Wolfgang Amadeus Mozart

In dit tweede deel van de reeks Operatheek verkent musicologe Lalina Goddard Così fan tutte, de beroemde komische opera van Wolfgang Amadeus Mozart en librettist Lorenzo Da Ponte. Al sinds het begin verhit Così de gemoederen omdat Da Ponte’s immorele en zelfs misogyne tekst niet te rijmen zou vallen met Mozarts verheven muziek. Achtereenvolgens duikt dit boekje in de literaire rijkdom van het libretto en de speelse ironie van de compositie die onder het oppervlak schuilgaan. Lalina Goddard zoekt hierbij antwoorden op de prangende vragen rond gender en vrouwonvriendelijkheid in deze opera. Met deze handige luistergids neemt ze de nieuwsgierige lezer en luisteraar mee langs de vernuftigste muzikale vondsten en literaire knipogen.

Is Don Giovanni Evil?

Although Mozart’s librettist for Don Giovanni, Lorenzo Da Ponte, explicitly invoked Dante’s Inferno as a source of his inspiration, both text and music tell a much more ambivalent story. The parts of the action familiar to its first audiences (the night-time escape and duel, the country maid, the statue of the dead Commander coming to dinner) were complicated by Don Giovanni’s persuasive, even heroic music and the hyper-dramatic self-justifications by his would-be conquests. Chronicling the Don’s last day, the opera focuses on his behaviors both nonchalant and impassioned as well as the inability of patriarchal norms and punishments to contain him. The opening scene, the episodic introduction of the women, and the serenade in Act II are seen here as telling examples of Mozart and Da Ponte’s desire—as in their other two collaborations, Le nozze di Figaro and Così fan tutte—to accommodate a serious moral tale to the poignant delights of comic opera. They reveal a vision of the Don beyond good and evil.