[Marxism] Mozart's Figaro and Don Giovanni

[Dbachmozart@xxxxxxx]

In a message dated 4/14/2006 2:03:11 P.M. Eastern Daylight Time,
marxism-request@xxxxxxxxxxxxxxxxxxx writes:

>>> jlevich@xxxxxxxxxxxxx 04/14/06 7:23 AM  >>>
Last week my wife and son and I attended a satisfactory  performance of Don
Giovanni at New York City Opera -- we can afford to do this  maybe once a year
given the outrageous ticket prices. Despite the tameness of  Harold Prince's
staging the theme of class struggle comes through loud and  clear (premiere was
in 1787). Found myself wondering how the opera's premiere  was received by
aristocrats and others in the audience -- anyone know any  reliable sources on
this, and on the librettist Lorenzo Da Ponte?


Mozart and Da Ponte's Figaro of 1786 was based upon a play by  Beaumarchais,
ruled to be "subversive" by the Austrian censors. Composer  and librettist
agreed to remove the "offensive" political  characterizations, but Mozart
re-inserted them musically. The Viennese  aristocracy saw through this and 
basically
boycotted his subscription concerts  for the next four years, causing great
financial hardship.

The city of Prague however went wild over Figaro, causing  Mozart to write
back to his wife that "all of Prague is singing tunes from  Figaro!"  The city
commissioned him to write Don Giovanni which was  completed in 1787 to similar
acclaim. The Viennese, still smarting over  Figaro wanted no part of it, and
it was closed down after 8  performances. Prague's leading citizens begged
Mozart to move there where he  would be better appreciated - worshipped! -but 
for
a world class musician back  then, Vienna was like Broadway/Carnegie Hall, and
Prague was like Peoria. In  1791 Joseph Haydn, after being a musical servant
for the Esterhazy aristocracy  for 29 years, toured London and received a
glowing reception. He immediately  wrote back to Mozart, telling him to, in 
effect
catch the next train (coach) and  escape the petty intrigues of the Viennese.
But Wolfy couldn't get away, and  died later that year. Would he have been
happier and as musically  productive if he moved to either Prague or London -
we'll never  know.

suggested readings -
The Mozart - Da Ponte Operas, Andrew Steptoe  Clarendon Press
Mozart in Vienna, 1781 - 1791, Volkmar Braunbehrens  Grove Weidenfeld
1791:Mozart's Last Year, and Mozart and Vienna - H.C.Robbins Landon,
Schirmer Books
Mozart, A Cultural Biography,m Robert W Gutman Harcourt Brace and Company

Xxxxxx Xxxxxx


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