Examples Of Opera Buffa And Hope In The Shawshank Redemption

Examples Of Opera Buffa And Hope In The Shawshank Redemption
Opera Buffa and Hope in The Shawshank Redemption What does one imagine when viewing a
comic opera? Servants outwitting their masters? A happy ending? However, would one imagine a
comic opera in a maximum–security prison? In The Shawshank Redemption, Andy Dufresne plays
an duet from Mozart's comic opera, The Marriage to Fiagaro, as its Enlightened ideals represent
Andy's prison experience and its Classical characteristics evoke a sense of hope in the repressed
prison. Wolfgang Amadeus Mozart's The Marriage of Figaro reflects the social and musical
influence of the Classical period. Socially, The Marriage of Fiagaro reflects the ideals of the
Enlightenment. The Enlightenment was "was a period that saw the institutions of Europe–religious,
... Show more content on Helpwriting.net ...
Common characteristics of classical music include strong dynamics, changing rhythms, simplistic
melodies, and homophony (Tomlinson and Kerman 155–158). When focusing on the aria played in
The Shawshank Redemption, one hears the "natural use of the voice. We're not asking the voice to
do anything that it really doesn't want to do, and it's naturally dramatic" (Greenberg). The
homophonic music accompanies Susanna's aria, but does not over power her voice; it is simple. The
changing rhythms and dynamics express Susanna's emotions as music during the Enlightenment was
considered "akin to the motions of the human soul, from which it follows that music is able to
apprehend and convey the impulses and moods of the human soul" (Lang 96). These feelings,
however, are not those of the Church or government institution; they are the feelings of a servant
who wants to marry Fiagaro and the Countess, who is conspiring against her husband. Another
introduction in comic opera was the ensemble, "a number sung by two or more people" (Tomlinson
and Kerman 189). The ensemble allows the characters, Susanna and the Countess, to express their
emotions simultaneously. Musically, the duet in The Marriage of Fiagaro incorporates the popular
characteristics of the Classical period to express the natural emotions of two women. The
Shawshank Redemption is a critically acclaimed movie that addresses topics such as infidelity,
... Get more on HelpWriting.net ...

Enduring Love Act 5 Summary
While Jaquino is away, Marzelline sings a heartfelt aria. Marzelline's aria is on confessing her
feelings for Fidelio. She sings her true thoughts on the passions she hopes would occur in her
marital bliss with Fidelio. She sings of her dreams of being a loyal wife, fulfilling her domestic
chores and then enjoying a pleasure filled night with her husband, Fidelio. The aria is light and
hopeful with a cheerful ending. Then, Leonore, disguised as Fidelio, enters the garden carrying
chains and a box. This leads into a quartet involving Marzelline, Fidelio, Rocco, and Jaquino. The
plot thickens as Marzelline thinks to herself of her imagined love and future happiness with Fidelio.
Fidelio thinks of the danger of Marzelline's crush on her ... Show more content on Helpwriting.net ...
However, in Fidelio, the one rescuing her lover is a woman, whereas, in The Magic Flute, the
rescuer is male. Additionally, in both operas, there is a powerful and evil villain that is keeping the
lovers apart. In Fidelio, the villain is Pizarro, the head of the prison, and in The Magic Flute, the
villain is the Queen of the Night. The operas end similarly with the villains in both operas being
punished. In The Magic Flute, the Queen of the Night is defeated with magic by Egyptian priests
and is banished to eternal night never to return. In Fidelio, Pizarro is stopped by the minister, Don
Fernando, and receives punishment for his evil ways. Both operas end with the lovers finding each
other, Leonore and Florestan in Fidelio, and Pamina and Tamino in The Magic

Marriage Of Figaro
The Marriage of Figaro, or Le Nozze di Figaro as originally titled in Italian, is a light–hearted opera
buffa in four acts with musical setting by Wolfgang Amadeus Mozart and libretto by Lorenzo Da
Ponte. The libretto is based on La folle journée, ou le Mariage de Figaro (The Madcap Day, or the
Marriage of Figaro), a comically titled stage play by Pierre Beaumarchais. Mozart's opera is in fact
part of a trilogy. The Marriage of Figaro continues the story of The Barber of Seville, another of
Beaumarchais' plays adapted for opera by Paisiello. Composed in 1786 and originally a reasonable
success, The Marriage of Figaro's acclaim has grown much greater and is celebrated and performed
today around the world, so widely successful that it has even ... Show more content on
Helpwriting.net ...
In anticipation of attending the performance, I read up on the opera's plot and watched videos of key
moments. I became familiar with the characters and formed expectations of each. For instance, I
expected Count Almaviva to be foolishly arrogant, with an I–expect–to–be–obeyed attitude.
However, I was surprised and shocked to discover how very "human" each personage really was. A
typical novel is told in the point of view of one individual with whom we, the audience, tend to
sympathize with. We know their thoughts and feelings and we "cheer them on", while despising the
antagonists. In Guth's The Marriage of Figaro, I found myself wishing for good closure for each and
every one of the characters despite the fact that they are the source of each other's misery.
Despite a solid effort from all voice parts and some disconcertingly beautiful standout arias, overall,
I found the libretto and Guth's atmospheric changes to be much too disconnected, resulting, for me,
in a somewhat disappointing Marriage of Figaro. Those hoping to experience the classical brilliance
of a Mozart–Da Ponte opera will come out of the theatre dissatisfied. On the other hand, those
wanting a glimpse of traditional operatic music and dialogue with added psychological depth will
take immense pleasure in viewing COC's 2016 production of The Marriage of

Loving Two Leading Ladies in The Marriage of Figaro Essay
"My happiness is in your hands."1 This is the Countess' plea as Susanna enters the Count's study.
She is about to accept the Count's offer to meet after her wedding at her mistress's request. This
riveting scene in "The Marriage of Figaro" premiered on the stage of the Burgtheater in Vienna on
May 1st, 1986.2 With the music by Wolfgang Amadeus Mozart and the libretto by Lorenzo Da
Ponte, the Italian opera was an adaption of Pierre– Augustin Caron de Beaumarchais' play "The
Follies of a Day or, The Marriage of Figaro". The play finally made it to the stage on April 27th,
1984, of the Comedie–Française after being banned by King Joseph II and being revised by a
second censor board.3 "The Marriage of Figaro" takes place on the wedding day of ... Show more
content on Helpwriting.net ...
She was intelligent and compassionate and insightful. This insight is clear to us from the beginning,
as the curtains open on a bedroom, in which Figaro is measuring and Susanna is preparing her
headdress for the ceremony later that day. Their duet begins and Figaro is measuring dimensions of
furniture to a "bourree pattern"6 with strong beats, while Susanna sings a "gavotte"7 which is quick
and lively, about her beautiful headdress. She calls to Figaro to admire it, and breaks his pattern.
"The third–beat accent of her melody unsettles Figaro's deliberate downbeat... interfere[ing] with the
valet's concentration... throwing his vocal tallying out of sync."8 She fills in his space with a
delicate melody that gets him back on tempo and turns his attention towards her, where he finally
acknowledges her headdress and remarks about the practicality of the room, leading into the second
duet. Here we draw the parallel between Figaro's masculine rhythm and his rationality. His steady
downbeats match the logic he uses to take the Count's gift of the room as an advantage, because it is
close to both the Count and Countess's quarters. Similar to the way Susanna was able to "sing"
Figaro back into place, she uses her global perspective of the situation to realize the Count wants her
close to his room for easier access. Susanna leads Figaro to this realization, and brings him to the
reality of the situation. Using her insight, Susanna demonstrates

Literary Devices In Amadeus
The music in Amadeus has been beyond the simple role as a background of the movie and greatly
influenced the flow of the narrative in the film. The movie Amadeus arouses realism and immersion
in the life of Mozart which is glorious but miserable at the same time by appropriately arranging the
narrative of the film with Mozart's great music. In other words, the soundtrack of the film composed
by Mozart works as the important dramatic device to describe Mozart's life, the main theme of the
movie – ordinary people's jealousy of genius – and the relationship between God and humans in
further. First of all, the Mozart's music in Amadeus is used to vividly illustrate the overall life of
Mozart and the situation in which Mozart's was in when he composed his music. The film Amadeus
is based on the play of the same title written by Peter Shaffer which is created depending on the
rumor floating around Vienna in the 1820s that Salieri poisoned Mozart. Even though it is revealed
that the rumor, which says, Mozart's death is related to Salieri, is not true by several historical
researches, still Amadeus depicts fictional life of Mozart in realistic way with appealing and
enthrallment that the plot has. In addition to the narrative's high level of immersion, the works of
Mozart, which are properly placed with the plot ... Show more content on Helpwriting.net ...
In the film, Mozart is illustrated as the character which always has the fear of the presence of a
'father.' This trait of Mozart in Amadeus is based on the real relationship between Mozart and
Leopold. In reality, Mozart had never received formal education. Instead, he was only educated by
his father until he became an adult. (S.Y. Lee) Upon historical researches about real Mozart, it is not
surprising why Mozart in Amadeus is portrayed like a child dependent on his father

Wolfgang Amadeus Mozart 's Overture
Wolfgang Amadeus Mozart's overture to The Marriage of Figaro brings together all the components
and styles of the classical period. With it being an overture, it sets the mood and allows people to get
ready for the opera they are about to watch. Mozart was one of the greatest composers to ever
resonate from the classical period and his music is still studied and played worldwide today.
Wolfgang Amadeus Mozart was born in 1756 in Salzburg. (Kem) Recognized for his works at an
extremely young age, Mozart was playing the harpsicord by the age of four and had written his first
opera by the age of eight. (Wright) He was highly educated and exceedingly well known throughout
Europe. The early parts of his career were spent waiting at the beck and call of people in high
political power until 1781. In 1781, Mozart moved to Vienna, Austria to become a freelance
composer, teacher, and pianist. (Kem) Most composers in the Classical era worked for the
aristocracy. Mozart being a freelance composer left him in serious finical trouble by the end of his
career. (Kem) Although he lived a short life, dying at the age of thirty–five, but his time in this
world was not wasted. During his lifespan, he wrote over six hundred pieces of work ranging from
operas, piano concertos, symphonies, and serenades. (Kem) One of his opera buffas that stood out in
his career was The Marriage of Figaro. The French writer Pierre–Augustin Caron de Beaumarchais
wrote the play. Beaumarchais and Mozart wrote a

Life Of Mozart Essay
The Life of Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart (1756–91) is regarded as the greatest composer who ever lived. He
began writing minuets at the age of 5,and by the time he died in 1791 at the age of 35, he had
produced 626 cataloged works. " Mozart has enriched the concerto form with a larger number of
masterpieces than any other composer."1
Wolfgang Amadeus Mozart is said to be the greatest genius in western music history. Wolfgang
Amadeus was born in Salzburg, Austria January 27, 1756 his parents were Leopold Mozart and
Anna Maria Pertl. Wolfgang Amadeus Mozart's father was a successful composer, violinist, and
assistant concertmaster at the Salzburg court. The ... Show more content on Helpwriting.net ...
Also he had composed keyboard pieces, oratorios, symphonies, and operas. He performed his first
major opera when he was fourteen it was staged in Milan in 1770 the style of the opera was opera
seria, Mitriade.
In 1762 he and his sister performed in the courts of Vienna for the Emperor Francis I and the
Empress Maria Theresa. During the time of (1763–1766) the children performed in Germany, Paris
at the court of Versailles ,and in London
Mozart's Compositional Style
Wolfgang Amadeus Mozart's style unlike anyone else. Mozart was a master of counterpoint, fugue,
and the other traditional compositional points of his day. He is also considered the best melody
writer the world has ever known. Wolfgang perfected the grand forms of symphony, opera string
quartet, and concerto made the classical period. "Mozart's music is characterized by lucid ease and
distinction of style...."2 Wolfgang wrote over 600 works which consisted of 21 stage and opera
works, 15 masses, over 50 symphonies, 25 piano concertos, 12 violin concertos,27 concert arias, 17
piano sonatas, 26 string quartets, and many more. His operas range from comic baubles to tragic
pieces. In his Requiem it illustrates the supreme vocal sounds in any of his work.
Wolfgang's musical influence and preparation

Johannes Chrysostomus Wolfgangus Mozart : The Genius Of...
The Genius of Mozart
"O, Mozart! Immortal Mozart!"– wrote Schubert in his diary (qtd. in Booth 93). He roused my
admiration when I was young; he caused me to despair when I reached maturity; he is now the
comfort of my old age– said Gioachino Rossini (qtd. in Archer). Mozart is sweet sunshine– said
Dvorak during a lecture he gave at the Prague Conservatory (qtd. in Jacobson 164). These are just a
few artists who admired this musical genius. Mozart's music transcends the boundaries of time.
Over 226 years after his death, the music he composed is played by operas and cultural centers all
over the world. He is considered to be a musical genius and fully deserves the honor. He has earned
the title with his dedication from the early age, his compositional masterpieces, and he continues to
inspire and influence musicians today.
Johannes Chrysostomus Wolfgangus Theophilus Mozart was an Austrian composer who is widely
known for his prowess at writing western music. He was born in 1756 in Salzburg Austria. Having
been born in a family of good standing, Mozart leveraged on the socioeconomic might of his parents
to make a statement that still makes him relevant to music today. His father Leopold was the writer
of the famed violin playing manual, which was published in 1756 when Mozart was born. Mozart
and his sister Maria Anna (Nannerl) were the only ones able to survive beyond childhood in a family
of seven siblings ("Wolfgang Amadeus Mozart Biography "). From a very young age,

Essay On Amadeus
Mozart's music in Amadeus exuberantly reproduces his life with the narrative which chronologically
unfolds the series of episodes related to the life of Mozart. By arranging Mozart's music in Amadeus
in the order of composition with the important episodes of his life, the movie shows that how
Mozart who was once praised as the musical prodigy eventually reaches to the death at the early
age. Mozart's witty and bright music played in the early part of the movie shows his unique
composition style in the period when he received lots of attention and compliment from all over
Europe. For example, in the early part of the film, the song "Serenade No. 10 in B Flat Major 'Gran
Partita' K.361" floats out in the scene that Salieri encounters Mozart for ... Show more content on
Helpwriting.net ...
In Amadeus, the prelude of the opera "Don Giovanni" composed by Mozart after the death of
Leopold Mozart – Mozart's father – refers the relationship between Mozart and Leopold and the
scheme of Salieri foreshadowing the death of Mozart. For one thing, the opera "Don Giovanni"
explains the abnormal relationship between Mozart and his father. In the film, Mozart is illustrated
as the character which always feels afraid of the presence of a 'father.' The dependency of Mozart in
Amadeus is based on the real relationship between Mozart and Leopold. In reality, Leopold worked
for the court of Salzburg and had a great ambition for success when he was young but, after the birth
of Mozart, he devoted his life for education Mozart, having left his reputation and ambition as a
musician. (Yu 22) Also, Mozart had never received formal education and instead he was only
educated by his father until he became an adult. (Lee) Based on researches about Mozart including
the two articles mentioned above, in Amadeus Mozart is portrayed as a child who is dependent on
his father but feels a fear of him at the same time. To illustrate the dependency of Mozart and
Leopold's domination over

Marriage Of Figaro Gender Roles
The Marriage of Figaro is an opera performed in 1786 in Vienna and remains another one of
Mozart's most prominent works. The opera is notable for its depiction of the increased social status
of women and its critical commentary on the aristocracy and social hierarchy of its time, as the
Countess and Susanna form a rapport that transcends class boundaries and gender roles. Mozart
further raises the issue of aristocratic power while expressing the rights of the bourgeois, as women
in the play are further responsible for challenging the social order and standing up for themselves
through their physical environment. The Marriage of Figaro is a socially critical piece by its
questioning of the upper–class authority and its representation of the ... Show more content on
Helpwriting.net ...
The importance of space and environment is apparent from the very beginning, as the play opens up
with Suzanne and Figaro bickering in their half–furnished room. In Act 2, the Countess is first
featured in her "boudoir" alone and in reflection within her space, "Is there no consolation, O God of
Love, in return for my sorrows and my sighs?" (39). The cabinet present in the Countess's boudoir
plays an important part in this regard, as Susanna's emergence from the closet at the end of Act 2,
"Are you brandishing your sword to kill that disobedient page?" (59), signifies her wielding of
power as she confronts the Count who apologizes for his foolishness. Furthermore, the outdoor
setting in Act 4, "the gardens of the castle", is conducive the power that the women wield, as
Susanna refers to the environment as a "charming place", where "even the darkness befriends my
wishes" (111). Susanna and the Countess trade clothes in the darkness, which allows them to easily
conceal their identities and carry out their plan. In using the power of the natural environment as
their ally, Suzanna comes together with Figaro and the Countess forgives the Count which concludes
the opera in a celebratory

How Did Le Nozze Cause The French Revolution
The Enlightenment is a cultural and intellectual movement in Europe in the 18th century that
promotes freedom, equality, and many other new ideas. It has lasting impact in Europe and the
world till this day. Le nozze di Figaro was the first of the three collaborations between composer
Wolfgang Amadeus Mozart and librettist Lorenzo da Ponte. The opera was based on the play la
marriage by Pierre Beaumarchais. In late 1785, less than a year after the controversial play was put
on in Paris, Mozart started the composition of Figaro. Notwithstanding the fact that Joseph II
banned the play in Vienna, da Ponte gained permission from the Emperor to put on an opera with the
promise to cut away the political sensitive parts, including one of the strongest criticisms towards
the aristocrats with Figaro asking the Count, "What have you done to deserve such advantages? Put
yourself to the trouble of being born – nothing more!" The opera premiered at Burgtheater in Vienna
on May 1, 1786. Although Figaro may not be a direct cause of the French Revolution, it was
responsible for spreading political ideas that undermine the authority of the aristocracy. This essay
sets out to examine how the ideas of equality are reflected in Le nozze di Figaro, leading to
increasing social mobility.
Figaro was ... Show more content on Helpwriting.net ...
As noted by Michael Steinberg, "He hasn't found a musical idiom of his own; his political and
emotional vocabulary suggests a similarly unfortunate mimetic duplication of the Count's." But as
the opera proceeds, Figaro's character becomes deeper and more complex musically. Unlike his first
catvatina "Se voul ballare" in Scene 2, Act 1 , which has a similar tune to the Count's part in the trio
"Susanna, or via, sortite" in Scene 6, Act 2 , he began to develop his own musical line. This increase
in the depth of Figaro's music implies that he eventually gains a more level social standing
comparing to the

The Roots of Happiness
Early Modern Europe experienced several tragedies in which the citizens sensed that there must be a
better way to live where happiness was more familiar. Alterations for what truly defines absolute
happiness in a society during these times of catastrophe were expressed through utopian literature.
Thomas More's Utopia, Tomasso Campanella's City of the Sun, and Caron De Beaumarchais' The
Marriage of Figaro together attempt to answer what truly creates a happy civilization during
different periods of crisis within Europe. Each of these utopian literature's suggest a different origin
that happiness derives from, soundly signifying that change in Europe would be beneficial. The
revolutionary ideas of change in Europe proposed by Utopia, City of ... Show more content on
Helpwriting.net ...
Another interesting approach that Utopia takes to encourage happiness is to have no punishment by
death to those who steal. The belief was that without the punishment of death and instead forcing the
accused to manual labor, in return, there would be no thieves. Showing Utopias Erasmian influence,
this idea was derived directly from the Romans who also used manual labor for punishment of
thievery. Clearly then, this utopia was pushing for happiness that would not be focused on
materialistic goods. Instead, these utopians derived their happiness from moral pleasure, or any
enjoyment that was not destructive to the body or morals of themselves or others. For example, the
people of Utopia obtained gratification from philosophical debate between others. Happiness was
very important to this society for the reason that they believed that God had created man to be happy
and enjoy life. Furthermore, God had planted appetites in man for good and healthy things in order
to promote a happy life. Thus, citizens were also able to obtain moral pleasure from the natural act
of eating. However during this time Europeans were predominantly Catholic, believing in original
sin and the idea that suffering was necessary for redemption of the afterlife. But, Thomas More
made this radical statement contradictory for the reason that happiness was so acute in Europe

The Marriage Of Figaro Analysis
The Marriage of Figaro During the first eighteen centuries AD the freedom of speech was under
brutal attack. Everywhere, in the world there was political instability. Different part of the world was
rocked by tyranny. In this time, to restore parity people had fought hard. One of the spotlight was
France. Although, the Roman Empire had split long time ago, the monarchical division of the iron
empire spread across the side of Europe. The revolution had to be choreographed appropriately and
carefully, to counter this growing European tyranny and aristocracy. An art was used as a mode of
communicating revolutionary ideas by artists. Using an art, a wave of revolution was established in
France which turn out to be a fruit for the people of France. However, the force emerging from that
piece of art was so high that no political opposition could managed to encounter, though they had
banned the Marriage of Figaro. Against, the will of the people the government have been keeping
artistic restrictions to stop the ideas the consider unfriendly for their survival and continued service.
All most of all ways were using to stop the spread of a specific piece of art across all possible
media. The marriage of Figaro, a story of a servant who stoop up to his boss and outwitted his
master in France faced an original bean. Beaumarchais, the author of the play depicted the French
aristocracy as lustful, degenerate and depraved. The game was considered revolutionary and banned
at long last by

Wolfgang Amadeus Mozart's The Marriage Of Figaro
Wolfgang Amadeus Mozart composed The Marriage of Figaro in 1786. For this assignment, the
focus was mainly on the first act of The Marriage of Figaro. The excerpt given was divided into two
main sections. First, I would like to expand on the opera as a whole. Next, I will discuss the first
section given. Then, I will discuss the second.
The entire opera is known as an opera buffa, which is a comedic opera. This was a very common
opera genre in the classical era. The Marriage of Figaro is a perfect example of an opera buffa in a
variety of ways. For instance, an opera buffa has believable characters as individuals. The characters
we see have titles such as a page boy, a music master, a count, and a fiancée. These are all very
common jobs or titles. There is no mention of mythical creatures or other unheard of species. This
makes the opera very relatable to the audiences. The opera also deals with everyday subject ... Show
more content on Helpwriting.net ...
Instruments such as the violin, cello, and clarinet are being used. The accompaniment thickens
greatly as well. You can hear the drastic difference. The instruments have more lines of music, and
on top of that the instruments are listed in full detail, and each has their own line of music. In
addition to the change of accompaniment, Mozart did a fabulous job of representing the characters
through the music. When the count sings alone, the sound is very regal. This, of course, is due to his
position. When Susanna sings, the accompaniment is higher, and also more rushed. This would be
because of the stress this character is experiencing, and also her gender. In addition, when Susanna,
the count, and the music master sing together, you can hear multiple melodies being played. The
action on stage also stops. In the first section, Susanna was constantly moving. The count and the
page boy both hide and caused great movement on

Comparing Opera Seria to Orfeo Ed Euridice by Gluck and...
Orfeo ed Euridice by Gluck, was written in 1762 and The Marriage of Figaro by Mozart was written
in 1786. It is interesting to analyse the changes and developments from opera seria to these two
examples.
During the eighteenth century, composers wrote in a style of opera called opera seria.' Opera seria
had the following characteristics:
They used similar plots involving a hero and usually some sort of conflict of human passions, and
these operas were often based on a story from an ancient Greek or Latin Author. The opera always
consisted of three acts with alternating recitatives and arias. To show the virtuosic skill of the singer,
cadenzas were used within arias. The action was created from the dialogue within the recitatives, ...
Show more content on Helpwriting.net ...
There were also stricter demands of the solo singers. The two mid eighteenth century composers,
Jomelli and Traetta played a big part in the reform of Italian opera in the late 18th century by
influencing the French towards opera of a more international flavour.
Born in Bohemia, Gluck built a more international style of opera. He was strongly affected by the
movement of the reform in the 1750s. He became court composer to the Emperor at Vienna after
visits to London and studying under Samartini in Italy. After a collaboration with a poet named
Raniero Calzabigi, Gluck composed two of his famous operas, `Orfeo ed Euridice' in 1762 and
`Alceste' in 1767. Gluck's aims were to remove the unpopular characteristics of opera seria, as
shown by his famous quote:
"To confine music to its proper function of serving the poetry for the expression and the situations of
the plot"
He removed the overuse of da capo aria or the showing off desire of the singer; he also broke down
the contrast of the recitative and aria and gave his opera more dramatic relevance than had been the
case in opera seria:
"I believed that my greatest effort should be directed to seek in a beautiful simplicity ...and there is
no accepted rule that I have not thought should be gladly sacrificed in favour of effectiveness."
One important way, in which Gluck reformed opera, was the use of his choruses as we can see in the
beginning of Orfeo ed Euridice. Example below.

Wolfgang Amadeus Mozart Essay
Wolfgang Amadeus Mozart
Mozart is perhaps the greatest musical genius who ever lived. Mozart 's full name is Wolfgang
Amadeus Mozart. Most people called him Mozart or Wolfgang. Mozart was born in Salzburg,
Austria, January 27, 1756. His father, Leopold, perhaps the greatest influence on Mozart's life, was
the vice Kapellmeister (assistant choir director) to the Archbishop of Salzburg at the time of
Mozart's birth. Mozart was actually christened as "Joannes Chrysotomus Wolfgangus Theophilus,"
but adopted the Latin term "Amadeus" as his name of choice. Mozart was one of seven children
born to Leopold and Anna, however, only one other sibling survived. By the age of four it was
evident that he possessed tremendous musical talent ... Show more content on Helpwriting.net ...
In Rome Mozart heard a performance of Allegri's Misere; the score of this work was closely
guarded, but Mozart managed to transcribe the music almost perfectly from memory. In
1777,Mozart's family visited Paris. His mother fell ill and died during their visit. Her death on July
3rd left Mozart grieving and in isolation. He reluctantly returned to Salzburg full of dread, and was
greeted by his father with these words: "If your mother had come back home from Mannheim, she
wouldnot have died... You would have got to Paris at a better time... and my poor wife would still be
(alive) in Salzburg."
Mozart married Constanze Weber, against his fathers say, on August 4 1782 in St. Stephen's
Cathedral. The following year, Mozart experienced the birth and death of their first "fine sturdy
baby, round as a ball," Ramiund Leopold. Despite this grief, Mozart remained buoyant in Vienna
where he continued producing concerto after concerto, while Constanze tended to their second son,
Karl Thomas. On Mozart's first visit to Milan, his opera Mitridate, ré di Ponto was successfully
produced, followed on a subsequent visit by Lucia Silla. The piece showed signs of the rich, full
orchestration that characterizes his later operas. In 1783, Mozart and Constanze visited Salzburg,
where he helped Michael Haydn out of a difficult spot, by writing some violin duets. He

Editing In The Shawshank Redemption
In the film, 'The Shawshank Redemption', directed by Frank Darabont, I will be discussing the scene
in which Andy receives book donations from a charitable organization, where he finds the record–
'Marriage of Figaro' opera by Mozart and he plays it over the prison speakers. This is a significant
event in the film because it helps develop Andy's character as it is the first time that we see Andy
truly disobey the system and through this, it shows the audience how Andy is able to be mentally
free despite the prison environment he is in. Being able to mentally escape the prison allows Andy to
remain hopeful that ultimately, he will be physically free. The four techniques that help this message
to be conveyed throughout the scene is camera work, ... Show more content on Helpwriting.net ...
In this scene, Darabont continuously cuts from one scene to another. For example, when it cuts from
Andy turning the speaker on in the office, to the guard in the toilet, to the inmates in the courtyard. It
allows the viewer to get the different point of views from what's happening and their reactions to the
music being played. The next editing technique used is dissolving, which is when one image is still
on screen briefly when the next scene is introduced. This technique is only used at a certain point in
the image. It is when Red is doing the voiceover, the camera only moves to the right throughout this
moment, it goes from a group of inmates in the courtyard, then dissolves to another group of
inmates in the courtyard and then it dissolves into the workroom, it moves across the faces of the
inmates and then stops at Red. The camera stops at Red because he is doing the voiceover and it
allows the viewer to see his reaction to the music. The editing techniques, cut and dissolve, allow
the viewer to see the impact the music had on the inmates and makes us feel admirable towards
Andy because he is sacrificing himself in order to allow the prisoners to witness the feeling of
mentally escaping the prison

Le Mariage De Figaro Essay
Before the composing of Le Mariage de Figaro and Le Nozze di Figaro, the aristocratic society was
in full swing. In early eighteenth–century France had a very defined "political and social order
known as the ancien régime." This meant that France was an absolute monarchy which was fostered
by King Louis XIV by showing the divine right of Kings. This was accomplished by building an
extravagant palace where nobles would live with the royal family, and draw in people that would
have normally been adversaries to the throne, and then turned them into allies by the draw for a
luxurious life in court. As anyone can imagine, this made the division between upper and lower class
even larger and more distinguished. During the time that Le Nozze di ... Show more content on
Helpwriting.net ...
But, through Figaro and Susanna's defiance of the Count's upper society, we see the power of the
monarchy falling. Just as society was beginning to see the nobility in a lesser light these societal
parallels extend to the Countess and Susanna's departure from the idea of their mere servitude. In
fact, their clever plot to trap the count in his own immoral act showed the independence that women
could and would eventually gain. Not only did their ingenuity display the power that women could
have in society, but through the Count's heart–felt apology to his wife, they demonstrated the need
for women. As mentioned earlier these character's actions and personalities are representative of a
societal norm and change of the time period. The Count showed the changing power of the nobility.
The Countess displayed the increased authority of women not only in their homes but in the ruling
class. Susanna demonstrated the budding feminism that was overcoming the exploitation of the
feminine sex. Figaro's ability to eventually marry his bride of choice over nobilities desire was
indicative of societies movement from the superiority of nobility. Even Marcellina's desire to take
the young Figaro's hand in marriage displayed the attention that society was beginning to show the
value

Wolfgang Amadeus Mozart Essay
The youngest child of Leopold Mozart and Anna Maria Pertl, Wolfgang Amadeus was born in
Salzburg on January 27, 1756. Considered by many to be one of the greatest musical prodigies in
history, by the age of three he was already a keyboard–player and violinist. By five he was
composing symphonies. Leopold Mozart (1719–1787), his father, undertook complete responsibility
for the tutoring of Wolfgang and his elder sister Maria Anna ('Nannerl'), an extremely gifted
keyboard player in her own right. Mozart spent from 1774 to 1777, as Konzertmeister at the Prince–
Archbishop's court in Salzburg. As he matured as artist and composer, he became anxious, wanting
to be free from the Prince–Archbishop's rules and the provincial atmosphere of ... Show more
Although he had initial success in Vienna and Prague with German and Italian opera–Die
Entführung aus dem Serail (The Abduction from the Seraglio)(1782) and Le Nozze di Figaro (The
Marriage of Figaro)(1786)–and a series of paid concerts, he quickly experienced severe financial
difficulties. In the summer of 1782, against his father's wishes, Mozart had married Constanze
Weber (1763–1842) the younger sister of Aloysia, who had rejected his love. Neither Mozart nor
Constanze knew how to manage money. In late November 1791, when his financial situation
seemed to be improving with the Vienna success of his opera Die Zauberflöte (The Magic Flute),
Mozart became seriously ill. He died on December 5, just before 1 a.m. As was the custom for
paupers in Vienna, he was buried in a mass grave with no mourners in attendance. Obituary notices
were unanimous in praising his genius. Mozart was one of the most remarkable music geniuses the
world has ever known. He wrote symphonies, concertos for a variety of instruments, a great amount
and variety of chamber music, songs, works for piano solo, and operas. Among his instrumental
compositions are his symphonies, for example the No. 25 in G minor, and No. 35 in D major
(Haffner), 27 piano concertos that include the famous Piano Concerto. 21 in C major, and concertos
for other instruments such as the violin, horn, and bassoon, including the Concerto for Flute and
Harp, the Horn Concerto No. 2 in E–flat major, the famous

The Shawshank Redemption And The Marriage Of Figaro
What does one imagine when viewing a comic opera? A ornamented opera house? Patrons dressed
in black tie apparel? However, would one imagine a comic opera playing in a maximum–security
prison? Would uneducated prisoners appreciate the music? In The Shawshank Redemption both of
these events occurred. In The Shawshank Redemption, Andy Dufresne plays an duet from Mozart's
comic opera, The Marriage to Figaro, as its Enlightened ideals represent Andy's prison experience
and its Classical characteristics evoke a sense of hope in the repressed prison. Wolfgang Amadeus
Mozart's The Marriage of Figaro reflects the social and musical influence of the Classical period.
Socially, The Marriage of Figaro reflects the ideals of the Enlightenment. The Enlightenment was
"was a period that saw the institutions of Europe–religious, political, social, educational, industrial,
financial and artistic–slowly but inexorably lower their focus from the ruling aristocratic and clerical
classes to a new class of people. For want of a better term, we call this new and rising class of
people the middle class" (Greenberg "Opera Buffa"). The Enlightenment placed an emphasis on the
"'natural man'" or the common man, not just the aristocratic class (Kerman and Tomlinson Listen
153). Consequently, Mozart focused his comic operas on lower to middle class protagonists like the
servants Figaro and Susanna whose marital bliss is delayed by nobles ("Synopsis: Le Nozze di
Figaro" The Metropolitan Opera). Another

Annotated Bibliography For The Great Gatsby
The Bridge of San Luis Rey, Thornton Wilder (1927) ★★★★
The Book Thief, Markus Zusak (2005) ★★★★★
The Adventures of Huckleberry Finn, Mark Twain (1884)
★★
A Farewell to Arms, Ernest Hemingway (1929)
★★★★
The Great Gatsby, F. Scott Fitzgerald (1925)
★★★
Markings, Dag Hammarskjold (1963)
★★★★★
Frankenstein; or, The Modern Prometheus, Mary Shelley (1818) ★★★★★
Candide, Voltaire (1759)
★★★★
The Stranger, Albert Camus (1942)
★★★★★
Heart of Darkness, Joseph Conrad (1899)
★
No Exit, Jean–Paul Sartre (1944)
★★★★
The Anatomy of Revolution, Crane Brinton (1938)
★★★

The Barber of Seville, Pierre Beaumarchais (1775)
★★★★
Of the four books I've read this year that were required reading in school (Huckleberry Finn, The
Great Gatsby, Frankenstein, and Heart of Darkness), the only one I really liked was ... Show more
As a result, I haven't actually read these in English. I picked them because they represent a potpourri
of works from the French literary canon: historical fiction, philosophical novellas, modern dramas,
and classical dramas. So far, I've enjoyed them and gained a respect for another language that I think
many students studying foreign languages lack. It's a kind of feeling that one can only get through
reading the literature of that language and combing through them to find common themes and
cultural statements. Works I will likely read for that class include The Marriage of Figaro (Le
Mariage de Figaro), The Guilty Mother (La Mère coupable), Waiting for Godot (En attendant
Godot), Ninety–three (Quatrevingt–treize), The Would–Be Noble (Le Bourgeois gentilhomme), and
Phèdre. I read Anatomy of Revolution to help me in my We the People course. Unsurprisingly, it
was very dry. It did, however, provide valuable insight into why revolutions happen and the
philosophy behind

The Would Be Gentleman And The Marriage Of Figaro
The focus of this paper will be to compare and contrast the works of two playwrights. The works
that will be considered are Molière's The Would–Be Gentleman and Beaumarchais's The Marriage
of Figaro. Both considered comedies, Moliere's is a short play that tells the tale of Monsieur
Jourdain, a tradesman who desires to become a gentleman. Beaumarchais's play, second in the
Figaro trilogy, follows the series of event prior to Figaro's wedding. Figaro and his companions
scheme to ensure that his marriage occurs smoothly. Furthermore, the plays are dated 100 years
apart from each other, and they deal with the representation of social hierarchy, social mobility, and
gender roles in various ways. With that in mind, they become good sources to compare and contrast
the changes in society that occurred within those 100 years. This paper will compare both plays to
examine how Molière further endorses the social values and ideas of his time, while Beaumarchais's
presents a shift in attitude towards those values and challenges them.
Before delving into the analysis, it is important to establish some context of the time that Molière's
The Would–Be Gentleman was first performed. The play was first performed in 1670, which would
have occurred during the reign of Louis XIV. As the editor of this collection establishes in the
introduction, one of Molière's main audiences was the King. Considering the King was a main
spectator, what tastes would you need to please in order to satisfy the

Personal Narrative-A Humorous Journey
As I sit on the stage of the most prestigious music hall in the world, Carnegie Hall, with my cello in
between my legs and bow in hand, the conductor raises his baton. He cues me along with 150
symphony players dressed in uniform black tuxedos and gowns. I was unbelievably nervous, sitting
second chair for hundreds to see; we opened with, "The Marriage of Figaro" composed by Mozart. I
had been preparing for this contest, this moment, all year and now it was finally upon me.
When I was in the third grade, our districts high school orchestra teacher accompanied by a few high
school players, came to my elementary class to inform us about stringed instruments because the
next year was the first year I could play in the orchestra. It never crossed my mind that I wanted to
play in orchestra until that day. I recall hearing the mellow, eloquent sound of the cello and
absolutely falling in love with it. I knew I wanted to be just like the high schoolers and wanted to
become just as good as them. When I first began to play the cello, it was difficult. I had never met
something that required so much ... Show more content on Helpwriting.net ...
High school orchestra was a whole new level, with much more challenging music and much higher
expectations. Freshman year I began in the back of the cello section, behind upperclassmen. I knew
I was better than that and had to prove myself. The following year, I was now the 1st chair cellist,
the Principle, of the Anderson High School Philharmonic orchestra. Later in the year, our orchestras
got invited to participate in a winter festival in New York City and play in Carnegie Hall. Everyone
was euphoric, being able to go to New York City and play in the Carnegie Hall is a very prestigious
honor to anyone. We worked hard to master all of our musical pieces. But there was one problem,
"The Marriage of Figaro". The song is a living nightmare for cellos, but we didn't give

Opera Buffa Satire
Opera, as with any theatrical production is often indicative of some societal norm or expectation.
However, Opera Buffa, as with any satire generally reaches into the outcasts of society to find
humor in the contrasts with the "norms". Interestingly, these comedic teachings often turn into the
norms of tomorrow. These can go from political beliefs, drugs, clothing, hairstyles, relationships,
anything that is different than expected. To help better explain this let us look at a modern example.
I Love Lucy is a television show that showed humor with a whacky wife expanding her horizons as
she wandered into a world mainly for men. It is true that women had been given the right to vote
decades before but is wasn't until the need for more female worker during World War II that women
began to find their way out of the home. It was the exploring of these boundaries that made part of
the comedy.
We also find these explorations in Le Nozze di Figaro, a comedy that visited that day and reached
for the next. It was written in a time when serfdom and the aristocracy were becoming obsolete. In
fact, shortly after the writing of the production the Holy Roman Empire was no more. The age of
revolution was beginning as the United States found its way out of aristocracy. England and France
slowly began ... Show more content on Helpwriting.net ...
In fact, some people credit Le Nozze di Figaro for starting the Revolution. While I do not believe
that Le Nozze di Figaro started the Revolution of the time, I do believe that Mozart emulated the
world and society around him to write his Opera Buffas, specifically Le Nozze di Figaro.
The play in which Mozart based his Opera on was called Le Marriage de Figaro written in 1778 by
Pierre Beaumarchais. The play was considered so racy and against the politics of the times that it
was banned from the Viennese stage by King Louis XVI. "Mozart evidently studies Paisiello's
handling of the same personalities and included deliberate references to it." (Sadie 2000,

Opera Buffa Genre
Opera buffas break the stereotype that other operas had set. The plots follow common folk rather
than heroes and noblemen. They incorporated comedy as an essential element to the plot and
connotation of the opera. At first, intellectuals hated this. They believed it broke tradition and made
opera look impractical. As time went on, critics and general audiences began to accept opera buffas.
There was a lot more depth to comic operas than some would believe. I aim to look at the opera
buffa and how the emergence of this sub genre may or may not have contributed to the opera genre.
I specifically look at three different sources to that contribute towards opera buffa; The Culture of
Opera Buffa in Mozart's Vienna: A Poetics Entertainment written by Mary Hunter, Francesco Izzo's
Comedy Between Two Revolutions: Opera Buffa and the Risorgimento, 1831–1848, and finally an
article by Caryl Clark titled Reading and Listening: Viennese Frauenzimmer Journals and the
Sociocultural Context of Mozartean Opera Buffa. By looking into these three specific sources,
audiences can fully understand opera buffas and what kind of ideologies they represent.
Mary Hunter's book, The Culture of Opera Buffa in Mozart's Vienna: A Poetics Entertainment,
discusses Mozart's opera buffas that were performed in Vienna from around 1770 to 1790, the height
of opera buffas success. Hunter investigates the connection that forms between the different works
of opera buffa and the audience. She explores the idea of

Così Fan Tutte Essay
Così Fan Tutte, ossia La scuola degli amanti, or more familiarly known as Così Fan Tutte, is one of
Mozart's last operas, translated as "Women are all alike, or The School of Lovers." Being named as
such, the principal theme of this opera is the fickleness and infidelity of women. The libretto of this
piece was written by Lorenzo da Ponte, who was also the librettist for Don Giovanni and La nozze
de Figaro, two other renowned operas of Mozart's.1 This opera was first performed in Vienna at the
Burgtheater, on January 26th, 1790.2 Though the exact origin of the story Ponte based his libretto on
is unclear, many people at the time believed that the story was based on a scandal in Emperor Joseph
II's court, where two Viennese officers were ... Show more content on Helpwriting.net ...
Don Alfonso, a wise philosopher, warns two young military officers, Guglielmo and Ferrando, that
all women are infidel, and they cannot trust even their own fiancés, Fiordiligi and Dorabella (who
are sisters). The officers laugh at Don Alfonso, retorting that their fiancés loyalty is unwavering and
eternal. Don Alfonso then asks the men if they would like to make a wager on their fiancés fidelity
to them. Guglielmo and Ferrando quickly accept the bet, believing it to be highly in their favor. The
girls' maid, Despina, joins in on the charade to earn some quick money.
Guglielmo and Ferrando pretend they are leaving for the war, and bid a tearful farewell with their
fiancés. They dress up as Albanians and attempt to sway the other's fiancé. Ferrando is devastated to
see his fiancé, Dorabella, surrender to Guglielmo's advances so quickly. Fiordiligi, initially very
loyal to Guglielmo, also falls for Ferrando's advances by the end. Both new couples become
engaged, though the men are hurt and bitter, finally seeing the truth to Don Alfonso's words as the
three sing in unison–"Cosi fan tutte"–all women are the same.
In the end, Guglielmo and Ferrando reveal their true identities, and Fiordiligi and Dorabella are
ashamed and confused. However, they properly marry their original fiancés happily, and what
happens afterwards is left for viewers to imagine.4
Voice
Character Voice
Fiordiligi, sister of Dorabella Soprano
Dorabella, sister of

Essay Comparing The Marriage Of Figaro And Twelfth Night
A common discussion between the sexes is the omnipotent power that men seem to hold over
women in all societies. Why do men always have the social advantage over women? Both
Shakespeare's Twelfth Night and Beaumarchais' The Marriage of Figaro show that there is indeed a
social stigma placed on women where women are not allowed as much freedom to either fight back
against a suitor or choose not to accept a suitor's love and choose another. Shakespeare's Twelfth
Night focuses mainly on the negative stigmas against women, while Beaumarchais' The Marriage of
Figaro places most of the blame for perpetuating the stigmas on the aristocracy, especially the men
within the aristocracy (i.e. the Count). Both texts examine the social role women play in society, and
both texts critique the societal norms that restrict women.
To begin, in ... Show more content on Helpwriting.net ...
Towards the beginning, Suzanne expresses her dislike of the positioning of her and Figaro's
bedroom. She is afraid that the Count will somehow distract Figaro enough for him to lie with her.
The fact that she even considers this a possibility reveals a great problem: in her position as a
servant of the aristocracy and as a young woman, Suzanne is likely to fall prey to powerful men, just
because they have power over her. The Countess, too, is in a similar position, although she is of the
aristocracy. The Countess is held strictly accountable for the rumors that she was engaging in an
affair, even though the Count himself is attempting to engage in his own affair with Suzanne. The
Count accuses the Countess of unfaithfulness and doesn't even consider that his own attempt at an
affair is an account of his own unfaithfulness. Suzanne also encounters this issue when the Count
uncovers Cherubin, and Cherubin is discovered in her room: "You wanted to be alone so you could
receive my page, eh?" (Beaumarchais

Amadeus By Peter Shaffer
Amadeus Influential Values
Peter Shaffer's Amadeus presents to the reader many human values. The most prominent being envy,
deceit and self–sacrifice. During the course of the play these features are displayed through Salieri's
actions, emotions and dialogue.
The relationship between Salieri and Mozart is like a painting, commencing with splattered envy
after Mozart's extordinary musical talents disrupt Salieri's clean, white, sanity. Splatters become
blotches when Mozart uses Salieri's "prize pupil" (33), Katherina Cavalieri, to fulfill his professional
and sexual aspirations. Covered in thick, black envy, Salieri seeks lust to better himself than his
opponent: "As I watched her walk away on the arm of the creature, I ... Show more content on
Helpwriting.net ...
Salieri trying to interfere with Mozart's opera, The Marriage of Figaro displays his second step of
deceit. Upon hearing that Mozart's new opera contained ballet, which is verboten in the Emperor's
operas, he wickedly conveys this information to his colleagues and attempts to destroy his opera.
Although Mozart is distressed when approached by this fact, he still manages to work through his
deceit and is able to achieve the emperor's consent of the dance after being harassed and mentally
walloped on from Salieri and his colleagues. Mozart accuses Salieri at the beginning of this uproar
but is then altered after hearing this following quote from Salieri displaying his feign concern for the
stressed fellow: "Mozart, permit me. If you wish, I will speak to the Emperor myself. Ask him to
attend a rehearsal" (70).
Salieri's third step of deceit is illustrated by having the Baron attend a small opera hosted by Mozart
that mocks modern day opera themes. This of course enrages the Baron and causes Mozart to be
shunned by all men of influence and leads him deeper into depression. Salieri "had of course
suggested it" (92), for the Baron to come but keeps his amity with Mozart by expressing that "all is
not lost" (93).
The final step of deceit is exhibited by way of Salieri appearing "to the demented creature as – the
Messenger of God!" (94) And scaring him to death by forcing him to write his own requiem. With
Mozart at his weakest state,

Mozart's Opera 'The Marriage Of Figaro'
Name: MD HOSSIN
Prof. Name: MARK ADAMS
Course: Music 101
Date: 10/31/2017
Mozart's Marriage of Figaro
The main purpose to write this paper is to introduce, discuss, and analyze the opera "The Marriage
of Figaro" by Wolfgang Amadeus Mozart. The plot of this comic opera all revolves around love
triangles and misplaced affections. The main characters of the play are the Count Almaviva and
Countess Rosina, and Figaro, and his bride–to–be Susanna are the other couple in the affair. The
Count wants to have an affair with Susanna, and Marcellina wants to marry Figaro. On the other
hand, another character, Cherubino is a page in the Count's household. A prepubescent youth, and he
is interested with many of the female.
"The Marriage of Figaro" has

Mozart Essay
MOZART
Mozart is perhaps the greatest musical genius who ever lived. Mozart 's full name
is Wolfgang Amadeus Mozart. Most people called him Mozart or Wolfgang. Mozart was
born in Salzburg, Austria, January 27, 1756.
Mozart is the greatest musical child prodigy who ever lived. He began composing
minuets at the age of 5 and symphonies at age 9. His father took him on a series of
concert tours together with his sister, Maria Anna; born four and one–half years before
Mozart. She too, was a child prodigy. Both played the keyboard, but Mozart became a
violin virtuoso, as well.
In 1762 he and his sister, "Nannerl," as she was ... Show more content on
Helpwriting.net ...
In 1786, Mozart's London friends took part in the first performance of The
Marriage of Figaro. This was a triumph for Mozart in Prague, and he wrote his "Prague"
symphony as a tribute to its generous people. In Paris, Mozart published his first works:
four sonatas for clavier: with accompanying violin in 1764.
In 1768 he composed his first opera, LA FINTA SEMPLICE, for Vienna; but
intrigues prevented its performance, and it was first presented a year later at Salzburg.
Mozart was a successful composer and violinist. He used the form of concerto (like the
symphony, in several section) to display the qualities of wind instruments, like the horn.

His crowning achievements in concerto form, however, are for piano and orchestra – in
all 25 works. Mozart's performances of his own piano concertos had much to do with the
development of the instrument.
Mozart's greatest success was THE MARRIAGE OF FIGARO, written in 1786,
composed for the Vienna Opera. One of Mozart's greatest and most well known piece of
music is THE MAGIC FLUTE; which was produced by a suburban theatre in Vienna. His
greatest operatic success after Figaro was DON GIOVANNI written in 1787, composed
for Prague where Mozart's art was especially appreciated.
Mozart's fame began to wane after

Analyzing The Play 'The Marriage Of Figaro'
Comedy comes in different genres. Certain comedy is just to make somebody look ridiculous
without a real purpose, while comedy in other cases is hiding something that is an underlying
problem. Comedy is often used as a tool to come across with a serious point where the critique is
shown in a way that emphasizes the problem in a humoristic way. In the beginning stages of the
French revolution, there remained a critique of the French society. This critique is expressed in the
comedy "The Marriage of Figaro" which is a comedic play. The comedy is central of this play,
which makes it possible for the author to come across with his points and critique concerning the
French society. The author uses comedy to show the differences in gender, class, ... Show more
The author is trying to put focus on the gender, class, monetary power and political power as a
critique of the French society. The author is trying to equalize the rights between the social classes
in the society, which was the general idea that the French society was headed. The author uses
different tool kits to express his ideas. First of all, the play is taking place in Spain since the play
happened to be illegal in French due to its criticism. Another tool kit the author uses is comedy. He
uses comedy to create comedy of the differences there were in the society at that time of the French
society. The distribution of power is made humoristic in a way that shows that the power the Count
has does not always succeed to be performed where Cherubin is character that creates comedy of the
Count in several situations. Also the comedy of the monetary power is to show that the society is
corrupt, with the example of the court case. Although a critique of a society should not be humorous,
the comedy in this play is only strengthening the play in a way that enables the author to juggle
around with the importance of each character. He plays around with the power of people in a way
that gives the greatest powerful character the least power character and vice versa. This is an
effective way of expressing his critique by making the most significant people in the society look
silly. Additionally, his use of

Summary : ' Mozart '
Johannes Chrysostomus Wolfgangus Theophilus Mozart
Lydia Molina
Mr. Dresser
General Music
27 May, 2015
Mozart
Johannes Chrysostomus Wolfgangus Theophilus Mozart, known for his string of operas, concertos,
symphonies and sonatas, he helped shape classical music as it is today. "Born on January 27, 1756,
in Salzburg, Austria, Wolfgang Amadeus Mozart was a musician capable of playing many
instruments at age six. Over the years, Mozart aligned himself with a variety of European venues,
composing hundreds of musical pieces including sonatas, symphonies, masses, concertos and
operas" (Great Composers 2015). These works of art are known to be filled with much emotion to
touch his audience.
"In the years 1763 – 1766, Mozart, along with his father Leopold, a composer and musician, and
sister Nannerl, also a musically talented child, toured London, Paris, and other parts of Europe,
giving many concerts and performing before royalty. The Mozart family returned to Salzburg in
November 1766. The following year young Wolfgang composed his first opera, Apollo et
Hyacinthus, https://youtu.be/Lj3V1MsbS84. Apollo et Hyacinthus is an opera written in 1767 by
Mozart, who was 11 years old at the time. It is in three acts. The opera is based upon Greek
Mythology as told by Roman Poet Ovid in his masterwork Metamorphoses. Rufinus Widl wrote the
opera in Latin. In Salzburg 17, Mozart produced a series of church works, including the Coronation
Mass,

Mozart, Don Giovanni Act I : Excerpt From Opening Scene (...
Wolfgang Amadeus Mozart, Don Giovanni Act I: Excerpt from Opening Scene (1787).
Don Giovani Act I: Excerpt from Opening Scene, composed by Wolfgang Amadeus Mozart, and
libretto by Lorenzo da Ponte. This opera appeared at the original National Theatre in Prague on
October 29, 1787. Don Giovanni is a seductive but ruthless nobleman who will stop at nothing to
satisfy his sexual appetite. Don Giovanni's comic servant, Leporello, is a grumbling accomplice who
dreams of being in his master's place. In this excerpt the Don attempts to rape a young noblewoman,
Donna Anna; her father, the Commendatore (Commandant), challenges him to a duel. Don Giovanni
kills the old man. (Kamien, 2015)
Scene one and the opening scene, is Don Giovanni is attempting to seduce a woman Donna Anna,
while his servant Leporello is keeping watch outside, but complaining of his position as a servant, in
F major which is his main key, using a march rhythm. The orchestral introduction is molto allegro;
with sudden fortes. The strings remain constant, creating agitation but moves to violas and second
violas marking the end of Andante, transforming into an open Allegro. (The Metropolitan Opera
Guild, 2016) Leporello sings in a light staccato comic aria, bass sings in a rapid fire patter and in
one note. Moving to the next interaction, are lyrical passages ornamented, as heard in the two trios,
Donna Anna with Don Giovanni in the form ABB. Both are singing alternative and then imitative
lines. (Hung, J.,

Opera Buffa Social Structure
Mozart composed three Italian opera buffa– Le Nozze di Figaro, Don Giovanni, and Cosi fan tutte–
with Lorenzo Da Ponte's libretto. In the eighteenth century, the advent of Enlightenment in Europe
changed the hierarchical social structure in European society. It brought great change to the women's
lifestyle by allowing noblewomen to have equal power to men and to voice themselves. Also,
peasant women changed their lifestyle by being treated more equally as men who were at the same
social level. Mozart brought this social phenomenon to the opera since opera buffa reflected how
common people interacted with nobles and how men have started to respect women's opinions.
Mozart demonstrated gendered social structure by using soubrette characters. ... Show more content
on Helpwriting.net ...
The maid views love as a power dynamic that requires women to offset their socially established
disadvantage with cleverness. Despina believes that women learn to be unfaithful because men are
that way".
Despina, a lower class woman, believes women and men should be equally treated. It shows that in
the era, women have an awareness of being equal to men. Also, I found that a maid's subordinate
position was raised in the eighteenth century. When the Revolution occurred, the mainstream social
class was lower class. If Despina was not just a character but an actual woman, she definitely would
have participated in the revolution.
Mozart's Opera buffa reflects the cultural and historical materials in the eighteenth century and
shows the life of common people. In the eighteenth century, the Enlightenment aroused throughout
Europe and this idea aimed for the general progress of humanity. The world was broken from the
aristocratic society to the lower class. Public opinion promoted equality over hierarchy. Women took
part in the revolution, and they improved their status in their family and society. They demanded a
proper education thus literacy highly increased. With these influences, Soubrette characters in
Mozart's opera buffa: Susanna, Zerlina and Despina have a mysterious power from the
Enlightenment. He maintains the characters in the same class and he did not break the social
structure. However, he presents equality between women and men. Women

Mozart Essay
Wolfgang Amadeus Mozart is one of the greatest music composers who ever lived. His name and
the word 'genius' are often bandied about together by music writers and critics and many would
argue rightly so. Mozart had a fantastic ear for writing a catchy tune with perfect orchestral
arrangement. His compositions have a rich and distinctive sound; it can be said that in his brief
lifetime (only 35 years) that he wrote a masterpiece in every genre of classical music without much
apparent effort.
Original and completed music poured out of his mind and his music scores showed little correction.
His wife, Constanze, said that he wrote out the overture of his opera Don Giovanni on the day of its
première.
Mozart was born on 27 January, 1756, and ... Show more content on Helpwriting.net ...
The next ten years of Mozart's life are perhaps without parallel in history as the greatest decade of
creative genius.
In 1782, Mozart married Constanze Weber. He settled down with his new wife in Vienna, and made
money teaching, composing and giving public performances of his new work.
While in Vienna, Mozart made the acquaintance of composer Franz Joseph Haydn. The two became
close friends and the older composer's music had a profound influence on Mozart. Between 1782
and 1785, Mozart composed a series of six string quartets which he dedicated to Haydn. From 1784,
Mozart took advantage of playing the Lenten Season concerts, from which he could make the public
more aware of his new work. Although his financial problems were very apparent, the Vienna Court
Composer Antonio Salieri, who was more popular than Mozart in his day, schemed against Mozart
by stopping him from getting a coveted court position.
In 1785, Mozart started work on his new opera The Marriage of Figaro with Lorenzo da Ponte
providing the words. It was first performed 1786, after it was delayed by Salieri.
Just before Mozart finished his new opera, Don Giovanni (1787) his father Leopold died. The opera
went ahead and was a big success in Prague, where it was premiered. Unfortunately, it went down
less well in Vienna, where Mozart was beginning to become less fashionable among the fickle
Vienna public.
Mozart was especially productive in his last four years, churning out

Foreshadowing In Oedipus The King
Foreshadowing is a tool used by playwrights and authors of all types as a means to direct the
audience into a path of questioning and intrigue throughout the course of a novel or play. After
reading both of these theatrical works, it struck me just how often I dismiss/fail to acknowledge the
big red flags stuck within the ground of the text and thus proceed to give myself incredibly
undeserved credit at the end of every reading for having figured out what was going to happen "all
by myself". Therefore, I have taken it upon myself to examine the importance of this technique in
order to credit the playwrights and show how their use of foreshadowing creates tension, credibility
and a specific atmosphere in both of their fictitious worlds. 'Oedipus ... Show more content on
Helpwriting.net ...
Careful not, this is the great day, Mister Figaro! First, you have to have your little ceremony earlier,
so as to be more sure of being married: beat off the Marceline that's drooling for you like a mad
thing, frustrate His Lordship's lustful little schemes, thrash Master Bazile's ar..."3 This verse not
only provides the audience with a comic relief after learning about the seriousness of Figaro's
predicament, but also informs us about the future plans of the character which keeps us intrigued
and in anticipation for the remainder of the plot. It is important to note the way in which the
provision of knowledge in this play and the lack of it in 'Oedipus the King' are both capable of
maintaining the curiosity of a spectator. However, I would also like to point out that each tactic is
suited to the genre of the play i.e. you want to keep the audience informed as to what is going on in
a comedy however, you want to maintain the eeriness that comes along with not knowing what will
happen next in a

How Does La Contessa Respond To Isolation
The Sorrows of Unopposed Isolation Companionship is something all humans will encounter
throughout their lifespan, whether it be genuine or false. A genuine companion is one who offers
advice and support with positive and selfless intent. A bogus companion may offer advice and
companionship, but seeks some sort of disguised self–benefit or is ashamed of the relationship. In
the Enlightenment novel, The Sorrows of Young Werther by Goethe and in the Baroque opera Le
Nozze di Figaro by Mozart, a theme of isolation due to lack of companionship is prevalent. The
main characters, Werther and La Contessa respectively, respond to isolation differently, resulting in
a different outcome for the two. Ultimately, the character of La Contessa ended up better off than
Werther because of how she responded to isolation. Based upon their response to isolation, I argue
that when no genuine companion is present, it is better for a person to pursue or accept bogus
companionship rather than no companionship, despite the circumstances that lead them to the
isolated state. ... Show more content on Helpwriting.net ...
Werther, the protagonist, is obsessed with Charlotte, the main female character. Together, they form
a genuine companionship, spending time together and offering advice to one another. Despite their
deep connection, such as when they bonded over Klopstock, Charlotte rejects Werther romantically,
as she is already bound to Albert. Due to Werther's all–in or all–out mentality, when rejected by
Charlotte romantically, he first becomes obsessive and, due to Charlotte's steadfast rejection,
chooses to isolate himself from her completely. By removing Charlotte from his life, he had no other
companions to turn to other than Wilhelm, a character with whom he corresponded with only
through

Arias 'Al Desio Di Chi T' Adora
The arias 'Al desio di chi t'adora' from Mozart's revised "le Nozze di Figaro" sung by the character
Susanna, and 'Come scoglio' from Mozart's "cosi fan tutte" sung by the character Fiordiligi were
both sung by Adriana Ferrarese Del Bene at their premieres. Mozart wanted all arias he wrote for
singers to "fit them like a well made garment"(?) so wrote them to fit their vocal abilities and
strengths. In this essay I will be looking at the vocal abilities of Adriana and how Mozart used them
in these arias to identify similar characteristics between the two arias, proving what her strengths
were by being highlighted in more than one aria. First I will discuss Adriana's background, where
she came from and what her musical career was like before Mozart wrote these arias for her. Next
we will look at Mozart's involvement with her and what his opinion of her was. Next I will look at
each aria individually and identify characteristics that are similar in each aria to show that these
certain features were written to show off specifically Adriana's strengths as a singer. And last I will
compare the two arias to show that there are similarities in the two which highlight Adriana's ...
Show more content on Helpwriting.net ...
This song has a big range, large leaps, long held notes, often at the extremes of the range, and fast
passages. Within almost every phrase is a big range whether it begins at the top or bottom of her
register it will often touch the other end of her register in each phrase. "...Adriana Ferrarese Del
Bene [is] known for her rapid passage work, wide range and ability to sing large leaps...".5Many of
the leaps that are over an octave are sung in one syllable meaning there can't be a breath taken
between the notes making it difficult to get power in the next note after changing register. One way
that Mozart accentuates Ferrarese's powerful chest voice is

Wolfgang Amadeus Mozart : A Prominent Musical Genius
Wolfgang Amadeus Mozart: A Prominent Musical Genius
Wolfgang Amadeus Mozart was an Austrian composer of the classical period. He was born in 1756.
In 1782, he married Constanze Weber and had six children–four of which passed away when they
were infants (Grout, 540). One of their two other sons that lived followed his legacy of becoming a
composer (Grout, 540). Mozart's father was both a composer and a violinist, who began training him
and his sister Nannerl musically at a very young age and took them on tours to demonstrate their
talents (Hanning, 354). Mozart was a prodigy. It has been said that at the age of three, he had
already been recognized to have perfect pitch and at the age of six he began composing (Hanning,
354). He was a virtuoso on the keyboard and prominent violinist (Grout, 540). Without a doubt, he
was a master in music. In 1791, at the young age of 35 Mozart passed away (Hanning, 354).
Wolfgang Amadeus Mozart was a renowned composer of the classical period. This prominent
musical genius still impacts the world of music today in a significant way. His years of touring
allowed him to explore many places in Europe as well as the music of those places (Taruskin, 439).
Mozart's experience of touring as a young prodigy allowed him to express the inner majesty of
music. Through his compositions and performances, Mozart was able to depict the variety of moods
and exposures within music in an effortless manner (Grout, 539). This depiction allowed Mozart to

Examples Of Opera Buffa And Hope In The Shawshank Redemption

Recommended

Recommended

More Related Content

More from Amy Alexander

More from Amy Alexander (20)

Recently uploaded

Recently uploaded (20)

Examples Of Opera Buffa And Hope In The Shawshank Redemption