Mozart's Operas: A Critical StudyChatto & Windus, 1913 - 432 pages |
Autres éditions - Tout afficher
Expressions et termes fréquents
accompanied aria audience beauty Beethoven century character chorus comic opera Commendatore composer concerto Constanze conventional Così fan tutte course Despina dialogue Die Zauberflöte Don Alfonso Don Giovanni Don Juan Don Ottavio Donna Anna Donna Elvira dramatic duet effect Electra emotional English ensembles Entführung expression fan tutte feel Ferrando Fidelio Figaro finale Fiordiligi Freemasonry Freemasons French German opera Giesecke give Gluck's Guglielmo Idamante idea Idomeneo Ilia Italian opera Jahn ladies Leopold Leporello libretto Lorenzo da Ponte Masetto masonic melody ment merely Metastasio modern Mozart Mozart's opera musicians never once opera buffa opera seria orchestra Pamina Papageno passion performed pianoforte play Ponte Ponte's Prague priests probably quartet recitative Requiem Salieri Salzburg Sarastro scene Schikaneder second act Sethos sing singers sonata song stage story style sung Susanna symphony Tamino theatre tion trombones Varesco Vienna violins voice whole Wolfgang words write written Zauberflöte Zerlina
Fréquemment cités
Page 400 - To height of noblest temper heroes old Arming to battle, and instead of rage Deliberate valour breathed, firm and unmoved With dread of death to flight or foul retreat ; Nor wanting power to mitigate and swage, With solemn touches, troubled thoughts, and chase Anguish, and doubt, and fear, and sorrow, and pain, 1 From mortal or immortal minds.
Page 400 - With solemn touches troubled thoughts, and chase Anguish and doubt and fear and sorrow and pain From mortal or immortal minds. Thus they, Breathing united force with fixed thought, Moved on in silence to soft pipes that charmed Their painful steps o'er the burnt soil. And now Advanced in view they stand — a horrid front Of dreadful length and dazzling arms, in guise Of warriors old, with ordered spear and shield, Awaiting what command their mighty Chief Had to impose.
Page 389 - Geistesohren schon der neue Tag geboren. Felsentore knarren rasselnd, Phöbus' Räder rollen prasselnd, welch Getöse bringt das Licht! Es trommetet, es posaunet, Auge blinzt und Ohr erstaunet, Unerhörtes hört sich nicht.
Page 329 - Masonry is the activity of closely united men who, employing symbolical forms borrowed principally from the mason's trade and from architecture, work for the welfare of mankind, striving morally to ennoble themselves and others, and thereby to bring about a universal league of mankind, which they aspire to exhibit even now on a small scale.
Page 324 - I see him perpetually; he entreats me, presses me, and impatiently demands the work. I go on writing because composition tires me less than resting. Otherwise I have nothing more to fear. I know from what I suffer that the hour has come; I am at the point of death; I have come to an end before having had the enjoyment of my talent.
Page 146 - Our poet here is now a certain Abbate Da Ponte. He has an enormous amount to do in revising pieces for the theater and he has to write per obbligo an entirely new libretto for Salieri, which will take him two months. He has promised after that to write a new libretto for me. But who knows whether he will be able to keep his word — or will want to?
Page 382 - INITIATED. THE FIRST STAGE IS NOTHING BUT ERRORS AND UNCERTAINTIES ; LABORIOUS WANDERINGS ; A RUDE AND FEARFUL MARCH THROUGH NIGHT AND DARKNESS. AND) NOW ARRIVED ON THE VERGE OF DEATH AND INITIATION, EVERY THING WEARS A DREADFUL ASPECT : IT IS ALL HORROR, TREMBLING, SWEATING, AND AFFRIGHTMENT.
Page 155 - ... appear on the stage, even if there were three hundred of them, by ones, by twos, by threes, by sixes, by tens, by sixties, to sing solos, duets, trios, sextets, sessantets; and if the plot of the play does not allow of it, the poet must find some way of making the plot allow of it, in defiance of his judgment, of his reason, or of all the Aristotles on earth; and if he then finds his play going badly, so much the worse for him!
Page 187 - It has been said by travellers, that the Bohemian nobility keep musicians in their houses ; but in keeping servants, it is impossible to be otherwise, as all the children of the peasants and trades-people, in every town and village throughout the kingdom of Bohemia, are taught music at the common reading schools, except in Prague, where, indeed, it is no part of school-learning ; the musicians being brought thither from the country.
Page 187 - I went into the school which was full of little children of both sexes, from six to ten or eleven years old, who were reading, writing, playing on violins, hautbois, bassoons, and other instruments.