one for DA, DE and DO in disguise and one for chorus. They save Zerlina from DG during this finale.

Question 58

Fragli amplessi (Hytner, Glyndebourne, 2006)

Answer 58

Fiordiligi sexualised recit beforehand - dressing in soldiers clothing to find her 'faithful husband' duet shows her alone onstage with her thoughts before Ferrando enters threatening to kill himself presence of huge sword and convincing words of death close interaction - she falls for him quickly This staging shows close attendance to the musical intention of the two getting closer together. This peaks at the end of the penultimate section, before they start singing in thirds. From this point onwards they barely leave each other alone – always in contact. This is perhaps helped by the overall view of this staging as a period work – the clothes are more typical of the period and it doesn’t present as a particularly ‘modern’ performance.

Question 59

Fragli amplessi as set by Andres (Munich, 2022)

Answer 59

modern staging she is not alone onstage minimal staging and modern clothing she has a small dagger as prop and he uses this as moment of power play - guiding her hand as if to kill him It seems in this production it is more that she doesn’t want him to die than she loves him. Lots of separation between characters – not staged as a close interaction of love. They are closer towards the end and he takes off her soldiers uniform much later than in the other production. Situation seems much more controlled by him until the very end.

Question 60

Ponelle film Fragli amplessi

Answer 60

no disguise or costume singing to the mirror but filmed so we see Ferrando enter before we hear him Has long sword he threatens to stab himself whilst manipulating her physically in close proximity to him. Camera switches at times to show those watching on. Guglielmo watching smiling until she gives into him Close camera angles showing proximity. She gives into him and camera pans down to Ferrando dropping the sword for her hand. Guglielmo slowly slides down a wall in despair.

Question 61

end of cosi and relationships Hytner Glyndebourne 06

Answer 61

happy wedding chorus until men return Women beg forgiveness from their actual partners and the men are seemingly having none of it. Sisters seek solace in themselves after accusing Don Alfonso as abusive. Sisters embrace each other over their men. Men try and leave but DA stops them. Couples go back to other but Fiordiligi and Guglielmo later to embrace. Ends with sister pairing and men paried together. All still seem rather angry. Confusion at the end when men stand behind the women and put their arms on shoulder of wife bu t then all look at each other as if confused. The Fiordiligi pairing defo less sure.

Question 62

Andrews cosi finale (Munich, 2022)

Answer 62

no onstage chorus Couples not in close interaction – whilst offstage chorus sing they all wander round alone without interaction with each other. The couples mirror each other and move in sync, Don Alfonso looks increasingly bored. Interruption from chorus with music from leaving soldiers the couples break apart (but stay remaining in their ‘sides’ of the stage in the same pairings). Fiordiligi is first to push her husband away and take off veil. Soldiers return to their correct wife, Despina reveals herself and the plot is shown. men threaten violence whilst women lie on floor - submission? Not fully convinced that couples would be happy either way – all seem pretty angry at the entire situation. All separate – no contact, in same order of pairings. Alll distraught at the end – particularly Fiordiligi who appears to be tearing her hair out.

Question 63

ponelle staging soave sia il vento (Cosi)

Answer 63

musical farewell as F and G go to war All outside on the beach, ladies appear distraught at their lovers having left. Don Alfonso moving during the recit whilst the ladies are static – his power? The beginning of the trio pans to just show the sea – calm be the waves? The first minute of the trio just shows the sea – perhaps emphasising the loss and travel of the men? Actually just quite entertaining as the audience know they haven’t gone anywhere. Camera pans back to show the figures standing ashore and staring into the middle distance whilst singing – not looking at or interacting with each other. Perhaps emphasising their separation into their own thoughts at this moment and the separation that is to come. At the end of the scene the two ladies leave Don Alfonso alone on the beach. Throughout DA stands in the middle of the two of them – he has the power.

Question 64

soave il vento (Cosi)

Answer 64

men off to war The music depicts the light waves in the sea that carry the boat off with them, in the lapping semiquavers. The sincerity of the sister’s feelings can be heard in their homophonic lines, parallel throughout. Not performative here but just lots of emotion. The sisters share one thought musically, DA’s vocal line is different, and more of a showman with his dramatic display towards the end. Even though DA knows that the men are not going to war he seems quite sincere in this trio, perhaps stepping out of character to add to the beauty of the music. It’s in a major key (E major) however despite being sad, sort of smiling through tears feeling.

Question 65

Gloger (ROH, 2019) soave il vento (Cosi)

Answer 65

None of the characters looking at each other. Set on a bench this time, sat with the two women on the bench and Don Alfonso just behind. Don Alfonso interacting with the ‘elements’ and the fly from above comes down – as if he is in control. For DA speakout moment he moved to stand between the two. DA leaves the two onstage as they both fall asleep on the bench. Outside bench – dressed in coats etc. closeness of sisters

Question 66

Hytner (Glyndebourne, 06) soave il vento

Answer 66

Again, all characters in a line staring out to the distance. This time DA on the end. Women look as if they are about to cry. Set inside. Fiordiligi in the middle, moving slightly more forwards (foreshadows that she will stay attached to her husband for the longest). Characters barely move – moment of stasis.

Question 67

cosi una donna a quindici anni Despina

Answer 67

Despina tells the women of all the various tricks that they can use and should have mastered by the age of fifteen to flirt. The sisters are outraged to hear this, what would people think? Morally dubious but we like her as a character? Longer aria for her – dominating. Relationship with strings – a lot of shadowing but some interactions like a duet competition that she wins. Disjunction between them later. Cheeky undertones for serious subject. her power over the women - she mocks them?

Question 68

ponelle film of Despina una donna a quindici anni

Answer 68

Inside the house, Despina playing up to the comic element whilst singing to the two women. Camera focus on Despina, as if the audience are the character she is speaking to at that time. This gives almost an impression that the fourth wall is being broken as she looks directly at the camera. Moving around the set in a manner aligned to the music in exaggerated comic dance style. Less of a focus on the attendance of the sisters she is talking to – somewhat unclear if they are actually listening. Leaves the room at the end with an apple on each chair? Despina cast as older – not as a girl the same age as sisters, does this give a different dynamic? Older/wiser?

Question 69

Hytner (Glyndebourne, 2006) Depsina una donna a quindici anni

Answer 69

Despina here is young, she communicates with the two women as if they are her friends. For example, through physical interaction and an arm around them. Dorabella seeming more attentive to the words Despina is speaking, Fiordiligi facing the other way as if not listening. Depsina also breaking the fourth wall in a way that she communicates with the audience. Fiordiligi refusing to interact in a way Dorabella is not parry to. Despina leaves them alone onstage. Sisters barely move whilst Despina commands the stage.

Question 70

Andrews (Munich 2022) Depsina una donna a qunidici anni

Answer 70

Despina older than the two girls, their childish nature is played up by the fact that in the recit before the aria they are playing with toys on the floor. Despina seems to have a strange sexual relationship with Don Alfonso. Sisters are playing around, don’t seem very adult in this production, spend a lot of time kneeling. Sisters both seem the same – not one more reluctant than the other. Sisters seem bored by the end of Despina’s showing off. No aside from Despina to the audience – the sisters seem to hear everything.

Question 71

Countess porgi amor ponelle film

Answer 71

Begins with her holding a coin, weird zoom out. She watches her husband leave on a hunt from the upstairs window. Moving around her bedroom. She goes to sit on her bed for the aria, which she does not visibly sing (seems as though it is being performed internally). Despite this, there is a huge focus on her face which appears pensive? The camera then pans around the room to Jesus on the cross and the Bible. Spends a lot of time looking at the room and her unmoving face.

Question 72

Countess porgi amor Huguet (Berlin 2021)

Answer 72

Performed in front of closed stage curtain. Focus is only on her. Extravagant dress and cape situation adds to drama. Slow moving and static gestures such as reaching out hand to her love perhaps. Curtains open as her aria ends leaving her onstage.

Question 73

Countess porgi amor (Grandage, Glyndebourne 2012)

Answer 73

She is onstage as Susanna tidies around her – then they all leave her alone. The bed is the focus of the stage, she sings as if to the bd at the beginning, leaning on it for support. Static. She isn’t very well lit, emphasising sadness but also means she is less focused. Seems unable to stand alone – leans on a lot.

Question 74

figaro act ii final ponelle film susanna and countess

Answer 74

Susanna and the Countess paired together on the bed, the Count asking for their forgiveness. Count getting closer to Countess whilst Susanna watches on. Again strange camera angles where you aren’t sure exactly what they are looking at. Susanna and Countess close throughout. Ends in chaos, lots of rushing around.

Question 75

Berlin (2021) Huguet figaro act ii finale

Answer 75

Susanna and Countess joining together, not in close proximity to begin with. Modern production, Countess bedroom but she is smoking. Susanna as onlooker at their relationship. Count and Countess no physical proximity. End with them all in a line, less chaotic than others, all do the same movement to move towards the back of stage then back to front.

Question 76

Grandage (Glyndebourne 2012) figaro act ii finale

Answer 76

Relationship between Countess and Susanna close. Count asking for forgiveness still not showing much closeness to Countess, lots of space between them whilst Countess seeks solace in Susanna’s presence. Still in the bedroom. Character separation at the end, desperation from Susanna and Figaro. Firago pulled between Marcellina and Susanna. Count and Countess join together.

Question 77

Huguet (Berlin 2022) ah chi mi dice mai DG

Answer 77

Donna Elvira expressing her anger by disrupting the set of the dress shop. She is talking to the other characters but in a sense only communicating her internal monologue. Don Giovanni and Leporello making their interjections from another part of the stage, unseen by her. When she realises it is him she physically pushes him around.

Question 78

DG Losey film ah chi mi dice mai

Answer 78

DE wandering round a garden in white with veil. Leporello and Don Giovanni are on ground level making their interjections whilst she sings from a higher level. Dressed in period dress. They are in close proximity to her movements but she doesn’t see them. The veil over her head obscures the facial expressions she makes. At the end they are right behind her, she delays turning round to face them.

Question 79

Huguet (Berlin, 2022) DG Madamina catalogue aria

Answer 79

Leporello’s catalogue on iPad, reading the list to Donna Elvira who becomes gradually more interested. Leporello trying to get DE interested, she elicits minimal reaction and is sat on the sofa trying not to acknowledge or look at him. By the end is more like he is communicating with the audience. Donna Elvira takes the iPad and seemingly exploring it – it is magnified onto a larger screen the audience can see whilst she examines pictures of women he has on there (seems to be her). She gets more uncomfortable at the photos (become explicit). Leporello playful in movement – across the sofa falling and rolling. Pretends to be Don Giovanni seducing a woman at the end until DE pushes him away.

Question 80

Lsey DG film Madamina catalogue aria

Answer 80

Leporello and DE go to sit on the steps of the big house, he unveils a huge scroll as the prop for this catalogue. Seems factual exploration, takes her through the paper which unfolds all the way down the stairs as he continues. Physical representation of the catalogue enhances comic aspect. Two servants bringing two further catalogues then appear. Very formal in setting but the prop makes it more ridiculous. Leporello continues round the grounds as they still unfold. Shows Count’s flirting through his own actions with the servant girls on the grounds, stroking their faces as they line up for him. Camera switches to woman washing (alarmingly young), interaction of staring faces turns Leporello into a creep. Ends by zooming into Donna Elvira’s face.

Question 81

Berlin (2022) Huguet DG sextet sola sola

Answer 81

DE smoking alone on chair – she looks rather depressed. DA and DO appear very much loved up. Four characters around L won’t let DE close to start with. L then reveals himself – he is on the floor with all others standing. Interacting with DE again, all against L instead of her. They put him in the bin (DE is apart from the rest).

Question 82

Losey film sextet DG

Answer 82

Inside – maybe basement setting. DG and L have masks of each other’s faces which are rather alarming. All characters coming together in front of the ensemble to sing the rest of the sextet? Paired together: L and DE, DA and DO and Z and M. DE showing compassion and physical affection for someone she believes to be DG (obvs L). This pairing are in the middle with the others and chorus watching. L revelation DE looks outraged. Functions a bit like finale with everyone onstage.

Question 83

buffa in the opening of DG

Answer 83

unison strings and simple harmonies F major clearly buffa orchestration and music

Question 84

DG no.1 musical features - Commendatore's death

Answer 84

Don G. Is imitating Donna Anna’s vocal line, he’s a social chameleon throughout the opera. Don G. Vocal line on ‘this woman will be the downfall of me’, same theme but with minor 9th when Don G. Kills the Commendatore. Idea that fate has run its course etc. Commendatore only sings triadic notes in this scene. When he dies we transition into C major, it doesn’t represent his death but rather the shock of the other two characters. (His death is very drawn out) This theme of minor 9ths and bassoons come back when blood is shed in the opera. Is Don G’s real downfall the fact that he breaks down social norms. Why is he punished in such a way? He’s too excessive, that could also be his biggest downfall.

Question 85

cyclical notions of revenge in the music of DG

Answer 85

No.2 revenge aria for DA end of aria repeated declamatory D minor chords that come back at the end of no.24 when Don G gets pulled down to hell, is in D major

Question 86

DG and seduction music

Answer 86

DG in no.15 directs L (dressed as him) to seduce DE using the same music that then comes in his canzonetta in no.16 as DG seduces Z (dressed as L) sense of hubris in DG using the same music to seduce different girls same music to two women from very different social standings. Link back to Catalogue aria ‘one woman is all women.’ melismatic syncopation highlights the word 'bella'

Question 87

DG end finale musically

Answer 87

Finale doesn’t have any syncopation in it because Don G always brings syncopation into his music. Elvira says she’s going to become a nun, Donna Anna and Ottavio are going to marry in a year and Leporello is going to go to the pub. Idea that Don Ottavio may be entering with the police so that they can arrest him. To what extent is this final scene a happy one? It leaves you in a place where the character’s lives continue (which is more opera Buffa). All the characters no longer need revenge, so maybe it is a happy ending? They kind of have closure. Overall there’s very little time in the opera for the women to actually empathise with each other’s suffering.

Question 88

Countess in play vs opera

Answer 88

In original play Countess is in act 1 when Cherubino goes off to war ~ Mozart and Da Ponte purposefully only introduce her in Act 2. Both of Countesses arias are quotes from Mozart’s masses. Maybe they’re prayerful. Different kind of music, not Buffa maybe doesn’t even belong in the opera. ‘Porgi amor’ is basically the first proper static aria in the opera.

Question 89

high style in Figaro - Susanna

Answer 89

‘Dei Vieni’, Susannah’s only proper aria (by herself on stage). Aria made up of serenade and soliloquy, Figaro is hiding behind a bush. Susannah knows that Figaro is listening and may even be implicitly directing to him. Accompagnato recit despite her being a lower class ~ possible argument that in this opera highness of style is coherent with emotional intelligence of characters. Cherubino transcending social norms in youth, same with Barbarina

Question 90

expectations of aria

Answer 90

pathos - heightened emotion and connection to Rondo form character type - buffo and serious key relationships e.g C, F and G fore comedic aspects and Eb for the more sentimental

Question 91

Sentimentalosm

Answer 91

Literary movement in the 18th century. Reaction against reason and logic of rationalist thought promoted by Descartes and Kant. Rise of sentimental novels such as Richardson’s Pamela and Sterne’s A Sentimental Journey. Valuing human emotions. Best one could aim for in aesthetic, moral and human realms (Stefano) Ethical and moral judgments based on human sentiments such as empathy and compassion. Connection to human emotion with the audience and link to Enlightenment. society and frameworks

Question 92

Anti-sentimentalism

Answer 92

Argues that sentimentalism often leads to excessive emotionalism and lack of realism. Sentimental characters need something to bounce off from to show their own brilliance. Proving of character. More realism showing character flaw. Disillusionment – too much sentimentalism detracting from real life. Bringing back to the everyday. Critiquing emotional excess. Container for sentimental moments that go too far.

Question 93

Webster (1991) Porgi amor

Answer 93

static - soliloquy for new character at the introduction of the Countess orchestral introduction and the yearning melody and chromatic motif then slow march of opening fanfare complex deconstruction of orchestral themes representing the complexities of emotion for the character of the Countess although nothing happens in the aria in respect to the plot its musical presentation reveals how it is highly dramatic

Question 94

Webster (1991) Ah! chi mi dice mai

Answer 94

Entrance aria long orchestral intro that is repeated under DE opening stanza and later reprise then disappears sonata without development comic appearance music obsessive in constant dotted rhythms and melodic skips and excessive in wide-leap style and concluding coloratura unable to control behaviour and feelings

Question 95

Countess, religion and quoting

Answer 95

Porgi amor (opens act ii) as a quote from the Missa Solemnis Agnus Dei (1780) Dove sono (act iii after sextet) tied to the Agnus Dei of the coronation mass (1779) this shows a religious link to higher powers and a level of morality beyond the other characters - separates the Countess beyond her status as a seria character The fact that this quotes an angus dei is also important as the idea of a higher power taking away sin and granting peace emphasises the Countess's quest for resolution in the 'day of madness'