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Home , Antonio Salieri, Armida, Armida (Haydn), Armida (Salieri), August Everding, Der Stein der Weisen

Topics in Operatic Literature: Mozart’s MUHL-M407 (2 credits) / MUHL-M807 (3 credits) Spring semester 2021

Class meetings Tuesdays and Thursdays, 9:30-10:20 Note that this is a synchronous online course. In other words, we will meet on Zoom during the official class period. See below for more details.

Prerequisites MUTH M203 (Theory IV) and MUHL M307 (Music History II), or permission of instructor

Brief course overview This is a seminar-style study of a single topic in the history of . Course may be repeated for credit, as long as topic is different. (University Bulletin)

This semester we will be focusing on the operas of Wolfgang Mozart. His mature works (especially the three on which he collaborated with ) are the first operas to be continually in the performing repertory. We will examine these works in terms of the musical and dramatic conventions of their own time and their reception history.

Course objectives By the end of the semester, students should be able (among other things) to: • explain the basic generic and stylistic features of classical , , and • explain how Mozart’s seven mature operas both use and play with the conventions of their genres • consider the cultural issues may arise in performing those operas today, given the different values and expectations of audiences in Mozart’s time and ours

Students should also become more comfortable reading scholarly literature in music and using basic tools of scholarly research (such as Grove Music Online and RILM), developing skills they can use in other settings.

Mozart’s operas (21s)—2

Instructor Dr. Alice V. Clark e-mail [email protected] Monroe Hall 303 phone 865-3065 Office hours by appointment (https://avclark.youcanbook.me) Pronouns: She, her, hers Preferred title: Dr. Clark

Note that this semester I’m teaching entirely on-line, and I will probably only be on campus rarely. Please don’t think I don’t want to see you, though! I’ll try to set up some open Zoom hours, and I’m glad to make appointments at any time. The youcanbookme page is set up for only M-F 9-5, but I will accept meeting requests outside of that window—just e-mail me and tell me when you’d like to meet, and we’ll figure something out.

It is often easiest to communicate with me by e-mail between classes; barring emergencies or natural disasters, I will answer messages within 24 hours, except on weekends, during breaks, and while attending conferences. (This is a minimal goal, and in real life I usually will reply much sooner, even on weekends!)

Some background: I started my undergraduate career as a music education major, until I encountered a course in music history that answered questions I hadn’t known how to ask. While I don’t expect you to have a similar experience in this course (!), I hope you will come to value thinking and writing about music as useful in its own right, and as helpful to your work.

Textbooks and other materials to be purchased by student There will be no textbook for this course. Readings and listening/viewing assignments will be on reserve or accessible through on-line resources.

Class preparation and types of assignments A calendar of daily and weekly topics and assignments (with due dates) appears later in this syllabus; this section simply outlines basic expectations. More detail about these elements appears on Canvas.

I am required to inform you that the two sections of this course (grad and undergrad) are merged here, just as we meet together on Zoom. If that raises concerns for any of you, please let me know.

Preparation for class will usually include some combination of listening and reading. All assigned material will be linked in Canvas and/or available through library resources (such as Mozart’s operas (21s)—3

Oxford Music Online). Note that “preparation” means what it says: this work is to be done before class!

You will make comments on some readings through Perusall. These will be due once a week (on Tuesday) at 8am for each of the seven core works we will study; this is both to help you in your preparation and so I can look at them before class. For each set of readings, you should make two substantive comments.

To do these assignments, you will need to set up a (free) personal account on Perusall: • Go to https://perusall.com/ and click on the “log in” tab at the upper right corner of the screen. • Register for a new account, if you don’t already have one. You may sign in using your Facebook, Google, or Twitter account if you wish, or you may register a new account using your e-mail address. • Once you are logged in, select “I am a student,” and use the course code CLARK- GCTQZ to enter the site. • I will post readings on this site for you to annotate. These will include secondary sources, and probably also libretti. I doubt Perusall will play well with scores, so you can make observations about the music by annotating the .

Graduate students will also evaluate two additional articles during the core of the semester (weeks 2-4, 6-7, 9-10), as well as one article in week 11. Up to five students will report on articles each week—for choice of both week and article, first come, first served. In week 11, each grad student will report on an article (again, first come, first served). Lists of potential articles by week/opera are on Canvas and also appear as an appendix to this syllabus. Note that, while many of the options are available immediately through electronic resources to which our library subscribes, others will require additional time, either because they are in print in our library or because they must be acquired through interlibrary loan. Please allow enough time to get your article in hand before it’s time to read and report on it! These article reports will be made on a shared Google doc, so all may benefit from them—which means that Google doc is also part of everyone’s preparation for class!

Note that in weeks 12-13 all students (grad and undergrad) will be reporting on articles. Please look at that part of the syllabus early on, and make your choices so you’ve got plenty of time to make any interlibrary loan requests or otherwise get the material into your hands with enough time to read it.

Post-class assignments will include: Mozart’s operas (21s)—4

• Discussion board posts: These will be due most Fridays (by 10pm). Prompts will be rather open-ended and are intended to help you focus your thoughts and extend class discussion. The board is set up so that you can’t see other posts until you have made your own initial post; that is so that you can contribute your thoughts without being overly influenced by others. Once that’s done, though, do check out what your classmates have written! I will not require you to respond to each others’ posts, but I hope you will want to; I will also try to respond to posts at least occasionally. • Essays / short papers: Twice you will respond to a specific prompt (given below). These will take the place of exams. o Paper 1: due by 10pm Friday 19 February o Paper 2: due by 10pm Friday 16 April

I reserve (but do not expect to use) the right to add other assignments as needed.

You will also complete an individual project on a topic of your choice (subject to approval) relating somehow to Mozart’s operas or those of his contemporaries. This assignment can take just about any format, including creative ones! For instance, you may choose to: • perform an or ensemble • create a new setting of a text, or a substantively different arrangement of an aria or ensemble • create a short story, poem, dramatic monologue, children’s book, graphic novel, etc. that extends in some way one of the operas we’re studying, or a similar work • make a film, video, or podcast (fictional, documentary, etc.) that examines or extends in some way one of the operas we’re studying, or a similar work • make a Buzzfeed-style quiz or listicle, or a Facebook wall or Instagram page, or other social media relating in some way to one of the operas we’re studying, or a similar work • write an academic paper, annotated bibliography, digital exhibit, or web site

Due dates are given in the course outline below and also appear on Canvas: • proposal: due by 10pm Friday 12 March • project: due by 10pm Friday 30 April

In the end, this is your education—I’ve had mine—and if it’s going to be effective, you must take control of your learning. Like a personal trainer, I can help, but the ultimate responsibility, and the ultimate benefit, is yours. You are always welcome to come to me with questions or for study tips.

Mozart’s operas (21s)—5

Class meetings One thing that makes a seminar different from a lecture class is that the students to a much larger extent determine what happens: basically, you will get out of this class what you put into it. That’s why your preparation, attendance, and participation are important! If your voice is missing, we all lose—just as if you were absent from a rehearsal or a performance. What that doesn’t mean is that you have all the answers; indeed, sometimes it’s more important to have questions, so try always to bring in something to ask or something you found interesting to contribute for each class. (Note that “interesting” doesn’t always mean “important”; the former is by definition highly personal.) If you come to class unprepared and looking to be passively enlightened, you may well be disappointed, but, if you come knowing the material and ready with opinions of your own, we can all learn something and have fun doing so.

Life is about showing up—physically and metaphorically.

When we meet, practice being fully present. That means in part limiting as much as possible other distractions--there’s certainly room for a guest appearance by a pet, but maybe you can wait an hour to return that text! Zoom meetings will be recorded and available on Canvas (and deleted at the end of the semester), but it’s not likely to be terribly interesting to watch a video of a discussion in which you can’t participate.

Some basics of Zoom etiquette: • Please mute yourself when you arrive. Background noises and such very quickly become distracting when multiplied. You can unmute yourself whenever you need to speak, then remute yourself. (HINT: in addition to clicking on the microphone on the screen, alt-A or the space bar can allow you to unmute yourself temporarily.) • Please use your video camera when possible. I understand that sometimes you may not want to be seen, for whatever reason, but I hope most of the time we can interact face to face. If you use a Zoom background, please don’t make it too distracting. If someone is sharing the screen, you may want to turn off your camera temporarily, to lower bandwidth for yourself or anyone else having internet issues, then turn it back on when we’re back in the Hollywood Squares / Brady Bunch square. • Feel free to use the chat box for questions or comments. I’ll try to keep an eye on that, as well as any raised hands, so we can deal with questions at any time, just as if we were together!

I value the voice of every student in this course. Our diversity as a class—in race, gender, sex, religion, language, ability, veteran status, place of origin—is an asset to our learning experience. And we are all still learning! I will do my best to provide you with the opportunity to speak Mozart’s operas (21s)—6 and be heard, explore your own understanding, and encounter each other. I want this to be more than a line in a syllabus, so if you have concerns at any time, please feel free to contact me.

Be aware that we may sometimes deal with difficult or controversial issues—but here we do it as historians, so our goal is not to defend our own beliefs or express our own feelings, but rather to learn about how others have thought and felt, whether or not we agree with those views and feelings today. Let’s all work to maintain an open atmosphere where ideas can be exchanged and challenged while still remembering the fundamental human dignity of everyone in the class. Free speech allows for speech that may offend, but not speech that threatens or harasses, and disruptive behavior is a violation of the Student Code of Conduct. Learning how to deal appropriately and effectively with ideas that may offend us (whether we choose to engage or let go) is a useful skill—especially in these difficult times. I’m glad to discuss any concerns you may have privately.

In this course and throughout your degree, you may encounter topics that you may find emotionally challenging, even difficult. If some of this makes you feel uncomfortable, that’s completely normal, and I encourage you to talk with me, your friends, and any campus resource that can help you. Keep in mind that education is supposed to challenge and sometimes even threaten your worldviews. If you feel intellectually or emotionally disturbed by what you learn in class, don’t assume that you should be concerned. It may only mean that you are engaging with new perspectives, which is what college is all about. (adapted from Stephen J. Ceci, Scott O. Lilienfeld, and Wendy M. Williams, “The One-Time- Only Trigger Warning,” Inside Higher Ed, 18 October 2016)

Evaluation This course will use an “ungrading” process, where you will reflect on your learning goals and achievements. This will happen at five points in the semester. Each time, I will ask you both to reflect on what you learned and evaluate how you performed; I will give some general guidelines to think about. Details can be found in the relevant assignments on Canvas. I reserve the right to adjust the grade you give yourself (in either direction), but those who use this kind of "ungrading" say that students usually grade themselves fairly, so I hope not to need to invoke that right.

These assessments, each worth 100 points, are due as follows (subject to change): • Self-assessment 1: due by 10pm Friday 12 February (week 4) • Self-assessment 2: due by 10pm Friday 12 March (week 8) Mozart’s operas (21s)—7

• Self-assessment 3: due by 10pm Friday 9 April (week 12) • Project self-assessment: due by 10pm Friday 30 April (week 15) • Self-assessment 4: due by 10pm Thursday 13 May (week 16; day of final exam)

I will apply your total points to this scale: A excellent 465-500 points A- 450-464 B+ 435-449 B above average 415-434 B- 400-414 C+ 385-399 C average 350-384 D+ 335-349 D minimal pass 300-334 F fail below 300

Note that the state certification board requires that music education students get a grade not lower than C in all music courses. Graduate students must earn a grade of C or above to fulfill degree requirements.

University policies A number of University policies that apply to all classes are separately communicated, but I’ll call attention to some of them here: • Academic integrity: everything you submit for this class should represent your work, and I expect you to be ethical in how you use library materials and other resources. That includes respecting copyright law and properly attributing your use of the words, images, music, or ideas of others. This is a matter not only of intellectual property but of personal integrity, and it is also a service to your reader. Academic dishonesty (including, but not limited to, unauthorized collaboration on assignments, plagiarism on papers and essays, and cheating on exams) will receive a penalty; this goes for the person providing information for copying as much as for the person doing the copying. If you have any questions, please ask. • Accessible education: I am glad to do what I can to help students who need accommodations, but keep in mind that you must begin that process with the Office for Accessible Education. Once you have documentation from them, we can talk! • Emergency procedures: this is less of an issue in the spring semester than in the fall (since the beginning of the fall semester coincides with the height of hurricane season), but it’s worth remembering that there are official policies on this point, and in the event of an emergency we are required to continue class electronically. Mozart’s operas (21s)—8

• Finally, there are a wealth of support services available to all students, most housed in the Student Success Center and the University Counseling Center. Please don’t be afraid to get whatever help you need! I’ll add one more thing here: • Any student who faces challenges securing food or housing and believes this may affect performance in the course is urged to contact the office of Student Affairs, Danna Center 205, for support. (There is, for instance, a food pantry, Iggy’s Cupboard, in the basement of the Danna Center.) You may also contact me or another faculty member, if you are comfortable; we may be able to help you navigate University resources or identify other resources. (adapted from Sara Goldrick-Rab)

Course outline (subject to change) Note that the numbering of pieces may vary from one edition to another, and from the tracks of a given recording. Let me know as soon as possible if you have any trouble identifying assigned listening/score study, or accessing the materials you need.

Thursday 21 January: Introduction; classical opera, versification, and aria forms Read the versification handout posted on Canvas, which analyzes the following excerpts; listen to them as well: • Figaro No. 19: “E Susanna non vien” and aria “Dove sono” (Countess) • No. 3: Aria “Ah che mi dice mai” (Donna Elvira) • Tito No. 23: Aria “Non più di fiori vaghe catene” (Vitellia) • Figaro No. 1: Duet “Cinque, dieci, venti” (Figaro, Susanna) • Figaro No. 7: Trio “Cosa sento!” (Count, Doctor Bartolo, Susanna) Reading (for background): • Dorothea Link, “Mozart in ,” in The Cambridge Companion to Mozart, Cambridge Companions to Music, ed. Simon P. Keefe (Cambridge: Cambridge University Press, 2003), 22-34. (series available through library databases list) Questions for thought/discussion (though we probably won’t get to all of these): • Why does the tronco line appear so often at the ends of stanzas and other libretto sections? From a musical point of view, what is the advantage of that kind of line ending over a piano or sdrucciolo conclusion? • What formal principles are used in Vitellia’s and the Countess’s ? • Elvira’s aria and the Figaro trio, like many movements in classical opera, are influenced by sonata form. How are sonata principles used in these two excerpts? • What do the listening excerpts above tell us about the characters involved? Consider not only their words, but especially their music.

Mozart’s operas (21s)—9

Tuesday 26-Thursday 28 January: and classical opera seria (week 2) Listening: focus on • Act I scene 1 (Ilia, recitative “Quando avran fine omai” and aria “Padre, germani, addio!”) • Act I scenes 6-7 (Elettra, recitative “Estinto è Idomeneo?” and aria “Tutte nel cor vi sento” through following chorus “Pietà! Numi, pietà!”) • Act II scene 3 (Idomeneo, aria “Fuor del mar”) • Act III scene 3 (Quartet “Andrò ramingo e solo”) Reading: • Excerpt from Julian Rushton, W. A. Mozart: Idomeneo, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1993) • OperaGrove (Oxford Music Online) article on Idomeneo (Julian Rushton) • Grad article evaluations (Google doc; not available for Perusall annotation) Assignments: • Grad articles: due by 10pm Sunday • Perusall: two substantive comments due by 8am Tuesday • Discussion board: one post due by 10pm Friday Questions for thought/discussion: • How does the style of opera seria exemplified by this work follow the norms of the genre at the beginning of the century (i.e., Handel et al.)? How does it differ? Consider how the drama is created through recitative, aria, and other types of pieces, the forms used in arias and other set pieces, the voice types used, and anything else that seems significant. • How does Mozart create character and/or drama through music? Be prepared to discuss one moment you think does this particularly well, and how it happens. • Varesco’s libretto is based on a French tragédie en musique. How does that origin manifest itself? • For what city was this opera written? What resources are available to Mozart there, and how does that affect his composition?

Tuesday 2-Thursday 4 February: Die Entführung aus dem Serail and the National Singspiel (week 3) Listening: focus on • no. 2. Lied und Duett: “Wer ein Liebchen hat gefunden” (Osmin, Belmonte) • no. 3. Arie: “Solche hergelaufne Laffen” (Osmin, Pedrillo) • no. 5. Chor: “Singt dem großen Bassa Lieder” • no. 11. Arie: “Martern aller Arten” (Konstanze) • no. 21. Finale. Vaudeville: “Nie werd’ich deine Huld verkennen” Reading: Mozart’s operas (21s)—10

• Excerpt from Thomas Bauman, W. A. Mozart: Die Entführung aus dem Serail, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1987) • OperaGrove article on Entführung (Julian Rushton) • Grad article evaluations (Google doc; not available for Perusall annotation) Assignments: • Grad articles: due by 10pm Sunday • Perusall: two substantive comments due by 8am Tuesday • Discussion board: one post due by 10pm Friday Questions for thought/discussion: • How does Mozart create the oriental atmosphere in which this Singspiel is set? How does the music for the Turkish characters differ from that for the westerners? Consider in particular the choruses and Osmin’s music, as well as the treatment of Pasha Selim. • In this work Mozart attempts to create a “German opera” that is in some ways more elevated than the popular Singspiel. Which elements best demonstrate this concern, and how?

Tuesday 9-Thursday 11 February: Le nozze di Figaro and comic opera (week 4) Personal self-assessment due by 10pm Friday 12 February Listening: focus on • No. 6: aria, Cherubino, “Non so più cosa son” • No. 10: aria, Countess, “Porgi, amor” • No. 15: Act II finale • No. 26: Accompanied recitative and aria, Figaro, “Tutto è disposto…Aprite un po’ quegli occhi” • No. 27: accompanied recitative and aria, Susanna, “Giunse alfin il momento…Deh vieni, non tardar” Reading: • Excerpt from Tim Carter, W. A. Mozart: Le nozze di Figaro, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1987), especially chapter 7 (pp. 105-21) • OperaGrove article on Figaro (Julian Rushton) • Excerpt from Beaumarchais, , Act V scene iii (Figaro’s monologue; from Pierre Augustin Caron de Beaumarchais, , The Marriage of Figaro, The Guilty Mother: Three Plays, trans. Graham Anderson (Bath: Absolute Classics, 1993)) • Grad article evaluations (Google doc; not available for Perusall annotation) Assignments: • Grad articles: due by 10pm Sunday Mozart’s operas (21s)—11

• Perusall: two substantive comments due by 8am Tuesday • Discussion board: one post due by 10pm Friday Questions for thought/discussion: • How do Da Ponte and Mozart modify Beaumarchais’s play? Consider in particular Figaro’s monologue. (In the opera this is no. 26, accompanied recitative “Tutto è disposto” and aria “Aprite un po’ quegli occhi”; in the play it occurs in Act V scene 3.) This became one of the most infamous and inflammatory moments in the French play; what happens to this moment in the opera? • How does Mozart create character musically? Choose one of the arias listed above, and be prepared to say something about the way its music helps define the character who sings it: • How does Mozart create dramatic motion in the Act II finale?

Tuesday 16-Thursday 18 February (week 5) Paper 1 due by 10pm Friday 19 February Tuesday 16 February: Mardi Gras (no class) Thursday 18 February: no class (subject to change); I will be available during class time for questions No grad articles, Perusall assignment, or discussion board post Paper 1 (due by 10pm Friday 19 February): Discuss how Mozart and his librettists use and play with genre in Idomeneo, Die Entführung aus dem Serail, and Le nozze di Figaro. In addition to describing how genre operates in each of those pieces, try to come to a broader conclusion about the three as a group, about Mozart’s output in general. This is a short paper, but that probably means at least a few pages to do the topic justice. Don’t forget to cite your source fully whenever you use the words or ideas of others!

Tuesday 23-Thursday 25 February: Don Giovanni and ambivalence (week 6) Listening: focus on • Introduzione through “Là ci darem la mano” • Act I Finale (esp. dances) • Act II Finale (both endings) • (and other music of the character you choose below) Reading: • Excerpt from Julian Rushton, W. A. Mozart: Don Giovanni, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1981) • Opera Grove: Rushton on Don Giovanni • Grad article evaluations (Google doc; not available for Perusall annotation) Assignments: • Grad articles: due by 10pm Sunday Mozart’s operas (21s)—12

• Perusall: two substantive comments due by 8am Tuesday • Discussion board: one post due by 10pm Friday Questions for thought/discussion: • Class distinctions are essential to this opera. How does Mozart make those distinctions clear to the listener? • One thing I think is particularly marvelous about this work is the way nearly every character in this opera (especially the three women) can be interpreted in at least two ways. Often a director or a singer will have to make a choice, but both Da Ponte and Mozart seem to leave their options open. Bring in specific examples of how any one character can be interpreted in different ways on the basis of both text and musical style. • It became common in the nineteenth century to conclude this work when Don Giovanni is dragged off to Hell, omitting the final scene. What are the dramatic implications of each of the possible conclusions? • The Act I finale uses simultaneous dances (minuet, contradance, waltz or “Teich”) like those danced in late-eighteenth-century or Vienna; the Act II finale quotes three operas popular at the time (Martín y Soler’s , Sarti’s Fra due litiganti il terzo gode, and Mozart’s own Nozze di Figaro). What dramatic purposes are served by these citations?

Tuesday 2-Thursday 4 March: Così fan tutte and irony (week 7) Listening: focus on • No. 9: Quintet, “Di scrivermi ogni giorno” • No. 11: Aria, Dorabella, “Smanie implacabili” • No. 14: Aria, Fiordiligi, “Come scoglio immoto resta” • No. 18 Finale I: “Ah, che tutta in un momento” • No. 23: Duet. Dorabella and Guglielmo, “Il core vi dono, bell’idolo mio” • No. 29: Duet, Fiordiligi and Ferrando, “Fra gli amplessi” Reading: • Excerpt from Bruce Alan Brown, W. A. Mozart: Così fan tutte, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1995) (I know it’s long, but it’s got lots of musical examples!) • OperaGrove article on Così (Julian Rushton) • Grad article evaluations (Google doc; not available for Perusall annotation) Assignments: • Grad articles: due by 10pm Sunday • Perusall: two substantive comments due by 8am Tuesday • Discussion board: one post due by 10pm Friday Questions for thought/discussion: Mozart’s operas (21s)—13

• This work is often considered ironic. How can irony be created musically, and where (if anywhere) does that happen here? • This opera, even more than the others we’re studying this semester, emphasizes ensembles, especially duets, than arias. Who sings with whom, and how, and what does that say about the relationships between the two pairs of lovers? • Compare Dorabella’s and Fiordiligi’s refusals (in the arias “Smanie implacabili” and “Come scoglio”), then capitulations (in their respective duets nos. 23 and 29). How are these characters distinguished from each other?

Tuesday 9-Thursday 11 March: overflow (week 8) Project proposal due by 10pm Thursday 11 March Personal self-assessment due by 10pm Friday 12 March Tuesday 9 March: no new material; overflow as needed (TBA) No grad articles, Perusall assignment, or discussion board post Thursday 11 March: no class (University rest day)

Tuesday 16-Thursday 18 March: Die Zauberflöte and morality (week 9) Listening: focus on • No. 2: Aria (Papageno), “Der Vogelfänger bin ich ja” • No. 3: Aria (Tamino): “Dies Bildniss ist bezaubernd schön” • No. 17: Aria (Pamina), “Ach, ich fühl’s, es ist verschwunden” • No. 8: Finale I • No. 10: Aria with Chorus (Sarastro), “O Isis und Osiris, schenket der Weisheit Geist” • No. 14: Aria (Queen of Night), “Der Hölle Rache kocht in meinem Herzen” • No. 21: Finale II Reading: • , “The Music,” chapter 6 of Peter Branscombe, W. A. Mozart: Die Zauberflöte, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1991). • OperaGrove article on Zauberflöte (Julian Rushton) • Grad article evaluations (Google doc; not available for Perusall annotation) Assignments: • Grad articles: due by 10pm Sunday • Perusall: two substantive comments due by 8am Tuesday • Discussion board: one post due by 10pm Friday Questions for thought/discussion: • How does Mozart (not only Schikaneder) create character in this work? Bring concrete examples relating to any one major character. • How does Die Zauberflöte follow, and how does it push, the norms and expectations of the Singspiel? Mozart’s operas (21s)—14

• This work is often interpreted with reference to Masonry. What features lead people to make that association? In what other ways can these features be interpreted?

Tuesday 23-Thursday 25 March: and the return to opera seria (week 10) Listening: focus on • Duet (Vitellia and Sesto), “Come ti piace imponi” • Finale I (quintet and chorus), “Deh conservate, o Dei” • Aria (Vitellia), “Non più di fiori vaghe catene” Reading: • Excerpt from John A. Rice, W. A. Mozart: La clemenza di Tito, Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1991). • OperaGrove article on Tito (Julian Rushton; you may also be interested in the article by Don Neville on Metastasio’s libretto) • Grad article evaluations (Google doc; not available for Perusall annotation) Assignments: • Grad articles: due by 10pm Sunday • Perusall: two substantive comments due by 8am Tuesday • Discussion board: one post due by 10pm Friday Questions for thought/discussion: • Why did Mozart return to opera seria more than a decade after writing Idomeneo? • How do Mazzolà and Mozart modify the ideals of Metastasian opera seria to incorporate features borrowed from opera buffa, particularly the ensemble? • As Julian Rushton puts it in his Opera Grove article on the opera, “Until about 1830 La clemenza di Tito was one of Mozart’s most popular operas; it then went into eclipse. It has never fully entered the modern repertory and is often described as unworthy of Mozart, hastily assembled for a commission he could not refuse.” What aspects of the work could account (1) for Tito’s original popularity and (2) for its later negative reputation? What is your opinion of the opera’s value?

Tuesday 30 March-Thursday 1 April: Performance practice and Mozart’s singers (week 11) Readings for all: • Ian Woodfield, “Mozart’s Compositional Methods: Writing for his Singers,” in The Cambridge Companion to Mozart, Cambridge Companions to Music, ed. Simon P. Keefe (Cambridge: Cambridge University Press, 2003), 35-47. (series available through library databases list) • Robert D. Levin, “Performance Practice in the Music of Mozart,” in The Cambridge Companion to Mozart, Cambridge Companions to Music, ed. Simon P. Keefe (Cambridge: Mozart’s operas (21s)—15

Cambridge University Press, 2003), 227-45. (series available through library databases list) • Grad article evaluations (Google doc) Assignments: • Grad articles (all grad students): due by 10pm Sunday • No Perusall assignment • Discussion board: one post due by 10pm Friday

Tuesday 6-Thursday 8 April: Mozart’s contemporaries (week 12) Personal self-assessment due by 10pm Friday 9 April Each student (undergrad and grad) will select and report on one of the articles listed in Appendix 2 below—first come, first served. Please make your selection by e-mail to me ([email protected]); your choice is not approved until I’ve responded to that effect. Please make sure to make your selections enough in advance to have the article in your hands to read! Many of these are available in full text through library resources, but not all; I’ve given more choices than are needed, but there are not enough for everyone to have a full-text option. Besides, some of the most interesting options may not be available in full text! Allow enough time for interlibrary loan, to request library staff to scan, etc.

Your evaluation will be due to a shared Google doc (linked on Canvas) by 10pm Tuesday; class will not meet on that day. Posts should be substantive, summarizing the main point/s of the article and evaluating its argument and evidence as appropriate. Keep in mind that you are likely the only one who has read this article, so give the rest of the class what you think we all need to know about it!

For Thursday’s class meeting, each student will read the evaluations posted in the shared Google doc. Bring questions, and be prepared to discuss any general issues raised—by your article, and by what you have read about others.

Assignments: • Article evaluations (all students): due by 10pm Tuesday • No Perusall assignment • Discussion board: one post due by 10pm Friday

Tuesday 13-Thursday 15 April: Reception history (week 13) Paper 2 due by 10pm Friday 16 April Each student (undergrad and grad) will select and report on one of the articles listed in Appendix 2 below—first come, first served. Please make your selection by e-mail to me ([email protected]); your choice is not approved until I’ve responded to that effect. Please Mozart’s operas (21s)—16

make sure to make your selections enough in advance to have the article in your hands to read! Many of these are available in full text through library resources, but not all; I’ve given more choices than are needed, but there are not enough for everyone to have a full-text option. Besides, some of the most interesting options may not be available in full text! Allow enough time for interlibrary loan, to request library staff to scan, etc.

Your evaluation will be due to a shared Google doc (linked on Canvas) by 10pm Tuesday; class will not meet on that day. Posts should be substantive, summarizing the main point/s of the article and evaluating its argument and evidence as appropriate. Keep in mind that you are likely the only one who has read this article, so give the rest of the class what you think we all need to know about it!

For Thursday’s class meeting, each student will read the evaluations posted in the shared Google doc. Bring questions, and be prepared to discuss any general issues raised—by your article, and by what you have read about others.

Assignments: • Article evaluations (all students): due by 10pm Tuesday • No Perusall assignment or discussion board post

Paper 2 (due by 10pm Friday 16 April): Trace a theme of your choice through Mozart’s mature operas, considering at least three of the four last works (i.e., Don Giovanni, Così fan tutte, Die Zauberflöte, and La clemenza di Tito). (You may consider one of the earlier pieces in addition, but you should substantively focus on these four.) Examples of potential themes can include redemption and forgiveness, something about gender relations, power, etc. This is a short paper, but that probably means at least a few pages to do the topic justice. Don’t forget to cite your source fully whenever you use the words or ideas of others!

Tuesday 20-Thursday 22 April: Staging Mozart today (week 14) Viewing assignment TBA; will likely include the following, among others (probably focus on Entführung Tuesday, Sellars and Don Giovanni Thursday): • Le nozze di Figaro (Sellars production) o through Trio (ends 0:37) o Finale II • Don Giovanni (Sellars production) o overture through at least no. 3, preferably through “La ci darem la mano” (ends 0:48) o “Fin che al vino” (1:08) through dances of Finale I (1:31) Mozart’s operas (21s)—17

o “Non mi dir”—especially allegro o Finale II • Don Giovanni (Losey film) o opening through “La ci darem la mano” if possible (ends 0:46)—especially the “Catalogue” aria (0:29) o “Dalla sua pace” (1:01) o Finale II (2:33-end) • Così (Sellars production) o overture through no. 4 (ends 0:19); through no. 10 if possible o nos. 8-10 (0:29-39) o Finale I (1:16-end) o recit. before no. 29 through no. 29 o Finale II • Materials relating to ENO production of Don Giovanni (YouTube links on Canvas) • Entführung: o Mozart in Turkey (filmed at Topkapi Palace, Istanbul): look at opening of film, treatment of Osmin; dip into musical numbers as time and interest permit o , 1980: fairly traditional staging by August Everding, conductor Karl Böhm (very slow tempi!!); (African-American) sings Blonde; Martti Talvela (Finnish) sings Osmin; Osmin made fun of but not over the top (physical comedy like ladder) Read: Nadja Kayali, “Mozart’s ‘Orient’ on Stage,” in Ottoman Empire and European Theatre I: The Age of Mozart and Selim III (1756-1808), ed. Michael Hüttler and Hans Ernst Weidinger, Don Juan Archiv Wien: Ottomania 1 (Vienna: Hollitzer Wissenschaftsverlag, 2013), 653-63, esp. 656-63. (posted on Canvas) Assignments: • No Perusall assignment • Discussion board: one post due by 10pm Friday Questions for thought/discussion: • How does each of these productions read the opera? How does it (re)interpret the work? What aspects does it foreground or minimize? • Sometimes a production “contradicts” the work of composer and librettist. If you feel that is true of any of these productions, what point do you think the director is trying to make, and how successfully does he or she make it? • Consider one scene whose visual presentation you found striking (in a good or bad way), even if it didn’t go against the text. Why did it catch your attention? What implications does that staging have for the overall interpretation of the work? • Think about a scene that you think (based on text and music alone) would be particularly difficult to stage. How do different directors deal with those problems? Mozart’s operas (21s)—18

• Think about the advantages and disadvantages of any one of ’s settings. How successful is his premise? Does this setting allow him to do things a traditional one would not? Does it give special insight into any of the characters or relationships? Does it destroy or enhance something you consider essential to the work?

Tuesday 27-Thursday 29 April: projects (week 15) Project due to discussion board by 10pm Friday 30 April Personal self-assessment due by 10pm Friday 30 April Class will not meet this week (subject to change), but I will be available for help as needed. No Perusall assignment or discussion board post

Tuesday 4 May (week 16) Personal self-assessment due by 10pm Thursday 13 May (day of final exam) No new material (subject to change), but bring final thoughts! Assignments: • No Perusall assignment • Discussion board: one post due by 10pm Friday (We will not use the official final exam time.)

Appendix 1: graduate articles These are here listed by the due date (10pm on Sunday at the beginning of the week in question). For each week, up to five students can choose an article—first come, first served. Please make your selection by e-mail to me ([email protected]); your choice is not approved until I’ve responded to that effect. There are a total of 35 slots; with 16 graduate students in the course, that means 32 student evaluations. In other words, some of you will have to report in week 2, so don’t delay making your choices! I will post a list of weeks and students on Canvas, so you’ll know what’s taken.

Please make sure to make your selections enough in advance to have the article in your hands to read! Many of these are available in full text through library resources, but not all; I’ve given more choices than are needed, but there are not always enough for everyone to have a full- text option. Besides, some of the most interesting options may not be available in full text! Allow enough time for interlibrary loan, to request library staff to scan, etc. This is especially important in the first few weeks.

You will post your evaluation/summary to a shared Google doc; that link will be posted on Canvas. Contributions should be substantive and tell the reader what is most important about Mozart’s operas (21s)—19 the article for our purposes. Remember that you are likely the only person who has read this article! Let me know if you have any questions or difficulties.

Week 2: due 10pm Sunday 24 January Brown, Bruce Alan. “ ‘…so würde sie noch besser auf den Text gemacht seyn’: Zonca, Raaff, and Mozart’s First Aria for Idomeneo.” Ars lyrica 16 (2007): 87-108. (ILL) Carter, Tim. “Two into Three Won’t Go? Poetic Structure and Musical Forms in Mozart’s Idomeneo.” Cambridge Opera Journal 24/3 (November 2012): 229-48. (full text in RILM) Heartz, Daniel. “Raaff’s Last Aria: A Mozartean Idyll in the Spirit of Hasse.” Musical Quarterly 60 (1974): 517-43. (JSTOR) McClymonds, Marita Petzoldt. “The Great Quartet in Idomeneo and the Seria Tradition.” In Wolfgang Amadè Mozart: Essays on his Life and his Music, ed. , 449-76. New York: , 1996. (ILL) Platoff, John. “Writing about Influences: Idomeneo, a Case Study.” In Explorations in Music, the Arts, and Ideas: Essays in Honor of Leonard B. Meyer, edited by Eugene Narmour and Ruth Solie, 43-65. Festschrift Series 7. Stuyvesant, NY: Pendragon Press, 1988. (ILL) Rushton, Julian. “ ‘…hier wird es besser sein—ein blosses Recitativ zu machen…’: Observations on Recitative Organization in Idomeneo.” In Wolfgang Amadè Mozart: Essays on his Life and his Music, ed. Stanley Sadie, 436-48. New York: Oxford University Press, 1996. (ILL) Rushton, Julian. “Tonality in Act Three of Idomeneo.” Studies in Music from the University of Western Ontario 14 (1993): 17-48. (ILL) Rushton, Julian. “ ‘La vittima è Idamante’: Did Mozart Have a Motive?” Cambridge Opera Journal 3 (1991): 1-21. (JSTOR) Suurpää, Lauri. “Duty or Love? Emotional and Structural Conflicts in the Opening Scenes of Mozart’s Idomeneo.” Music Theory and Analysis (MTA) 2/1 (April 2015): 37-69. (ILL)

Week 3: due 10pm Sunday 31 January Baron-Woods, Kristina: “Bassa Selim: Mozart’s Voice of Clemency in Die Entführung aus dem Serail.” Musicological Explorations 9 (March 2008): 67-93. (full text in RILM) Baron-Woods, Kristina. “Strength and Defiance in the Seraglio: as Characterization in Mozart’s Die Entführung aus dem Serail.” Music Research Forum 23 (2008): 27-51. (ILL) Glasow, E. Thomas. “ ‘Too many notes…’? An Interpretation of ‘Martern aller Arten’.” Opera Quarterly 8/3 (Fall 1991): 42-57. (Monroe Library periodicals; request article through ILLiad) Heartz, Daniel. “Coming of Age in Vienna: Die Entführung aus dem Serail.” In Mozart’s Operas, ed. with contributing essays by Thomas Bauman, 65-88. Berkeley: University of California Press, 1990. (ML410.M9H2 1990; currently checked out) Mozart’s operas (21s)—20

Joncus, Berta. “ ‘Ich bin eine Engländerin, zur Freyheit geboren’: Blonde and the Enlightened Female in Mozart’s Die Entführung aus dem Serail.” The Opera Quarterly 26/4 (September 2010): 552-87. (full text in RILM) Melamed, Daniel R. “ in Mozart’s Die Entführung aus dem Serail.” Cambridge Opera Journal 20/1 (March 2008): 25-51. (JSTOR) Melamed, Daniel R. “Evidence on the Genesis of Die Entführung aus dem Serail from Mozart’s Autograph Score.” Mozart-Jahrbuch (2005): 25-42. (ILL) Weber, Derek. “From to Die Entfuhrung aus dem Serail: Mozart’s ‘Turkish’ Opera.” In Ottoman Empire and European Theatre I: The Age of Mozart and Selim III (1756-1808), edited by Michael Hüttler and Hans Ernst Weidinger, 633-51. Don Juan Archiv Wien: Ottomania 1. Vienna: Hollitzer Wissenschaftsverlag, 2013. (ILL)

Week 4: due 10pm Sunday 7 February Allanbrook, Wye Jamison. “Metric Gesture as a Topic in Le Nozze di Figaro and Don Giovanni.” Musical Quarterly 67 (1981): 94-112. (JSTOR) Andrews, Richard. “From Beaumarchais to Da Ponte: A New View of the Sexual Politics of ‘Figaro’.” Music & Letters 82/2 (May 2001): 214-33. (JSTOR) Castelvecchi, Stefano. “Sentimental and Anti-Sentimental in Le nozze di Figaro.” Journal of the American Musicological Society 53/1 (Spring 2000): 1-24. (JSTOR) Goehring, Edmund J. “Ironic Modes, Happy Endings: Figaro Criticism and the Enlightened Stage.” Il saggiatore musicale: Rivista semestrale di musicologia 18/1-2 (2011): 27-72. (full text in RILM) Lewin, David. “Figaro’s Mistakes.” Current Musicology 57 (Spring 1995): 45-60. (open access at https://currentmusicology.columbia.edu/ ) Platoff, John. “Tonal Organization in Buffo Finales and the Act II Finale of Le nozze di Figaro.” Music & Letters 72/3 (August 1991): 378-403. (JSTOR) Rabin, Ronald J. “Figaro as Misogynist: On Aria Types and Aria Rhetoric.” In Opera buffa in Mozart’s Vienna, ed. Mary Hunter and James Webster, 232-60. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 1997. (ILL) Tyson, Alan. “Some Problems in the Text of Le nozze di Figaro: Did Mozart Have a Hand in Them?” In Mozart: Studies of the Autograph Scores (Cambridge, Massachusetts, and : Harvard University Press, 1987), 290-328. (ML410.M9T95 1987) Webster, James. “The Act IV Finale of Le nozze di Figaro: Dramatic and Musical Construction.” In Dramma giocoso: Four Contemporary Perspectives on the Mozart / Da Ponte Operas, 91-129. Edited by Darla Crispin. Geschriften van het Orpheus Instituut / Collected Writings of the Orpheus Institute 10. Leuven: Leuven University Press, 2012. (e-book available) Woodfield, Ian. “Che soave zeffiretto and the Structure of Act 3 of Le nozze di Figaro.” Journal of the Royal Musical Association 143/1 (2018): 89-136. (ILL)

Mozart’s operas (21s)—21

Week 6: due 10pm Sunday 21 February Chong, Nicholas J. “Music for the Last Supper: The Dramatic Significance of Mozart’s Musical Quotations in the Tafelmusik of Don Giovanni.” Current Musicology 92 (Fall 2011): 7-52. (open access at https://currentmusicology.columbia.edu/ ) Cooper, Sean. “ ‘Who’s dead? You or the old man?’ Textual Congruence and the Structural Planning in the Mozart and Gazzaniga Treatments of Don Giovanni.” Opera Journal 44/3-4 (September 2011): 3-18. (ILL) Hunter, Mary. “Nobility in Mozart’s Operas.” In Art and Ideology in European Opera: Essays in Honour of Julian Rushton, 178-93. Edited by Rachel Cowgill, et al. Woodbridge, Suffolk: Boydell & Brewer, 2010. (e-book available) Kaminsky, Peter. “How to Do Things with Words and Music: Towards an Analysis of Selected Ensembles in Mozart’s Don Giovanni.” Theory and Practice 21 (1996): 55-78. (JSTOR) Nedbal, Martin. “Sex, Politics, and Censorship in Mozart’s Don Giovanni / Don Juan.” In The Oxford Handbook of Music Censorship, 175-201. Edited by Patricia Hall. Oxford Handbooks. New York: Oxford University Press, 2018. (ML3916.O965 2018) Perl, Benjamin. “Mozart in Turkey.” Cambridge Opera Journal 12/3 (November 2000): 219-35. (JSTOR) Platoff, John. “Operatic Ensembles and the Problem of the Don Giovanni Sextet.” In Opera buffa in Mozart’s Vienna, ed. Mary Hunter and James Webster, 378-405. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 1997. (ILL) Robinson, Michael F. “The Alternative Endings of Mozart’s Don Giovanni.” In Opera buffa in Mozart’s Vienna, ed. Mary Hunter and James Webster, 261-85. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 1997. (ILL) Russell, Charles C. “Confusion in the Act I Finale of Mozart and Da Ponte’s Don Giovanni.” Opera Quarterly 14/1 (Fall 1997): 25-44. (Monroe Library periodicals; request article through ILLiad) Schachter, Carl. “The Adventures of an F-sharp: Tonal Narration and Exhortation in Donna Anna’s First-Act Recitative and Aria.” Theory and Practice 16 (1991): 5-20. (JSTOR) Steinberg, Michael P. “Don Giovanni against the Baroque, or, The Culture Punished.” In On Mozart, ed. James M. Morris, 187-203. Woodrow Wilson Center Series. Washington: Woodrow Wilson Center Press and Cambridge and New York: Cambridge University Press, 1994. (ML410.M9O32 1994) Waldoff, Jessica. “Don Giovanni: Recognition Denied.” In Opera buffa in Mozart’s Vienna, ed. Mary Hunter and James Webster, 286-307. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 1997. (ILL) Zeiss, Laurel. “Permeable Boundaries in Mozart’s Don Giovanni.” Cambridge Opera Journal 13/2 (July 2001): 115-39. (JSTOR)

Mozart’s operas (21s)—22

Week 7: due 10pm Sunday 28 February Brown, Bruce Alan. “Beaumarchais, Paisiello, and the Genesis of Così fan tutte.” In Wolfgang Amadè Mozart: Essays on his Life and his Music, ed. Stanley Sadie, 312-38. New York: Oxford University Press, 1996. (ILL) Burnham, Scott G. “Mozart’s Felix Culpa: Così fan tutte and the Irony of Beauty.” Musical Quarterly 78/1 (Spring 1994): 77-98. (JSTOR) Edge, Dexter. “Mozart’s Fee for Così fan tutte.” Journal of the Royal Musical Association 116/2 (1991): 211-35. (JSTOR) Goehring, Edmund J. “Despina, Cupid and the Pastoral Mode of Così fan tutte.” Cambridge Opera Journal 7/2 (July 1995): 107-33. (JSTOR) Heartz, Daniel. “Citation, Reference, and Recall in Così fan tutte.” In Mozart’s Operas, ed. with contributing essays by Thomas Bauman, 229-54. Berkeley: University of California Press, 1990. (ML410.M9H2 1990; currently checked out) Lütteken, Laurenz. “Negating Opera Through Opera: Così fan tutte and the Reverse of the Enlightenment.” Eighteenth-Century Music 6/2 (September 2009): 229-42. (ILL) Polzonetti, Pierpaolo. “Mesmerizing Adultery: Così fan tutte and the Kornman Scandal.” Cambridge Opera Journal 14/3 (November 2003): 263-296. (JSTOR) Salmon, Gregory. “Tutti accusan le donne: Schools of Reason and Folly in Così fan tutte.” repercussions 1/1 (Spring 1992): 81-102. (open access at https://www.ocf.berkeley.edu/~repercus/ ) Tyson, Alan. “Notes on the Composition of Mozart’s Così fan tutte.” Journal of the American Musicological Society 37/2 (Summer 1984): 356-401. (JSTOR)

Week 9: due 10pm Sunday 14 March Bartel, Kate. “Pamina, Portraits, and the Feminine in Mozart and Schikaneder’s Die Zauberflöte.” Musicology Australia 22 (1999): 31-45. (ILL) Buch, David J. “Eighteenth-Century Performing Materials from the Archive of the and Mozart’s Zauberflöte.” Musical Quarterly 84/2 (Summer 2000): 287-322. (full text in RILM) Buch, David J. “Die Zauberflöte, Masonic Opera, and other Fairy Tales” Acta Musicologica 76/2 (2004): 193-219. (JSTOR) Chapin, Keith. “Strict and Free Reversed: The Law of Counterpoint in Koch’s Musikalisches Lexikon and Mozart’s Zauberflöte.” Eighteenth-Century Music 3 (2006): 91-107. (ILL) Cole, Malcolm S. “Monostatos and his ‘Sister’: Racial Stereotype in Die Zauberflöte and its Sequel.” Opera Quarterly 21/1 (Winter 2005): 2-26. (Project Muse) Eckelmeyer, Judith. “Structure as Hermeneutic Guide to .” Musical Quarterly 72/1 (1986): 51-73. (JSTOR) Mozart’s operas (21s)—23

Heartz, Daniel. “At the North Gate: Instrumental Music in Die Zauberflöte.” In Mozart’s Operas, ed. with contributing essays by Thomas Bauman, 277-98. Berkeley: University of California Press, 1990. (ML410.M9H2 1990; currently checked out) Nedbal, Martin. “Mozart as a Viennese Moralist: Die Zauberflöte and its Maxims.” Acta musicologica 81/1 (2009): 123-57. (JSTOR) Rathey, Markus. “Mozart, Kirnberger and the Idea of Musical Purity: Revisiting Two Sketches from 1782.” Eighteenth-Century Music 13/2 (September 2016): 235-52. (ILL) Robinson, Paul. “The Musical Enlightenment: Haydn’s Creation and Mozart’s Magic Flute.” In Opera, Sex, and Other Vital Matters, 52-74. Chicago: University of Chicago Press, 2002. (ILL) Shaked, Guy. “Mozart’s Competition with and The Magic Flute.” Opera Journal 48/2 (June 2015): 3-20. (ILL) Subotnik, Rose Rosengard. “Whose Magic Flute? Intimations of Reality at the Gates of the Enlightenment.” 19th-Century Music 15/2 (Fall 1991): 132-50. (JSTOR) Waldoff, Jessica. “The Music of Recognition: Operatic Enlightenment in The Magic Flute.” Music & Letters 75/2 (May 1994): 214-35. (JSTOR)

Week 10: due 10pm Sunday 21 March Durante, Sergio. “The Chronology of Mozart’s La clemenza di Tito Reconsidered.” Music & Letters 80/4 (November 1999): 560-94. (full text in RILM) Freeman, Daniel E. “Mozart, La clemenza di Tito, and Aristocratic Reaction in Bohemia.” In Music in Eighteenth-Century Life: Cities, Courts, Churches, 125-41. Edited by Mara Parker. Ann Arbor: Steglein Publishing, 2006. (ILL) Heartz, Daniel. “La Clemenza di Sarastro: Masonic Beneficence in the Last Operas.” In Mozart’s Operas, ed. with contributing essays by Thomas Bauman, 255-76. Berkeley: University of California Press, 1990. (ML410.M9H2 1990; currently checked out) Heartz, Daniel. “The Overture to La clemenza di Tito as Dramatic Argument.” In Mozart’s Operas, ed. with contributing essays by Thomas Bauman, 15-36. Berkeley: University of California Press, 1990. (ML410.M9H2 1990; currently checked out; you may use the earlier version, “The Overture to as Dramatic Argument,” Musical Quarterly 64/1 (1978): 29-49.) McClymonds, Marita P. “Mozart’s La clemenza di Tito and Opera Seria in Florence as a Reflection of Leopold II’s Musical Taste.” Mozart-Jahrbuch 1984/85: 61-70. (ILL) Rice, John A. “Operatic Culture at the Court of Leopold II and Mozart’s La clemenza di Tito.” In Mozart’s La clemenza di Tito: A Reappraisal, 33-55. Edited by Magnus Tessing Schneider and Ruth Tatlow. Stockholm Studies in Culture and Aesthetics 3. Stockholm: Stockholm University Press, 2018. (ILL)

Mozart’s operas (21s)—24

Week 11 (all grad students): due 10pm Sunday 28 March Angermüller, Rudolph. “Francesco Bussani: Mozart’s First Bartolo, Antonio, and Alfonso and Dorothea Bussani: Mozart’s First Cherubino and First Despina.” Mozart-Studien 10 (2001): 231-29. (ILL) Chancellor, V. E. “: Mozart’s Susanna.” Opera Quarterly 7/2 (Summer 1990): 104-24. (Monroe Library periodicals; request article through ILLiad) Corneilson, Paul. “Josepha Hofer, First Queen of the Night.” Mozart-Studien 25 (2018): 477- 500. (ILL) Corneilson, Paul. “The Mannheim Years of (1745-1825).” In Mannheim: Ein ‘Paradies der Tonkünstler’? Kongreßbericht Mannheim 1999, edited by Ludwig Finscher et al., 375-86. Quellen und Studien zur Geschichte der Mannheimer Hofkapelle 8. Frakfurt am Main: Peter Lang, 2002. (ILL) Corneilson, Paul E. “Mozart’s Ilia and Elettra: New Perspectives on Idomeneo.” In Mozarts Idomeneo und die Musik in München zur Zeit Karl Theodors, edited by Theodor Göllner and Stephan Hörner, 97-113. Abhandlungen der Bayerische Akademie der Wissenschaften, Philosophisch-Historische Klasse, Neue Folge 1991. Munich: C. H. Beck, 2001. (ILL) Corneilson, Paul E. “Vogler’s Method of Singing.” Journal of Musicology 16/1 (Winter 1998): 91-109. (JSTOR) Everist, Mark. “ ‘Madama Dorothea Wendling is archicontentissima: The Performers of Idomeneo.” In W. A. Mozart: Idomeneo, edited by Julian Rushton, 48-61. Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1993. (ML410.M9R89 1993) Gidwitz, Patricia Lewy. “Mozart’s Fiordiligi: Adriana Ferrarese del Bene.” Cambridge Opera Journal 8/3 (November 1996): 199-214. (JSTOR) Harris, Ellen T. “Mozart’s Mitridate: Going Beyond the Text.” In Historical Musicology: Sources, Methods, Interpretations, edited by Stephen A. Crist, 95-120. Eastman Studies in Music. Rochester: University of Rochester Press, 2004. (ML55.M265H57 2004) Mueller, Adeline. “Who Were the Drei Knaben?” Opera Quarterly 28/1-2 (Winter-Spring 2012): 88-103. (Project Muse) Parker, Roger. “Ersatz Ditties: Adriana Ferrarese’s Susanna.” In Remaking the Song: Operatic Visions and Revisions from Handel to Berio,” 42-66. Ernest Bloch Lectures. Berkeley: University of California Press, 2006. (e-book available) Rice, John A. “Antonio Baglioni, Mozart’s First Don Ottavio and Tito, in Italy and Prague.” In Böhmische Aspekte des Lebens und des Werkes von W.A. Mozart, edited by Tomislav Volek and Milada Jonášová, 295-321. Prague: Akademie Věd České Republiky, 2011. (ILL; no US holdings?) Rice, John A. “Mozart and his Singers: The Case of Maria Marchetti Fantozzi, the First Vitellia.” Opera Quarterly 11/4 (1995): 31-52. (Monroe Library periodicals; request article through ILLiad) Mozart’s operas (21s)—25

Rohringer, Stefan. “Don Ottavio and the History of the Voice.” In Dramma giocoso: Four Contemporary Perspectives on the Mozart / Da Ponte Operas, edited by Darla Crispin, 33- 58. Geschriften van het Orpheus Instituut / Collected Writings of the Orpheus Institute 10. Leuven: Leuven University Press, 2012. (e-book available) Rushton, Julian. “Buffo Roles in Mozart’s Vienna: and Tonality as Signs of Characterization.” In Opera buffa in Mozart’s Vienna, edited by Mary Hunter and James Webster, 406-25. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 1997. (ILL) Schneider, Magnus Tessing. “Mozart, Luigi Bassi, and ‘Fin ch’han dal vino.’” Danish Yearbook of Musicology 37 (2009): 39-56. (open access at http://dym.dk/volume_37_contents.html ) Swanson, Alan. “Making Magic: The First Mozart Opera in Sweden.” Mozart-Studien 14 (2005): 261-315. (ILL) (move to reception?) Wignall, Harrison James. “Guglielmo d’Ettore: Mozart’s First Mitridate.” Opera Quarterly 10/3 (Spring 1994): 93-112. (Monroe Library periodicals; request article through ILLiad) Read these articles as a pair: • Bauman, Thomas. “Mozart’s Belmonte.” Early Music 19/4 (November 1991): 557-62. (JSTOR) • Gidwitz, Patricia Lewy. “ ‘Ich bin die erste Sängerin’: Vocal Profiles of Two Mozart .” Early Music 19/4 (November 1991): 565-74. (JSTOR)

Appendix 2: articles for weeks 12-13 (all students) Each student (undergrad and grad) will select and report on one of the articles listed below— first come, first served. Please make your selection by e-mail to me ([email protected]); your choice is not approved until I’ve responded to that effect. Please make sure to make your selections enough in advance to have the article in your hands to read! Many of these are available in full text through library resources, but not all; I’ve given more choices than are needed, but there are not enough for everyone to have a full-text option. Besides, some of the most interesting options may not be available in full text! Allow enough time for interlibrary loan, to request library staff to scan, etc.

Your evaluation will be due to a shared Google doc (linked on Canvas) by 10pm Tuesday; class will not meet on that day. Posts should be substantive, summarizing the main point/s of the article and evaluating its argument and evidence as appropriate. Keep in mind that you are likely the only one who has read this article, so give the rest of the class what you think we all need to know about it! Let me know if you have any questions or difficulties.

Mozart’s operas (21s)—26

Week 12: due 10pm Tuesday 6 April Betzweiser, Thomas. “Exoticism and Politics: Beaumarchais’ and Salieri’s Le couronnement de (1790).” Translated by Arthur Groos. Cambridge Opera Journal 6/2 (July 1994): 91- 112. (JSTOR) Biggi Parodi, Elena. “Preliminary Observations on the ballo primo of by Antonio Salieri: , Theatre, 1778.” Recercare: Rivista per lo studio e la pratica della musica antica 16 (2004): 261-302. (JSTOR) Brown, Bruce Alan. “Le pazzie d’Orlando, , and the Uses of .” Italica 64 (1987): 583-605. (JSTOR) Brown, Bruce Alan. “Lo specchio francese: Viennese Opera buffa and the Legacy of French Theatre.” In Opera buffa in Mozart’s Vienna, edited by Mary Hunter and James Webster, 50-81. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 1997. (ILL) Brown, Bruce Alan, and John A. Rice. “Salieri’s Così fan tutte.” Cambridge Opera Journal 8 (1996): 17-43. (JSTOR) Buch, David J. “Der Stein der Weisen, Mozart, and Collaborative at ’s .” Mozart-Jahrbuch 2000: 89-124. (ILL) Buch, David J. “Supernatural Imagery in Haydn’s Theater Music.” Haydn-Studien 9/1-4 (November 2006): 137-47. (ILL) Castelvecchi, Stefano. “From Nina to Nina: Psychodrama, Absorption and Sentiment in the 1780s.” Cambridge Opera Journal 8/2 (July 1996): 91-112. (JSTOR) Clark, Caryl. “Encountering ‘Others’ in Haydn’s (1768).” In Ottoman Empire and European Theatre II: The Time of —From Sultan Mahmud I to Mahmud II (r. 1730-1839), edited by Michael Hüttler and Hans Ernst Weidinger, 291-306. Don Juan Archiv Wien: Ottomania 3. Vienna: Hollitzer Wissenschaftsverlag, 2014. (ILL) Clark, Caryl. “Haydn’s Judaizing of the Apothecary.” Studia Musicologica 51/1-2 (March 2010): 41-60. (JSTOR) Clark, Caryl. “Joseph Haydn’s Judaizing of the Apothecary—Take 2.” In Opera in a Multicultural World: Coloniality, Culture, Performance, edited by Mary I. Ingraham, et al., 99-121. Routledge Research in Music 12. New York: Routledge, 2016. (ILL) Clark, Caryl. “Revolution, Rebirth, and the Sublime in Haydn’s L’anima del filosofo and .” In Engaging Haydn: Culture, Context, and Criticism, edited by Elaine R. Sisman, 100- 23. Cambridge: Cambridge University Press, 2012. (ILL) Dávid, Ferenc, Carsten Jung, János Malina, and Edward McCue. “Haydn’s Opera House at Eszterháza: New Archival Sources.” Early Music 43/1 (February 2015): 111-27. (full text in RILM) Haimo, Ethan. “Haydn’s Debt to Cimarosa,” In Haydn and his Contemporaries, edited by Sterling E. Murray, 39-55. Ann Arbor: Steglein Publishing, 2011. (ILL) Mozart’s operas (21s)—27

Head, Matthew. “Interpreting ‘Abduction’ Opera: Haydn’s L’incontro improvviso, Sovereignty and the Esterház Festival of 1775.” TheMA: Theater—Music—Arts—Open Access Research Journal 1/1 (2012): 1-18. (open access at http://www.thema-journal.eu/index.php/thema ) Heartz, Daniel. “Goldoni, Opera buffa, and Mozart’s Advent in Vienna.” In Opera buffa in Mozart’s Vienna, edited by Mary Hunter and James Webster, 25-49. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 1997. (ILL) Hoeveler, Diane Long. “Talking About Virtue: Paisiello’s Nina, Paër’s Agnese, and the Sentimental Ethos.” In Romanticism and Opera: A Romantic Circles PRAXIS Volume, edited by Gillen D’Arcy Wood. Praxis. Baltimore: University of Maryland, 2005. Open access at http://www.rc.umd.edu/praxis/opera/index.html . Hunter, Mary. “Bourgeois Values and Opera buffa in 1780s Vienna.” In Opera buffa in Mozart’s Vienna, edited by Mary Hunter and James Webster, 165-96. Cambridge Studies in Opera. Cambridge: Cambridge University Press, 1997. (ILL) Hunter, Mary. “Some Representations of opera seria in opera buffa.” Cambridge Opera Journal 3 (1991): 89-108. (JSTOR) Hunter, Mary. “Text, Music, and Drama in Haydn’s Italian Opera Arias: Four Case Studies.” Journal of Musicology 7 (1989): 29-57. (JSTOR) Jerome, Erin. “Haydn’s L’incontro improvviso: Deceitful Dervishes, Greedy Servants, and the Meta-Performance of alla turca Style.” In Haydn and his Contemporaries. II, edited by Kathryn L. Libin, 114-30. Ann Arbor: Steglein Publishing, 2015. (ILL) Link, Dorothea. “L’arbore di Diana: A Model for Così fan tutte.” In Wolfgang Amadè Mozart: Essays on his Life and his Music, edited by Stanley Sadie, 362-73. New York: Oxford University Press, 1996. (ILL) Link, Dorothea. “: The Art of the Librettist.” In Goldoni and the Musical Theatre, edited by Domenico Pietropaolo, 37-48. Ottawa: Legas, 1995. (ILL) Link, Dorothea. “Vienna’s Private Theatrical and Musical Life.” Journal of the Royal Musical Association 122 (1997): 205-33. (JSTOR) Loughridge, Deirdre. “Science, Technology and Love in Late Eighteenth-Century Opera.” In Nineteenth-Century Opera and the Scientific Imagination, edited by David Trippett and Benjamin Walton, 176-98. Cambridge: Cambridge University Press, 2019. (ILL) Martin, Nathan. “Formenlehre Goes to the Opera: Examples from and Elsewhere.” Studia Musicologica 51/3-4 (September 2010): 387-404. (JSTOR) Mays, Lawrence. “Decoding Eighteenth-Century Italian Opera Recitative: A Comparison of La serva padrona set by Pergolesi (1733) and Paisiello (1781).” Scottish Music Review 4 (2016); open access at http://www.scottishmusicreview.org/ . McClellan, Michael E. “The Italian Menace: Opera buffa in Revolutionary France.” Eighteenth- Century Music 1 (2004): 249-63. (ILL) McClymonds, Marita Petzoldt. “Mozart and his Contemporaries: Action Trios by Paisiello, Cimarosa, Martin, and Mozart.” In Festschrift Christoph-Hellmut Mahling zum 65. Geburtstag, Mozart’s operas (21s)—28

edited by Axel Beer, et al., 853-82. Mainzer Studien zur Musikwissenschaft 37. Tutzing: Schneider, 1997. (ILL) McClymonds, Marita P. “Salieri and the Franco-Italian Synthesis: Armida and Europa riconosciuta.” In Antonio Salieri (1750-1825) e il teatro musicale a Vienna: Convenzioni, innovazioni, contaminazioni stilistiche, edited by Rudolph Angermüller and Elena Biggi Parodi, 77-88. Lucca: Libreria Musicale Italiana, 2013. (ILL) McClymonds, Marita Petzoldt. “The Venetian Role in the Transformation of Italian Opera Seria during the .” In I vicini di Mozart, I: Il teatro musicale tra sette e ottocento, edited by David Douglas Bryant and Maria Teresa Muraro, 221-40. Studi di musica veneta 15. Florence: Leo S. Olschki, 1989. (ILL) McClymonds, Marita P. “Verazi’s Controversial drammi in azione as Realized in the Music of Salieri, Anfossi, Alessandri and Mortellari for the Opening of La Scala, 1778-1779.” In Scritti in memoria di Claudio Sartori, edited by Mariangela Donà and François Lesure, 43-87. Strumenti della ricerca musicale: Collana della Società Italiana di Musicologia 3. Lucca: Libreria Musicale Italiana (LIM), 1997. (ILL) Moindrot, Isabelle. “Tamerlan: A ‘Turkish’ Opera by Peter von Winter for the (1820).” In Ottoman Empire and European Theatre II: The Time of Joseph Haydn—From Sultan Mahmud I to Mahmud II (r. 1730-1839), edited by Michael Hüttler and Hans Ernst Weidinger, 521-36. Don Juan Archiv Wien: Ottomania 3. Vienna: Hollitzer Wissenschaftsverlag, 2014. (ILL) Monson, Dale E. “Galuppi, Tenducci, and Montezuma: A Commentary on the History and Musical Style of Opera Seria after 1750.” In Galuppiana 1985: Studi e richerche. Atti del convegno internazionale, edited by Mara Teresa Muraro and Franco Rossi, 279-300. Quaderni della “Rivista italiana di musicologica” 13. Florence: Leo S. Olschki, 1986. (ILL) Platoff, John. “Catalogue Arias and the ‘’.” In Wolfgang Amadè Mozart: Essays on his Life and his Music, edited by Stanley Sadie, 296-311. New York: Oxford University Press, 1996. (ILL) Platoff, John. “Musical and Dramatic Structure in the opera buffa Finale.” Journal of Musicology 7 (1989): 191-230. (JSTOR) Platoff, John. “A New History for Martín’s Una cosa rara.” Journal of Musicology 12/1 (Winter 1994): 85-115. (JSTOR) Polzonetti, Pierpaolo. “Oriental Tyranny in the Extreme West: Reflections on Amiti e ontario and Le gare generose.” Eighteenth-Century Music 4/1 (March 2007): 27-53. (ILL) Price, Curtis A. “Italian Opera and Arson in Late Eighteenth-Century London.” Journal of the American Musicological Society 42/1 (Spring 1989): 55-107. (JSTOR) Rice, John A. “Salieri’s and the End of the Metastasian Tradition in Munich.” In Mozarts Idomeneo und die Musik in München zur Zeit Karl Theodors, edited by Theodore Göllner and Stephan Hörner, 151-63. Abhandlungen der Bayerische Akademie der Mozart’s operas (21s)—29

Wissenschaften, Philosophisch-Historische Klasse, Neue Folge no. 119. Munich: C. H. Beck, 2001. (ILL) Rice, John A. “Violence, Pathos, and Comedy in Salieri’s La vinta scema.” In Music in the Theater, Church, and Villa: Essay in Honor of Robert Lamar Weaver and Norma Wright Weaver, edited by Susan Parisi, et al., 213-26. Detroit Monographs in Musicology / Studies in Music 28. Warren Harmonie Park, 2000. (ILL) Russo, Paolo. “Fedra or Aricia? The Rationale of the ‘cagioni episodiche’.” Translated by Susan Rutherford. Recercare: Rivista per lo studio e la pratica della musica antica 17 (2005): 253-88. (JSTOR) Sánchez-Kisielewska, Olga. “The Romanesca as a Spiritual Sign in the Operas of Haydn, Mozart, and .” In Singing in Signs: New Semiotic Explorations of Opera, edited by Gregory J. Decker and Matthew R. Shaftel, 163-92. New York: Oxford University Press, 2020. (ILL) Schneider, Magnus Tessing. “Legacy of an Anti-Patriot: Calzabigi’s Elvira in Naples, 1794.” In Stage, Page, Play: Interdisciplinary Approaches to Theatre and Theatricality, edited by Ulla Kallenbach and Anna Lawaetz, 37-54. Copenhagen: Multivers, 2016. (ILL) Severn, John R. “Salieri’s , ossia Le tre burle and The Merry Wives of Windsor: Operatic Adaptation and/as Shakespeare Criticism.” Cambridge Opera Journal 26/1 (March 2014): 83-112. (full text in RILM) Sisman, Elaine R. “Fantasy Island: Haydn’s Metastasian ‘Reform’ Opera.” In Engaging Haydn: Culture, Context, and Criticism, edited by Elaine R. Sisman, 11-43. Cambridge: Cambridge University Press, 2012. (ILL) Suner, Suna. “Of Messengers, Messages and Memoirs: Opera and the Eighteenth-Century Ottoman Envoys and their Sefâretnâmes.” In Ottoman Empire and European Theatre II: The Time of Joseph Haydn—From Sultan Mahmud I to Mahmud II (r. 1730-1839), edited by Michael Hüttler and Hans Ernst Weidinger, 83-141. Don Juan Archiv Wien: Ottomania 3. Vienna: Hollitzer Wissenschaftsverlag, 2014. (ILL) Taylor, Timothy D. “Peopling the Stage: Opera, Otherness, and New Musical Representations in the Eighteenth Century.” Cultural Critique 36 (1997): 65-88. (JSTOR) Waldoff, Jessica. “Sentiment and Sensibility in La vera constanza.” In Haydn Studies, edited by W. Dean Sutcliffe, 70-119. Cambridge and New York: Cambridge University Press, 1998. (ML410.H4H44 1998) Waisman, Leonardo J. “Metamorphosis in Reverse: Diana, from Goddess to Woman in Da Ponte’s and Martín y Soler’s L’arbore di Diana.” In Il mito di Diana nella cultura delle corti: Art, letteratura, musica, edited by Giovanni Barberi Squarotti, et al., 313-23. Centro studi delle residenze reali Sabaude: La cività delle corte 2. Florence: Leo S. Olschki, 2018. (ILL)

Week 13: due 10pm Tuesday 13 April Banciu, Ecaterina. “The Obsession with a Theme: ‘Là ci darem la mano’ by Mozart.” Lucrări de muziecologie 25/2 (2010): 31-51. (ILL) Mozart’s operas (21s)—30

Biba, Otto. “Da Ponte in New York, Mozart in New York.” Current Musicology 81 (2006): 109-21. (open access at https://currentmusicology.columbia.edu/ ) Breckbill, Anita. “Music Publishing by Subscription in 1820s France: A Preliminary Study.” Notes: Quarterly Journal of the Music Library Association 69/3 (March 2013): 453-71. (full text in RILM) Brown, Jane K. “ ‘The Monstrous Rights of the Present’: Goethe and the Humanity of Die Zauberflöte.” Opera Quarterly 28/1-2 (Winter-Spring 2012): 5-19. (Project Muse) Buch, David J. “Richard Strauss, Idomeneo and the Musical Mischling in the Third Reich.” Richard Strauss-Blätter 2014: 67-84. (ILL) Cabranes-Grant, Leo. “Kierkegaard, Wagner and the Quest for Operatic Immediacy.” The Wagner Journal 12/2 (July 2018): 4-18. (full text in RILM) Chua, Daniel K. L. “Listening to the Self: The Shawshank Redemption and the Technology of Music.” 19th-Century Music 34/3 (March 2011): 341-55. (JSTOR) Cole, Malcolm S. “Mozart and Two Theatres in Josephinian Vienna.” In Opera in Context: Essays on Historical Staging from the Late to the Time of Puccini, edited by Mark A. Radice, 111-45. Portland: Amadeus Press, 1998. (ILL) Collins, Michael. “Mozart’s Clemenza di Tito in the Early Ottocento: The Making of a Pasticcio.” Mozart-Jahrbuch (2005): 55-96. (ILL) Cowgill, Rachel. “New Light and the Man of Might: Revisiting Early Interpretations of Die Zauberflöte.” In Art and Ideology in European Opera: Essays in Honour of Julian Rushton, edited by Rachel Cowgill, et al., 194-221. Woodbridge, Suffolk: Boydell & Brewer, 2010. (e-book available) Cowgill, Rachel. “ ‘Wise Men from the East’: Mozart’s Operas and their Advocates in Early Nineteenth-Century London.” In Music and British Culture, 1785-1914: Essays in Honor of Cyril Ehrlich, edited by Christina Bashford and Leanne Langley, 39-64. Oxford: Oxford University Press, 2000. (ML285.4.M87 2000) Davies, Sheila Boniface, and J. Q. Davies. “ ‘So take this magic flute and blow. It will protest us as we go.’: Impempe Yomlingo (2007-2011) and South Africa’s Ongoing Transition.” Opera Quarterly 28/1-2 (Winter-Spring 2012): 54-71. (Project Muse) Dellamora, Richard. “Mozart and the Politics of Intimacy: The Marriage of Figaro in , Paris, and New York.” In The Work of Opera: Genre, Nationhood, and Sexual Difference, edited by Richard Dellamora and Daniel Fischlin, 255-75. New York: Columbia University Press, 1997. (ILL) Durante, Sergio. “Don Giovanni Then and Now: Text and Performance.” In Dramma giocoso: Four Contemporary Perspectives on the Mozart / Da Ponte Operas, edited by Darla Crispin, 59- 89. Geschriften van het Orpheus Instituut / Collected Writings of the Orpheus Institute 10. Leuven: Leuven University Press, 2012. (e-book available) Ellis, Katharine. “Rewriting Don Giovanni, or, ‘The Thieving Magpies’.” Journal of the Royal Musical Association 119 (1994): 212-50. (JSTOR) Mozart’s operas (21s)—31

Everist, Mark. “Enshrining Mozart: Don Giovanni and the Viardot Circle.” 19th-Century Music 25 (2001-2): 165-89. (JSTOR) Farnsworth, Rodney. “Così fan tutte as Parody and Burlesque.” Opera Quarterly 6/2 (Winter 1988): 50-68. (Monroe Library periodicals; request article through ILLiad) Gibbons, William. “(De)Translating Mozart: The Magic Flute in 1909 Paris.” Opera Quarterly 28/1-2 (January 2012): 37-53. (Project Muse) Goehring, Edmund J. “Much ado about something, or, Così fan tutte in the Romantic Imagination: A Commentary on and Translation of an Early Nineteenth-Century Epistolary Exchange.” Eighteenth-Century Music 5/1 (March 2008): 75-105. (ILL) Guiguet, Kristina. “Opera as Trans-Atlantic Culture in Pre-Confederation British North America: Mozart’s ‘Crudel! Perchè finora’ on an 1844 Toronto Concert Programme.” Intersections 28/1 (2007): 151-75. (full text in RILM) Hatch, Christopher. “The ‘Cockney’ Writers and Mozart’s Operas.” Opera Quarterly 8/3 (Fall 1991): 27-41. (Monroe Library periodicals; request article through ILLiad) Hellner, Jean Marie. “Elements of Enlightenment in Osmin’s Rage: Mozart’s Die Entführung aus dem Serail in Prague.” In Mozart in Prague: Essays on Performance, Patronage, Sources and Reception, edited by Kathryn L. Libin, 93-112. Prague: Akademie Věd České Republiky, 2016. (ILL) Holden, Raymond. “Richard Strauss’ Performing Version of Idomeneo.” Richard Strauss-Blätter 36 (December 1996): 83-131. (ILL) Lee, Hayoung Heidi. “Papageno Redux: Repetition and the Rewriting of Character in Sequels to Die Zauberflöte.” Opera Quarterly 28/1-2 (Winter-Spring 2012): 72-87. (Project Muse) Lynch, Christopher. “Die Zauberflöte at the House in 1941: The Mozart Revival, Broadway, and Exile.” Musical Quarterly 100/1 (Spring 2017): 33-84. (full text in RILM) Nedbal, Martin. “Live Marionettes and Divas on the Strings: Die Zauberflöte’s Interactions with Puppet Theatre.” Opera Quarterly 28/1-2 (Winter-Spring 2012): 20-36. (Project Muse) Nedbal, Martin. “Mozart’s Figaro and Don Giovanni, Operatic Canon, and National Politics in Nineteenth-Century Prague.” 19th-Century Music 41/3 (Spring 2018): 183-205. (ILL) Parakilas, James. “The Afterlife of Don Giovanni: Turning Production History into Criticism.” Journal of Musicology 8/2 (Spring 1990): 251-65. (JSTOR) Petersen, Nils Holger. “Seduction or Truth in Music? Mozart’s Don Giovanni and Søren Kierkegaard’s Either/or.” Kierkegaard Studies Yearbook 2008: 109-28. (ILL) Schiefler, Ronald. “Don Giovanni and the Storytelling of Isak Dinesen: Mosaic Art and the Articulation of Desire.” Mosaic: A Journal for the Interdisciplinary Study of Literature 42/4 (December 2009): 129-46. (JSTOR) Senici, Emanuele. “ ‘Adapted to the Modern Stage’: La clemenza di Tito in London.” Cambridge Opera Journal 7/1 (March 1995): 1-22. (JSTOR) Mozart’s operas (21s)—32

Swanson, Alan. “To hell with Don Giovanni: Lieto fine and the Stockholm Ending of Don Giovanni 1813.” Mozart-Studien 22 (2013): 11-48. (ILL) Will, Richard. “Zooming in, Gazing Back: Don Giovanni on Television.” Opera Quarterly 27/1 (Winter 2011): 32-65. (Project Muse) Woodfield, Ian. “ ‘Werktreue’ in the Prague Productions of Le nozze di Figaro (1786) and Così fan tutte (1791).” Mozart-Jahrbuch 2012: 245-66. (ILL)