The three Mozart/Da Ponte operas offer a inexhaustible
wellspring for critical reflection, possessing a complexity and
equivocation common to all great humane works. They have the
potential to reflect and refract whatever locus of contemporaneity
may be the starting point for enquiry. Thus, even postmodern and
postmillennial concerns, far from seeming irrelevant to these
operas, are instead given new perspectives by them, while the music
and the dramatic situations have the multivalency to accept each
refreshed palette of interpretation without loss of their essential
character. These operas seem perennially new. In exploring the
evergreen qualities of Don Giovanni and Le Nozze di Figaro, the
authors of this book do not shun approaches that have foundations
in established theory, but refract them through such problems as
the tension between operatic tradition and psychological realism,
the coexistence of multiple yet equal plots, and the antagonism
between the tenets of tradition and the need for
self-actualization. In exploring such themes, the authors not only
illuminate new aspects of Mozart's operatic compositions but also
probe the nature of musical analysis itself.
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