David Cairns - Mozart and His Operas
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PENGUIN BOOKS
MOZART AND HIS OPERAS
Anyone wanting to understand how Mozarts operas work need read nothing else Edward Pearce, Daily Telegraph
Cairns is consistently judicious, giving a detailed account of the commission, the composition and the production of each opera: the chapter on Idomeneo, above all, is brilliant and satisfying Charles Rosen, New York Review of Books
We finish the book realizing that Mozart touches upon all that made us civilized, and that he reminds us both of what we are and of what we might be Sir Colin Davis
If you want a book that illuminates the workings of the seven operatic masterpieces within the context of Mozarts life, Cairnss style, wisdom and crucially profound love of his subject are unrivalled like all the best writing on music, the chapter [on Idomeneo] makes you want to hear the opera again as a matter of urgency Richard Wigmore, BBC Music Magazine
In the 250th anniversary of Mozarts birth there will be no shortage of idolatrous coverage of [the operas] but there will be no more stimulating or personal a response than David Cairnss Robert Thicknesse, The Tablet
Over many years Cairns has through his writings contributed greatly to the musical life of this country; his volumes on Hector Berlioz have already achieved classic status He knows well that there is really only one way to write about music and that is con amore, as he does about Mozart The presence of Mozarts other music throughout the bookis a continual joy and strength Hugh Wood, The Times Higher Education Supplement
Cairns writes with such beauty and vividness he possesses powers of description, a way of employing musical terminology in a succinct, natural and undaunting manner, and a constant flair for finding the right illuminating word or phrase, which make his book a constantly absorbing experience a sharp-edged picture emerges of genius at work Conrad Wilson, Herald
ABOUT THE AUTHOR
David Cairns was chief music critic of the Sunday Times and the Spectator. He has been Distinguished Visiting Professor at the University of California, a visiting scholar at the Getty Center in Santa Monica and a visiting fellow of Merton College, Oxford. His two-volume biography of Berlioz has established itself as the definitive workon the subject and won the Whitbread Biography Award, the Samuel Johnson Prize for Non-Fiction and the Royal Philharmonic Society Prize. He was co-founder of the Chelsea Opera Group and is founder-conductor of the Thorington Players.
DAVID CAIRNS
PENGUIN BOOKS
PENGUIN BOOKS
Published by the Penguin Group
Penguin Books Ltd, 80 Strand, London WC2R 0RL, England
Penguin Group (USA) Inc., 375 Hudson Street, New York, New York 10014, USA
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Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England
www.penguin.com
First published by Allen Lane 2006
Published in Penguin Books 2007
1
Copyright David Cairns, 2006
All rights reserved
The moral right of the author has been asserted
EISBN 9780141904054
in memory of my father, Hugh Cairns (18961952)
1 Imitation, assimilation
The early operas
2 Such great things in so small a head
Idomeneo
3 Vienna anda new life
Die Entfhrung aus dem Serail
4 Lorenzo Da Ponte and the perfect marriage
Le nozze di Figaro
5 Prague and the opera of all operas
Don Giovanni
6 Catechisms of love
Cos fan tutte
7 Mozart the visionary
The Magic Flute
8 Propaganda and parable
La clemenza di Tito
Leopold Mozart, c.1765, portrait by an unknown artist, possibly Pietro Antonio Lorenzoni (Mozart Museum, Internationale Stiftung Mozarteum, Salzburg/akg-images)
The Mozart family, 178081, portrait by Johann Nepomuk della Croce (Mozart Museum, Internationale Stiftung Mozarteum, Salzburg/akg-images)
View of Salzburg, engraving, eighteenth century (Archivo Iconografico, S.A./CORBIS)
Interior of the Cuvillis-Theater, Munich, watercolour, 1867, by Gustav Seeberger (Stadtmuseum/Landeshauptstadt, Munich)
Elisabeth (Lisel) Wendling, pastel portrait by an unknown artist (Mozart Museum, Internationale Stiftung Mozarteum, Salzburg)
Dorothea Wendling, miniature on ivory, by an unknown artist (Mozart Museum, Internationale Stiftung Mozarteum, Salzburg)
A page of the autograph full score of Idomeneo, Act 2 (Biblioteka Jagiellogska, Krako w)
Emperor Joseph II and his brother Leopold, Grand Duke of Tuscany (later Emperor Leopold II), Rome, 1769, portrait by Pompeo Batoni (Kunsthistorisches Museum, Vienna/akg-images/Erich Lessing)
Playbill for the first performance of Die Entfhrung aus dem Serail (akg-images)
Johann Ignaz Ludwig Fischer, lithograph by an unknown artist (Gesellschaft der Musikfreunde, Vienna)
Caterina Cavalieri, silhouette by Hieronymus Lschenkohl
Constanze Mozart, c.1782, portrait by Joseph Lange (Hunterian Art Gallery, Glasgow/akg-images/Erich Lessing)
Michaelerplatz, Vienna, 1783, coloured etching by Karl Schtz (akg-images)
The Graben, Vienna, 1781, colouredetching by Karl Schtz (Historisches Museum der Stadt Wien/akg-images)
Two pages of Mozarts autograph thematic catalogue (British Library)
Lorenzo Da Ponte, c.1820, stipple engraving by Michele Pekenino after a miniature by Nathaniel Rogers (akg-images)
Antonio Salieri, c.1800, stipple engraving by Johann Gottfried Scheffner (akg-images)
Joseph Haydn, 1791, portrait by Thomas Hardy (Royal College of Music, London)
Gottfriedvan Swieten, c.1780, engraving by Johann Ernst Mansfeld fter J. C. Lakner (akg-images)
)
Stage design for the graveyard scene in Don Giovanni, Mannheim 1789, watercolour by Giulio III Quaglio (Theatermuseum, Munich/akg-images)
Mozart, Dresden 1789, silverpoint drawing by Doris Stock (British Museum/Fotomas Index)
Backstage at the Weimar court theatre, 1794, watercolour by Georg Melchior Kraus (Schloss Tiefurt/Stiftung Weimar Klassik und Kunstsammlungen, Weimar)
Frontispiece of the libretto of The Magic Flute, 1791, engraving by Ignaz Alberti (Bildarchiv der sterreichisches Nationalbibliothek, Vienna)
Emanuel Schikaneder as Papageno, etching by Ignaz Alberti (akg-images)
Listening to Mozart: a Maquiritare Indian of northern Brazil, 1950, photograph by Alain Gheerbrant
Every effort has been made to contact copyright holders. The author and publisher will be glad to make good in future printings any errors or omissions brought to their attention.
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