Undergraduate Review

Volume 4 Issue 1 Article 8

1991

Better Defining a Character Genius

Becca Ewert '91 Illinois Wesleyan University

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Recommended Citation Ewert '91, Becca (1991) "Better Defining a Character Genius," Undergraduate Review: Vol. 4 : Iss. 1 , Article 8. Available at: https://digitalcommons.iwu.edu/rev/vol4/iss1/8

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Better Defining a Character Genius

'13ecca f£wert

Published by Digital Commons @ IWU, 1991 45 1 Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8

Mozart's ability for a. universally acknowledged. I­ equipped with realistic emoti him apart from a great many portray as well the emotions. stage and indeed, remaining: greater societal context. But. presentation of realistic chara nevertheless appealed still to "Opera, to me, comes before anything else." characterization. Instead of s he admits their artificiality sil - Mozart between societal reality and f ing not only equality betweer This incongruity of characteri presented through an intrigui portrayal and the choice of lit many consider his greatest of Giovanni, and Cosi fan tutte. '\ validity the human experienc· grossly artificial and idealistic attention focused upon the fel

chosen which depict women i By incorporating these contra operas, Mozart seems to nega have strived: an accurate and not an idealistic rendering of' https://digitalcommons.iwu.edu/rev/vol4/iss1/8 2 Ewert '91: Better Defining a Character Genius

Mozart's ability for accurate characterization is, it seems, universally acknowledged. His portrayal of human characters equipped with realistic emotions and understandable reactions sets him apart from a great many other composers, as does his ability to portray as well the emotions of women, before unrepresented on the stage and indeed, remaining for the most part silent even in the greater societal context. But for all his revolutionary tactics in the presentation of realistic characters and the female experience, Mozart nevertheless appealed still to the eighteenth-eentury processes of tore anything else." characterization. Instead of supporting the realism in his characters, he admits their artificiality simply by articulating the disparity - :Mozart between societal reality and the idealism of which he writes, includ­ ing not only equality between classes, but between the sexes as well. This incongruity of characterization and societal expectations is presented through an intriguing contradiction between character portrayal and the choice of librettos, at least in regards for what many consider his greatest operas, The Marriage of Figaro, Don Giovanni, and Cosi fan tutte. Why did Mozart attempt to render with \ validity the human experience if only through stock characters and grossly artificial and idealistic plots? If there was to be greater attention focused upon the female characters, why were librettos chosen which depict women in an unfavorable if not heinous light? By incorporating these contradictions within the framework of his operas, Mozart seems to negate that for which he was supposed to have strived: an accurate and valid portrayal of human experience, not an idealistic rendering of what that experience might possibly be.

Published by Digital Commons @ IWU, 1991 47 3 Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8

The eighteenth-century audience to which Mozart displayed sect could he respond and cc his works was an audience of diverse and demanding expectations. appears to have solved his p On the one hand, there was the aristocracy, the faction holding not within his operatic works (fc only political power, but also social and artistic power over the Figaro and Susana) and disF popular aesthetics. As a composer it seems to have been under­ cope with the class conflict, • standably vital to secure the aristocratic audience by considering its reactions representative of tl values as presented by a musical piece. Believing that music "must sects found a voice through ­ never offend the ear, but must please the listener" (Wallace 36), most part their class stations

Mozart reflected in his music those ideals which would appeal to the ability to depict both sides 0_ aristocratic audience: namely, those maintaining the status quo (36). degree perhaps unmatched I That Mozart considered his patrons and the powerful to embody personality and c authorities which determined not only his salary but also where and in tones" (Wallace 40). how his works were performed is an obvious fact, as it was through Mozart's process of. these forces that he earned his living. It remained, however, a rather original in its rebellion again difficult matter to solve on the other hand, there existed as well the eighteenth century court mll­

audience of the common people, holding common values and section of Scene iv of Act II 0 preaching the need for a reflection of the common life within art: Tell me, no offence il Ordinary people clearly were interested in characters . of complexity in mue who were, or were fancied to be, much like themselves . minded people in th, [t]he climate they created seems to have encouraged the and-dominant, from popular arts, which were often experimental and even character is just as bt defiant of traditional forms, as prose fiction [as well as later innocent. An Old Mi musical works] was generally, and which deliberately Never the slightest a addressed the interests of ordinary people (Beasley 11). piece about real people! boudoir! - because n This was the audience which Mozart faced, an audience whose earth! Underclothes ( diversity created an instant conflict between classes and simultane­ woman's body-evel ously presented a composer with an additional difficulty: to which want life, Baron. No https://digitalcommons.iwu.edu/rev/vol4/iss1/848 4 Ewert '91: Better Defining a Character Genius ience to which Mozart displayed sect could he respond and continue a prosperous career? Mozart ;e and demanding expectations. appears to have solved his personal dilemma by combining classes :ocracy, the faction holding not within his operatic works (for instance, the Count and his servants, and artistic power over the Figaro and Susana) and displaying them attempting to successfully t seems to have been under­ cope with the class conflict, while coping as well with emotions and 'atic audience by considering its reactions representative of the average individual. In this way, both

~ce. Believing that music "must sects found a voice through the operas which exemplified for the ie the listener" (Wallace 36), most part their class stations and consequent values. Mozart's ideals which would appeal to the ability to depict both sides of the coin is startling even today: UTo a

! maintaining the status quo (36). degree perhaps unmatched by any other musician, Mozart was able patrons and the powerful to embody personality and character, human conflict and resolution, nly his salary but also where and in tones" (Wallace 40). nobvious fact, as it was through Mozart's process of characterization was in itself exclusively

~. It remained, however, a rather original in its rebellion against the characterization of the other r hand, there existed as well the eighteenth century court musicians, as accurately evidenced from a lding common values and section of Scene iv of Act II of Amadeus: )f the common life within art: Tell me, no offence intended, but why are Italians so scared re interested in characters . of complexity in music? They really are the most simple­ to be, much like themselves . minded people in the world. Tonic-and-dominant, tonic­

~ms to have encouraged the and-dominant, from here to Resurrection! And their idea of [ten experimental and even character is just as boring. A Hero is ardent. A Heroine is ,as prose fiction [as well as later innocent. An Old Man's a miser. A Duenna is conniving. ny, and which deliberately Never the slightest contradiction allowed! ... I want to do a rdinary people (Beasley 11). piece about real people! And I want to set it in a real place. A boudoir! - because that to me is the most exciting place on

-t faced, an audience whose earth! Underclothes on the floor-sheets still warm from a between classes and simultane­ woman's body-----€ven a pisspot brimming under the bed! I

l additional difficulty: to which want life, Baron. Not boring legends. (Gianakaris 48) Published by Digital Commons @ IWU, 1991 49 5 Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8

Exemplifying not only the character of Mozart himself, from the So the value of the individual above quotation Mozart's intentions towards character portraiture the popular culture of the eig: also become quite clear. It is the character, imbued with emotions cludes, for instance, politics, c and realism, which has made itself a priority within drama. But once Mozart's insistence upon the again, eighteenth-century dogma figures in with the consideration of is then interpreted as being si what type of backdrop is represented. Inasmuch as the characters which emphasizes the imporl themselves represent the attempt to accurately depict eighteenth­ (or at the very least aware of) century people, "such characters emphatically reinforce our under­ s/he is a part. To be sure, the standing of the degree to which politics, personal morality, and the remain within the guidelines pursuit of social identity were regarded as inseparable realities of ture - not stock characters a human life in their period" (Beasley 12). Just as the audience is characters, but created neverl inextricably tied to the art of the composer, so is the time period an resentative of the eighteenth. essential part of the art itself:

they are characters p: Typically (but not always) immersed in familiar scenes of rhetorical or dramati· domestic conflict, such characters are most often used conventional portrait deliberately to reveal some vision of the degree to which sycophant, the crafty private life is touched by external political circumstance, or forth. (Beasley 4) to proclaim the value of the individual life in a world made

hostile and corrupt by the moral failings of political leader­ Mozart's process of character ship, or to echo by their experience in a miniature imaginary the older character forms, wa. world the kinds of political conflict characteristic of the trend to endow characters wi larger world outside the fictional boundaries of their stories. tions, and thoughts. Yet whiJ The type itself is familiar from the broader literary contexts tributed as completely his, he of the period: the lonely, virtuous man or woman who is characters realistically within really an alien in a threatening environment, struggling to figures of flesh and blood' in survive. (Beasley 11) surpassed" (Biancolli 179). That he was able to c: https://digitalcommons.iwu.edu/rev/vol4/iss1/850 6 Ewert '91: Better Defining a Character Genius

,of Mozart himself, from the So the value of the individual is reflected in terms of its value against :; towards character portraiture the popular culture of the eighteenth century and all that then in­ iracter, imbued with emotions cludes, for instance, politics, art, and current beliefs and conflicts. i priority within drama. But once Mozart's insistence upon the reality of the situation within his operas

~res in with the consideration of is then interpreted as being simply consistent with this kind of belief d. Inasmuch as the characters which emphasizes the importance of the individual operating within .accurately depict eighteenth­ (or at the very least aware of) the popular societal dictates of which lphatically reinforce our under­ s/he is a part. To be sure, the characters Mozart has employed itics, personal morality, and the remain within the guidelines of popular eighteenth-century litera­ oded as inseparable realities of ture - not stock characters as compared with past centuries of '12), Just as the audience is characters, but created nevertheless to fulfill a distinct category rep­ nposer, so is the time period an resentative of the eighteenth century and its changing controversies:

they are characters projected to meet certain recurring mrnersed in familiar scenes of rhetorical or dramatic needs, and not simply repetitions of 'acters are most often used conventional portraits of the corrupt minister, the crawling vision of the degree to which sycophant, the crafty practitioner of court intrigue, and so

:temal political circumstance, or forth. (Beasley 4) ,individual life in a world made noral failings of political leader­ Mozart's process of characterization, then, while a rebellion against lerience in a miniature imaginary the older character forms, was an offshoot of the then current literary conflict characteristic of the trend to endow characters with eighteenth-century values, percep­ tional boundaries of their stories. tions, and thoughts, Yet while the idea for rebellion might not be at­ )m the broader literary contexts tributed as completely his, he remains an initiator in portraying 1uous man or woman who is characters realistically within musical forms: "as a creator of 'living ing environment, struggling to figures of flesh and blood' in Lyric Drama, Mozart has never been surpassed" (Biancolli 179). That he was able to create these characters against an Published by Digital Commons @ IWU, 1991 51 7 Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8

atmosphere of stringent regulations is a credit to Mozart's genius. It allowed the speaking of ot) has been said of the Classical period that the "[exploitation of] the truly initiated a rebellion al natural opposition of tonic and dominant in a dynamic manner not Women, for instance, were realized by Baroque composers" (Jones 167) directly contributed to people to be weak, subserv: the insistence on stability at the beginning and, above all, at the end ders, as evidenced even by of each work. [This allowed] the classical style to create and inte­ except those who lead a hat grate fOTIns with a dramatic violence that the preceding Baroque is wholly free from them [h: style never attempted and that the Romantic style that followed 235). This attitude is furtheJ preferred to leave unresolved, the musical tensions unreconciled. and climaxing with the folic For this reason, a classical composer did not always need themes of any particular harmonic or melodicenergy for a dramatic work: the [women's] capacity drama is the structure. (Rosen 76) reason, could not ah For many composers, the drama inherently within the level - usually that structure of the musical composition was enough to reveal the unmet needs, which drama of the actual piece. Opera was an art form specifically ren­ (Peters 440) dered, it would seem, for this very idea. Joseph Kernan agreed, asserting that "[b]ecause it excels at presenting the felt qualities of This condescending view of 1 experience ... opera can determine dramatic form in its most serious "[a]t the same time that fema: sense" (Hayward 316-317). they seemed also to require g­ Indeed, although Mozart employed the dramatic structure every aspect of the female eXF commonly associated with the age in most of his music (sonata scientific explanation as it wa: form), he must have understood the potential within opera for a masculine way to life, but pro greater drama and enlarged upon the traditional notions regarding conduct whatsoever. its purpose with the result that his music reveals itself as outstanding Mozart incorporates I and revolutionary in more ways than one, amongst them his willing­ tudes regarding political situa ness to compromise between the above mentioned class conflicts to concerning more personal rna include each and every voice of the period, even the feminine within his dramas as irnportal perspective. are capable and even indepen Through his music, Mozart provided an art form which "Mozart defined the human 0 https://digitalcommons.iwu.edu/rev/vol4/iss1/8 8 52 Ewert '91: Better Defining a Character Genius .s is a credit to Mozart's genius. It allowed the speaking of otherwise silent voices, and in doing so, he >d that the "[exploitation of] the truly initiated a rebellion against popular eighteenth-eentury values. minant in a dynamic manner not Women, for instance, were considered by the eighteenth-century ones 167) directly contributed to people to be weak, subservient, and plagued by a variety of disor­ ginning and, above all, at the end ders, as evidenced even by medical sources: "As to Females, if we lassical style to create and inte­ except those who lead a hard and hardy life, there is rarely one who ce that the preceding Baroque is wholly free from them [hypochondriacal complaints]" (Sydenham Romantic style that followed 235). This attitude is furthered by information gathered by doctors musical tensions unreconciled. and climaxing with the following:

~r did not always need themes of cenergy for a dramatic work: the [women's] capacity to exercise their mental faculties, to reason, could not always be taken as reliable ... at a basic irama inherently within the level- usually that of sexuality - women suffered from m was enough to reveal the unmet needs, which could lead them to crave the fantastic. vas an art form specifically ren­ (Peters 440) idea. Joseph Kernan agreed, It presenting the felt qualities of This condescending view of women culminated in the belief that

~ dramatic form in its most serious "[a]t the same time that female afflictions demanded indulgence, they seemed also to require guidance and control" (440). Truly

~mployed the dramatic structure every aspect of the female experience was subsumed under this in most of his music (sonata scientific explanation as it was revealed not only inferior to the Ie potential within opera for a masculine way to life, but pronounced women incapable of sane the traditional notions regarding conduct whatsoever. music reveals itself as outstanding Mozart incorporates not only the eighteenth-century atti­ an one, amongst them his willing­ tudes regarding political situations within his dramas, but attitudes x>Ve mentioned class conflicts to concerning more personal matters as well. Female characters figure

~ period, even the feminine within his dramas as important personages, and at first glance they are capable and even independent. Because of these elements,

t provided an art form which "Mozart defined the human condition in his music" (Lipton 42) and Published by Digital Commons @ IWU, 1991 53 9 '­ Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8 in many ways he emerged triumphantly successful from this en­ only solves a problem, but hi:

deavor. In other ways, however, because "Le Nozze di Figaro, Don with a life and character of it~ Giovanni, and Cosi fan tulle exhibit an exceptional complexity of presents the differences betw character and motivation [and] their plots contain many traditional attempts the solution of that ( and conventional elements" (Sadie 716), the disparity between hopes to ascertain an answer character and the surrounding plot is perceived as grossly unequal each of the operas, examinin~ and, instead of engaging the audience, distances them from not only verso the character, but also the action and emotional content revealed Within The Marriage ( through the opera as it is essentially considered separate from real Cosi fan tulle, there is an abUl human existence. Events move quickly by the a But while this is indeed true, it is not to say that Mozart's and above all through the rna operas are without value in defining the human condition. It is the characters gain an added significant that all three of Mozart's operas, The Marriage of Figaro, (Broder viii). The plot of this Don Giovanni, and Cosi fan tulle derive from both the tradition of the characterization, as reflec

opera seria and opera buffa (Biancolli 176). Incorporating comedy in edly separate musical lines. 1 midst of near real conflict proves true the following: passages appear, one to be id Susanna. As Susanna claims

Each of Mozart's great operas has its unique personality; and thoughts, their separate' each helps us to understand some aspects of the human con­ (Deane 18). dition. Don Giovanni treats of love, lust and the destructive The coordination of I power of pride. Cosi fan tulle examines the connection well towards Mozart's attem between social mask and personal feeling [and] The Marriage valid terms - how better thE of Figaro ... is a study of a wide range of individuals inter­ inherent belief that his serva. acting in a recognisable social situation. (Deane 27) delineate Susanna as a domiJ tionship, before only domina

And when the combination of comedy and tragedy is coupled with thus interestingly combines <: the inclusion of elements of conflict not only between upper and domination: what is it to be lower classes, but also with men and women, Mozart's ability for what is it to be dominant wi. effective characterization is again proved as "the creative genius not by love and equality? https://digitalcommons.iwu.edu/rev/vol4/iss1/854 10 Ewert '91: Better Defining a Character Genius hantly successful from this en­ only solves a problem, but his solution is an individual offspring >ecause "Le Nozze di Figaro, Don with a life and character of its own" (Biancolli 175). Mozart not only it an exceptional complexity of presents the differences between two warring factions, but he

~ir plots contain many traditional attempts the solution of that conflict. Does he do so realistically? In

~ 716), the disparity between hopes to ascertain an answer to that question we must first consider >t is perceived as grossly unequal each of the operas, examining both character type and plot maneu­

~nce, distances them from not only verso nd emotional content revealed Within The Marriage of Figaro, as in both Don Giovanni and Iy considered separate from real Cosi fan tutte , there is an abundance of character and incident. Events move quickly by the audience, and "through da Ponte's skill lle, it is not to say that Mozart's and above all through the magic of Mozart's marvelous music all of Ilg the human condition. It is the characters gain an added dimension of warmth and humanity" 's operas, The Marriage of Figaro, (Broder viii). The plot of this opera is specifically coordinated with

~rive from both the tradition of the characterization, as reflected by the intertwining of the suppos­ olli 176). Incorporating comedy in edly separate musical lines. Within the orchestral introduction, two rue the following: passages appear, one to be identified with Figaro, the other for Susanna. As Susanna claims more and more of Figaro's attention

~ras has its unique personality; and thoughts, their separate lines joins in "harmonious tenths" ld some aspects of the human con­ (Deane 18). :s of love, lust and the destructive The coordination of these two lines specifically points as fte examines the connection well towards Mozart's attempt to render the relationship through lersonal feeling [and] The Marriage valid terms - how better than to not only illustrate the nobleman's wide range of individuals inter­ inherent belief that his servant is his sexual property but also to :ial situation. (Deane 27) delineate Susanna as a dominating force over the male-female rela­ tionship, before only dominated by the male? Marriage of Figaro

edyand tragedy is coupled with thus interestingly combines differing perspectives on the issue of

t not only between upper and domination: what is it to be dominated by an upper class member? ld women, Mozart's ability for what is it to be dominant within a relationship supposedly sustained lroved as "the creative genius not by love and equality? Published by Digital Commons @ IWU, 1991 5511 Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8

The disparity between the classes and the power delegated partly undressed), but wi to each is an essential part of this opera and, indeed, of the eight­ Countess, she never stept eenth-century way of life. Created to question the inequality be­ However, while 1 tween classes, Figaro is an innocent, seemingly unaware of the between the sexes begins power the upper class commands at will as he cannot comprehend of character are known a: Susanna's reluctance to accept the bedroom provided for them by 180) and she seems to ha' the Count. And again, the Count, while portrayed in a somewhat Rhythmic Gesture in Moza negative light, is not completely to be blamed when he preaches of and the Countess that an his power, for that is the status quo of the period. This is repre­ Countess" (180). If this i: sented with validity through Figaro's assertion, "That's what I call a Ianbrook "bases her intel nobleman: He just does what he likes" (Figaro 51), as that was of the music, with much indeed how things operated. And while this class barrier is never issue of equality/ domiru quite destroyed, it is surely questioned through such relationships as even further credence to the Countess with Susanna. Sharing similar status as women in a continues her argument traditionally male world, they share similarities that transcend the are more intelligent than class barrier and allow them to acknowledge their essential same­ [she] interprets the who] ness: celebrates the poSSibility proved especially throul

Surely all women ought to support one another: when we and Figaro and then thr. a~ think how we're treated by our husbands and lovers, oh, 'tis Countess is presented our duty. But we, poor hapless womankind, who sacrifice devotion, love and forgi our all to men, Receive from them but perfidy and pain the Count, of course] [aJ that's hard to bear. (Figaro 112) tically 'enlightened' rea: and honesty have their ­

Joined through their ~omanhood,Susanna and the Countess can Directly OppOSE together improvise plots (the Countess meeting the Count in place of to his attentions, the Co Susanna), admire male figures (Susanna's frank appraisal of Cheru­ though she may not ex<: bino as they dress him up) and maneuver around rules (such as the forgive and forget quitE Count questioning why was Cherubino in the Countess' room, female, Susanna is pres https://digitalcommons.iwu.edu/rev/vol4/iss1/8 12 56 Ewert '91: Better Defining a Character Genius classes and the power delegated partly undressed), but while "Susanna enjoys 'girl talk' with the pera and, indeed, of the eight­ Countess, she never steps over the class barrier" (Lipton 40). to question the inequality be­ However, while this barrier remains in place, the barrier t, seemingly unaware of the between the sexes begins to be shifted. Wye Allanbrook's analyses It will as he cannot comprehend of character are known as both "sensitive and original," (Webster >edroom provided for them by 180) and she seems to have demonstrated through her work in ¥hile portrayed in a somewhat Rhythmic Gesture in Mozart that "it is Susanna's relations with Figaro be blamed when he preaches of and the Countess that are decisive, not those between the Count and of the period. This is repre­ Countess" (180). If this is true, and I shall suppose that it is since AI­ )'s assertion, "That's what I call a lanbrook "bases her interpretations on close, in part original analyses ,es" (Figaro 51), as that was of the music, with much attention to text and context" (180), the while this class barrier is never issue of equality/dominance has even more emphasis. What lends ned through such relationships as even further credence to this assumption is the fact that A1lanbrook g similar status as women in a continues her argument with the assertion "that these two women

~ similarities that transcend the are more intelligent than, and morally superior to, their men ... and lowledge their essential same- [she] interprets the whole action as a version of pastoral which celebrates the possibility of human affection" (80). This, I believe, is proved especially through the musical lines attributed to Susanna support one another: when we and Figaro and then through the character of the Countess. The our husbands and lovers, oh, 'tis Countess is presented as an "unequivocal personification of fidelity, less womankind, who sacrifice devotion, love and forgiveness and fraternity [as directly opposed to

1 them but perfidy and pain the Count, of course] [and] Rosina's ethical stance creates an authen­ 12) tically 'enlightened' realm, one in which love, fidelity, forgiveness and honesty have their place" (Kinosian 1793-A).

usanna and the Countess can Directly opposed to the Count's character and additionally ess meeting the Count in place of to his attentions, the Countess stands out as a "good" character, mna's frank appraisal of Cheru­ though she may not exactly figure as a "strong" character (she does euver around rules (such as the forgive and forget quite frequently). And as another example of the lino in the Countess' room, female, Susanna is presented as the dominant partner, attuned to the Published by Digital Commons @ IWU, 1991 57 13 Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8

realism of the class conflict and attuned as well to her own desires, works, appearing as well i all much more than Figaro attends to the issues: "I am Susanna, and Much like Figaro again is you are stupid" (Figaro 23). The duet which opens the opera fea­ tensions of class and sex" ( tures both Susana and Figaro, each singing lines which "move in featured characters which complete independence of one another" (Hayward 317). The fact doubting the opposite gen that they each have a separate melodic line can only point to the and faithless one and all- 6 notion that they are separate individuals, able to exist independently this! Did ever woman have as well as within the structure of a relationship, reflected as "though tion, such jealous fury, suc they are out of sorts at first, by the end they have united in blissful created one character in w thirds and sixths" (Webster 183). Indeed, "Mozart has devised way as to repulse equally musical means for expressing an idea abo';1t human relations ... that class and sex barriers. with understanding discord can give way to reconciliation" (Robin­ The character of D son 18). of the upper class, but also Reflected through his characters is Mozart's response to the It is not surprising, then, to varying degrees of inequality within life. Very much like life, the tions and the central one [is issues of equality, sex, and power stand out as important and hero springs whatever is en decisive factors for the characters. As Gary Lipton maintains, semble of men and women' pects of Don Giovanni, it is Le Nozze de Figaro, like life itself, sways back and forth porello alternately wavers between certainty and uncertainty, comedy and tragedy. becoming the nobleman wit Instead of creating happy endings and bad guys vs. good of his own will: "I the genth guys, Mozart and Da Ponte give us remarkable human the dictates which morality i beings who sweat, struggle, and survive [and] [t]here are no "I will not have this mad-1m winners or losers in Figaro, only slightly bewildered people porello possesses as a charae who cope with the game of life. (38) tions, and his actions sets hil the fantastic world in which The "game of life" is a frequent theme of Mozart's operatic real person, the firm rock of colli 264). This begins a diffi is the one "real" character of https://digitalcommons.iwu.edu/rev/vol4/iss1/858 14 Ewert '91: Better Defining a Character Genius uned as wen to her own desires, works, appearing as well in both Don Giovanni and Cosi fan tutte . to the issues: "1 am Susanna, and Much like Figaro again is the fact that Don Giovanni "is based on the uet which opens the opera fea- tensions of class and sex" (Sadie 717). But where Mozart in Figaro

I singing lines which "move in featured characters which doubt the validity of their relationships by ther" (Hayward 317). The fact doubting the opposite gender ("Just the same is every woman, Frail )dic line can only point to the and faithless one and all- 61; "Oh cruel husband, to reduce me like iduals, able to exist independently this! Did ever woman have to bear such a life of neglect and deser­ relationship, reflected as "though tion, such jealous fury, such insults?"-102), in Don Giovanni he end they have united in blissful created one character in which these doubts are manifested in such a ndeed, "Mozart has devised way as to repulse equally both sexes while still commenting on the lea about human relations ... that class and sex barriers. "e way to reconciliation" (Robin­ The character of Don Giovanni embodies not only the power of the upper class, but also the power of the sexually-proficient man. lcters is Mozart's response to the It is not surprising, then, to read that this "opera is full of contradic­ n life. Very much like life, the tions and the central one [is] about the hero [as] from [the] doomed tand out as important and hero springs whatever is energetic and life-enhancing in the en­ As Gary Lipton maintains, semble of men and women" (Hagstrum 323). Faced with the pros­

pects of Don Giovanni, it is equally unsurprising that the servant Le­ itself, sways back and forth porello alternately wavcrs bctween the intriguing possibility of

~rtainty, comedy and tragedy. becoming the nobleman with the ability to command at the dictates ndings and bad guys vs. good of his own will: "1 the gentleman will play" (Don Giovanni 9), and

~ give us remarkable human the dictates which morality insists upon, causing Leporello to reveal , and survive [and] [t]here are no "1 will not have this mad-man for a master! (97). The ability Le­ only slightly bewildered people porello possesses as a character able to change his mind, his emo­ life. (38) , tions, and his actions sets him apart as a truly "normal man," as "in U the fantastic world in which [Don Giovanni] is played, he is the one lent theme of Mozart's operatic real person, the firm rock of reality in the midst of a dream" (Bian­ colli 264). This begins a difficult process of examination: if Leporello is the one "real" character of the opera, are the others to be consid­

Published by Digital Commons @ IWU, 1991 5915 Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8

ered stock characters? Louis Biancolli points to Mozart's tendency employing stock characters M towards idealizing his characters as a possible answer: of many. Through the dispari are able to see the differences In Don Giovanni Mozart's power of character-drawing Anna we are presented as we] shows itself in all its glory. If, in Figaro, he has idealized yet, this perspective is sadly s some ofthe characters out of all semblance to their ideals. Women are referred t( original selves, inDon Giovanni this idealizing process has Giovanni 163) and the belief tt been carried on lines exactly parallel with the original bent must measure up is reflected· of the several dramatis personae and serves but more highly having makes me quite of the to potentize their individuality. Without losing a whit of There's an odor, th' aroma s\\ their identity, without being one jot less sharply individual­ There remain, regard ized, they rise to the stature of universal and eternal types. cally Elvira, who are able to r (185) variety of emotions, not the IE human world: like Leporello

How distinctively peculiar! To not regard Mozart as a master in the a nobleman and a moral pea~ art of characterization seems impossible, and yet it becomes neces­ silliness of her continued pas sary to see his art as creating identities for characters previously love. Though Masetto said il considered only stock. In short, he seems not to have created new been said of Elvira: "When a characters, but to have revitalized the stock characters used within her?"-111). Zerlina, too, ackr

the past literary tradition. Indeed, dilemma which faces Elvira ~ (114). Both womenaresetuJ each [character] is for [Mozart] simply a phase of life to be emotions, loving the same m transmuted into a realm of art as good as any other. They or As an opera based u

Leporello's garlicky vulgarity and pandering knavery, Cosi fan tulle prominently fi~ before Mozart's overmastering art they are all equal. totally of stock characters, ac (Biancolli 242) events:

This, however, is not to say that by idealizing his characters and [The world of Cosi fli. https://digitalcommons.iwu.edu/rev/vol4/iss1/860 16 Ewert '91: Better Defining a Character Genius Ilcolli points to Mozart's tendency employing stock characters Mozart lacks to present the perspectives .as a possible answer: of many. Through the disparity between Leporello and the Don we are able to see the differences of class; through Elvira and Donna s power of character-drawing Anna we are presented as well with the female perspective. And y. If, in Figaro, he has idealized yet, this perspective is sadly sublimated to the eighteenth-century It of all semblance to their ideals. Women are referred to as "dear, unreas'ning creatures" (Don >vanni this idealizing process has Giovanni 163) and the belief that there is a standard to which women ctly parallel with the original bent must measure up is reflected by the statement, "Thy unwomanly be­ rsonae and serves but more highly having makes me quite of thee ashamed" (81), as well as in ''Hush! luality. Without losing a whit of There's an odor, th' aroma sweet of womankind" (31). ~ing one jot less sharply individual­ There remain, regardless, women characters, most specifi­ Jre of universal and eternal types. cally Elvira, who are able to reach out to the audience and display a variety of emotions, not the least of which is their inclusion in the human world: like Leporello, who alternates between desiring to be ot regard Mozart as a master in the a nobleman and a moral peasant, Elvira, though acceding the IOssible, and yet it becomes neces­ silliness of her continued passion for Don Giovanni, continues to ltities for characters previously love. Though Masetto said it of his bride, Zerlina, it might also have le seems not to have created new been said of Elvira: ''When a woman's determined, who can stay :I the stock characters used within her?"-111). Zerlina, too, acknowledges this same heartwrenching :I, dilemma which faces Elvira with, ''He doth use me most unkindly" (114). Both women are set up as parallel characters, feeling the same ozart] simply a phase of life to be emotions, loving the same man. of art as good as any other. They or As an opera based upon the female and her capacity to love, ;arity and pandering knavery, Cosi fan tutte prominently figures. It, however, is formed almost tering art they are all equal. totally of stock characters, acting against a rather ridiculous series of events:

>y idealizing his characters and [The world of Cosi fan tutte is] scarcely a world at all; only a

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show of marionettes. For nothing could be more ridiculous humanity that both the head than to pretend that the preposterous people, the still more lack. For who could doubt a preposterous situations of this utterly artificial intrigue were tion to try new things, to not

meant to be believed in. (Biancolli 274) present? If nothing else, Dor ward, offering what often a1" Yet for all its artifice, still the point of the opera is received and because it is worldly and bla­ understood: "its wit enforces the lesson that human weakness must ground of artificiality (Biancc be realistically accepted and that romantic excess is ridiculous and As a consequence to

fruitless" (Hagstrum 324). To be sure, however, the "human weak­ the plot, the characters of COl; ness" depicted throughout Cosi fan tutte seems exclusively female. It version of reality, and the les: has been argued that "To Mozart's own public there could be slightly stupid, but again, pel nothing in the least shocking about that [the subject of feminine fickleness]" (Biancolli 272), and yet there existed as well the belief Mozart and da Ponte

that "woman was an ideal that ought never to be made ridiculous" able human figures, i:! (Merkling 15). To which did Mozart subscribe? Perhaps he acceded flesh-and-blood chare

to the truth in both ideals, as the following explanation offered by Giovanni .They were €

Frank Merkling asserts, which a small group I adequate. And some

There may be a double standard at work in [Don Alfonso's] Don Alfonso and Des­

little song ending with the words "Cosi fan tutte" - after all, opera, and Fiordiligi j though the women in this opera are maligned for being unfaithful, it is the men who are deceitful- but there's also And what of the femil wisdom in hisadvice that the men accept the women as they both speech and example, "we are rather than putting them on a pedestal. (15) proves itself indeed as "a myt And yet, through the counsel

And what, indeed, is to be made of this Don Alfonso? Is he to be female, Despina, both sexes at regarded as a true and accurate portrait of humanity or merely as an­ Where Don Alfonso advocate: other stock character within the story? It appears that both he and jungle's wilderness, or in a sh Despina stand out as "real," endowed with characteristics of normal who founds his hopes on wor https://digitalcommons.iwu.edu/rev/vol4/iss1/862 18 Ewert '91: Better Defining a Character Genius :;'or nothing could be more ridiculous humanity that both the headstrong young men and the grieving girls e preposterous people, the still more lack. For who could doubt as real the urging of a younger genera­ s of this utterly artificial intrigue were tion to try new things, to not be overladen with the conflicts of the l. (Biancolli 274) present? If nothing else, Don Alfonso and Despina are straightfor­ ward, offering what often appears to be cynical counsel simply Dint of the opera is received and because it is worldly and blatant, and set oddly against a back­ he lesson that human weakness must ground of artificiality (Biancolli 283). at romantic excess is ridiculous and As a consequence to all the artifice so grossly integral within

)€ sure, however, the "human weak­ the plot, the characters of Cosi fan tutte remain distanced from our ifan tulle seems exclusively female. It version of reality, and the lesson that they teach seems simple and lrt's own public there could be slightly stupid, but again, perhaps that was an intended insight: )out that [the subject of feminine

Iyet there existed as well the belief Mozart and da Ponte were not dealing here with recognis­ ought never to be made ridiculous" able human figures, as in Figaro, of with the creation of :ozart subscribe? Perhaps he acceded flesh-and-blood characters out of universal types, as in Don e following explanation offered by Giovanni .They were engaged in telling an amusing tale, for which a small group of stock characters were perfectly adequate. And some of these characters even come alive. standard at work in [Don Alfonso's] Don Alfonso and Despina are as "real" as any characters in

the words "Cosi fan tutte" - after all, opera, and Fiordiligi is far from a puppet. (Broder 4) his opera are maligned for being

i who are deceitful- but there's also And what of the feminine perspective? Maligned through at the men accept the women as they both speech and example, "woman's famous faith and constancy" them on a pedestal. (15) proves itself indeed as "a myth and fabrication" (Cosi fan tulle 18). And yet, through the counsel of both the male, Don Alfonso, and the ~ of this Don Alfonso? Is he to be female, Despina, both sexes are represented as unworthy and untrue. portrait of humanity or merely as an­ Where Don Alfonso advocates that "A man in danger, lost in the story? It appears that both he and jungle's wilderness, or in a shipwreck is safer than the simpleton

lowed with characteristics of normal who founds his hopes on woman and her fidelity!" (72), Despina Published by Digital Commons @ IWU, 1991 6319 - Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8 encourages the girls to forget their beloveds: "Today you're loving production of Mozart operas a one man, tomorrow another. One's worth the others, because they characters. Not much has cha: all are worthless!" (82-3). Moreover, the parallel characterization of all. Don Alfonso and Despina is further reflected as Despina asserts the power of the female over the male: "It doesn't take much wisdom, it's female intuition" (139) and Don Alfonso shortly after her reca­ pitulates with "I have succeeded in fooling a thousand men - I can fool two foolish women" (141). Is Don Alfonso more convincing in persuading the female sex's evil? In any case, Cosi fan tutte , while presenting both the feminine and masculine perspective, leaves off with the unfortunate thought: "women cannot be faithful ... You have to take them as they are ... women always betray" (318). Mozart is indeed a master at creating characters which are imbued with realistic and very human characteristics. By presenting the tensions of class and sex so inherently a part of eighteenth­ century culture, he furthers this realism through his additional incorporation of elements of the female perspective. One of the few to attempt a realistic portrait of womanhood, Mozart, though he does accomplish truly moving emotional displays, nevertheless destroys the full intensity of his portraiture effect by placing his characters against other stock characters and/or artificially contrived plots. The audience remains distracted by this artifice and sadly unable to appreciate the full extent of the characters' humanness. As Louis Biancolli wrote, "Artifice is the keynote of it ... At the same time, of course, [Mozart] infallibly hits upon the truth of his charac­ ters - the truth of their stage existence, which is all there is to them" (275). Such a part of life, Mozart's characters remain unfortunately tied to the stage and their stage lives - subject still to an audience of varying tastes and an overriding aesthetic which determines the https://digitalcommons.iwu.edu/rev/vol4/iss1/864 20 Ewert '91: Better Defining a Character Genius their beloveds: "Today you're loving production of Mozart operas and the revival of his exemplary One's worth the others, because they characters. Not much has changed since the eighteenth century after '€Over, the parallel characterization of all. uther reflected as Despina asserts the nale: "It doesn't take much wisdom, I Don Alfonso shortly after her reca­ ed in fooling a thousand men - I can

I. Is Don Alfonso more convincing in ,iI? In any case, Cosi fan tutte , while md masculine perspective, leaves off "women cannot be faithful ... You .. women always betray" (318). ster at creating characters which are ,human characteristics. By presenting ,inherently a part of eighteenth- is realism through his additional \e female perspective. One of the few f womanhood, Mozart, though he emotional displays, nevertheless s portraiture effect by placing his :haracters and/or artificially contrived istracted by this artifice and sadly :tent of the characters' humanness. As

! is the keyno te of it ... At the same ibly hits upon the truth of his charac­ 'xistence, which is all there is to them" rt's characters remain unfortunately

~ lives - subject still to an audience of Ig aesthetic which determines the

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It­ Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8

WORKS CITED Beasley, Jerry c. "Politics and Character in the Eighteenth Century: Mozart, Wolfgang. Don Ciat Glances at Some Rhetorical Types." Studies in Eighteenth-Century Culture,v. 13, 1984,3-17. Mozart, Wolfgang. Le Nozze 1951. Biancolli, Louis. The Mozart Handbook. Westport, Connecticut: Greenwood Press, 1975. Peters, Dolores. "The Pregni Popular Medical Attitudes Broder, Nathan. Introductions to the librettos of both The Marriage of Century Studies Summer 1~ Figaro and Cosi fan tutte, each published by G. Schirmer, Inc. in New York. Please see individual citations below for each. Robinson, Paul A. Opera an~ Harper & Row, 1985. Deane, Basil. "A Music Commentary." The Marriage of Figaro Opera Guide, published in association with English National Opera and Rosen, Charles. The Classicai The Royal Opera. New York: Riverrun Press, 1983. Sadie, Stanley, ed. The New· Gianakaris, C. J. "A Playwright Looks at Mozart: Peter Shaffer's v12. London: Maanillan Amadeus." Comparative Drama, Spring 1981 vI5(1), 37-53. Sydenham, Thomas. Episto; Hagstrum, Jean H. Sex and Sensibility: Ideal and Erotic Love from "On Hysterical and HypOl Milton to Mozart. Chicago: The University of Chicago Press, 1980. History ofMedicine. Eighte vI4(4),432-451. Hayward, Albert W. Review of Opera and ideas. Journal of Aesthetics and Art Criticism, Winter 1987 v46, 316-318. Wallace, Robert K. Jane Aus Fiction and Music. Athens: Jahn, Otto. W. A. Mozart. Berlin: 1859. This information was more specifically located within the Cosi fan tutte libretto, published by Webster, James. "To Under: G. Schirmer, Inc. in New York. Understand Mozart." Nir. 193. Jones, John A. "The 'Reconciliation of Opposites' in Romantic Poetry and Classical Style Music: Some Relations." The Centennial Review, Summer 1984 v28(3), 159-184.

Kinosian, Craig Kasper. "Beaumarchais, Mozart and Figaro." Dissertation Abstracts International, Jan 1989 v49(7), 1793-A.

Lipton, Gary D. "Upstairs, Downstairs." Opera News, Dec 7, 1985 v50, 38- 42.

Merkling, Frank. "Anxipus Harmony." Opera News, April 19, 1988 v52, 14- 15.

Mozart, Wolfgang. Cosi fan tutte, as produced by The Metropolitan Opera Company, New York: G. Schirmer, Inc. https://digitalcommons.iwu.edu/rev/vol4/iss1/866 22 Ewert '91: Better Defining a Character Genius

~s CITED haracter in the Eighteenth Century: Mozart, Wolfgang. Don Giovanni. New York: Kalmus Vocal Scores. pes./1 Studies in Eighteenth-Century Mozart, Wolfgang. Le Nozze di Figaro. New York: G. Schirmer, Inc., 1951. dbook. Westport, Connecticut: Peters, Dolores. "The Pregnant Pamela: Characterization and Popular Medical Attitudes in the Eighteenth Century./1 Eighteenth­ ) the librettos of both The Marriage of Century Studies Summer 1981 vI4(4), 432-451. lublished by G. Schirmer, Inc. in al citations below for each. Robinson, Paul A. Opera and ideas; from Mozart to Strauss. New York: Harper & Row, 1985. ltary./1 The Marriage of Figaro Opera Rosen, Charles. The Classical Style. New York: W. W. Norton, 1971. I with English National Opera and Riverrun Press, 1983. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. Looks at Mozart: Peter Shaffer's v12. London: Macmillan Publishers Limited, 1980. I, Spring 1981 vI5(l), 37-53. Sydenham, Thomas. Epistolary Dissertation; as quoted in Ilza Vekh, bility: Ideal and Erotic Love from /10n Hysterical and Hypochondriacal Afflictions,/1 Bulletin of the ~ University of Chicago Press, 1980. History ofMedicine. Eighteenth Century Studies. Summer 1981 vI4(4),432-451. )pera and ideas. Journal of Aesthetics r46,316-318. Wallace, Robert K. Jane Austen and Mozart: Classical Equilibrium in Fiction and Music. Athens: The University of Georgia Press, 1983. 1859. This information was more :osi fan tutte libretto, published by Webster, James. "To Understand Verdi and Wagner We Must Understand Mozart." Nineteenth Century Music Fall 1987 vII, 175­ 193. on of Opposites' in Romantic Poetry \e Relations./1 The Centennial Review, archais, Mozart and Figaro./1 tal, Jan 1989 v49(7), 1793-A.

stairs./1 Opera News, Dec 7, 1985

lony./1 Opera News, April 19, 1988

. as produced by The Metropolitan :. Schirmer, Inc.

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