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Updated: May 12, 2025
The Nozze is a comedy of life and manners. The music is adorable. To-night the women were not bad to look at the Lucca was divine; the scenes ingenious. I thought but little. I came away delighted. 'That is granted. 'That too is granted. But when the play and the music come together how shall I say? the music helps the play, and the play helps the music; and we well we, I suppose, must help both!
As he said in his Memoirs, this aversion hid from him the true worth of Don Juan and Le Nozze di Figaro. One wonders whether he knew that his idol, Gluck, wrote music for Italian texts not only in the case of his first works but also in Orphée and Alceste. And whether he knew that the aria "O malheureuse Iphigenie" was an Italian song badly translated into French.
"It is many years since I have heard an opera," she pursued. "In my day the works of the Italians were much applauded. But I doubt if Mozart will be surpassed. I hope you admire the Nozze?" You will not need me to tell you that I came out of Mrs. Gregory St. Michael's house little wiser than I went in. My experience did not lead me to abandon all hope.
In such characters as Susanna in the "Nozze di Figaro," and Fidalma in Cimarosa's "Il Matrimonio Segreto," her talent for lyric comedy impressed the cognoscenti of London with irresistible power. She was fascinated by the ludicrous, and was wont to say that she was anxious to play the Duenna in "Il Barbiere" for the sake of the grotesque costume.
He had moved into the house in the year 1833 the year that the opera house was opened after it had been built for a company headed by Lorenzo Da Ponte. This Da Ponte had come to America in 1805, having a record as an Italian dramatist, who had furnished libretti for Mozart's operas, Don Giovanni and Nozze di Figaro.
No one took much thought of the coming spectacle, till the conductor's rap was heard upon his desk, and the orchestra broke into the overture to Mozart's Nozze. Before they were half through, it was clear that we should not enjoy that evening the delight of perfect music added to the enchantment of so brilliant a scene. The execution of the overture was not exactly bad.
Mozart knew everything that was to be known about music, and 'Le Nozze di Figaro, in spite of its supreme and unapproachable beauty, is really only the legitimate outcome of two centuries of steady development. Perhaps the most striking feature of the work is the absolute consistency of the whole.
The news of his presence in the theatre quickly ran through the parterre, and the overture was no sooner ended than the whole audience rose and gave him a general acclamation of welcome, amidst deafening salvos of applause. "The success of 'Le Nozze di Figaro, so unsatisfactory at Vienna, was unexampled at Prague, where it amounted to absolute intoxication and frenzy.
The ladies at first resist the ardent strangers, but end by giving way, and the last scene shows their repentance and humiliation when they discover that the too attractive foreigners are their own lovers after all. There is much delightful music in the work, and it is greatly to be regretted that it should have been so completely cast into the shade by 'Le Nozze di Figaro,
Yet the same Viennese public, six years before, had actually hissed Mozart's "Nozze di Figaro," which shares with Rossini's "Il Barbiere" the greatest rank in comic opera, and has retained, to this day, its perennial freshness and interest. Cimarosa himself did not share the opinion of his admirers in respect to Mozart.
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