Better Defining a Character Genius

Undergraduate Review Volume 4 Issue 1 Article 8 1991 Better Defining a Character Genius Becca Ewert '91 Illinois Wesleyan University Follow this and additional works at: https://digitalcommons.iwu.edu/rev 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 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Ewert '91: Better Defining a Character Genius 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.

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