Of all Mozart's latter operas, one has the feeling this is the most collaborative. Da Ponte, clearly a child of the Enlightenment, he
settled in the USA, the apotheosis of the movement, had control of the libretto to the other big three. It goes without saying that Don
Giovanni had more to do with Da Ponte's acquaintance with Casanova,
they were related, than Mozart's relationship with his Father.
Since The Magic Flute is the most multi layered of operas, part
pantomime, part political satire, part philosophical treatise, part adventure, part love story... One wounders what part Mozart played in
the libretto and what part Schikaneder contributed. Unfortunately I
have no knowledge of his other work.
My feeling is that Schikaneder was probably responsible for the
political satire and the opera buffa, and Mozart for the philosophy
and ritualistic aspects, he was by all accounts a more dedicated Mason
than his collaborator. I might be way off base here, any thoughts on
this would be gratefully received,
Best regards
John
Is there avaailable a DVD of a performance using Mozart's
original Egyptian setting ?
Of all Mozart's latter operas, one has the feeling this is the most collaborative. Da Ponte, clearly a child of the Enlightenment, he
settled in the USA, the apotheosis of the movement, had control of the libretto to the other big three. It goes without saying that Don
Giovanni had more to do with Da Ponte's acquaintance with Casanova,
they were related, than Mozart's relationship with his Father.
Since The Magic Flute is the most multi layered of operas, part
pantomime, part political satire, part philosophical treatise, part adventure, part love story... One wounders what part Mozart played in
the libretto and what part Schikaneder contributed. Unfortunately I
have no knowledge of his other work.
My feeling is that Schikaneder was probably responsible for the
political satire and the opera buffa, and Mozart for the philosophy
and ritualistic aspects, he was by all accounts a more dedicated Mason
than his collaborator. I might be way off base here, any thoughts on
this would be gratefully received,
Best regards
John
Of all Mozart's latter operas, one has the feeling this is the most collaborative. Da Ponte, clearly a child of the Enlightenment, he
settled in the USA, the apotheosis of the movement, had control of the libretto to the other big three. It goes without saying that Don
Giovanni had more to do with Da Ponte's acquaintance with Casanova,
they were related, than Mozart's relationship with his Father.
Since The Magic Flute is the most multi layered of operas, part
pantomime, part political satire, part philosophical treatise, part adventure, part love story... One wounders what part Mozart played in
the libretto and what part Schikaneder contributed. Unfortunately I
have no knowledge of his other work.
My feeling is that Schikaneder was probably responsible for the
political satire and the opera buffa, and Mozart for the philosophy
and ritualistic aspects, he was by all accounts a more dedicated Mason
than his collaborator. I might be way off base here, any thoughts on
this would be gratefully received,
Best regards
John
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