La Flûte Enchantée, Opéra Maçonnique: Essai D'explication Du Livret Et de la MusiqueA. A. Knopf, 1971 - 336 páginas Mozart's opera The Magic Flute is universally recognized as a great masterpiece--and almost as universally accused of suffering from an incomprehensible, if not silly, libretto. The author demonstrates (with myriad examples from both the libretto and the music) that, far from making nonsense, the opera is crowded with the most profound meanings. Having demonstrated the inconsistency of the legend according to which the "stupidity" of the plot resulted from a midstream change of plan, he displays the coherence of the opera, uncovers the interrelated hidden significance of its characters and situations, and relates them all to the great cosmic myths of the esoteric tradition from which they emanate. Under the illumination so engagingly supplied by the author, The Magic Flute emerges as it really is: a rigorously constructed theater piece in which Mozart's wonderful music and the libretto by Emanuel Schikaneder (and others) fulfill and clarify one another. This is constructive scholarship at its most readable best--in a book that is alive with the atmosphere of eighteenth-century Vienna and with fascinating men and women, from sages and royal personages to grimy scoundrels, who supply many curious sidelights on politics, music, literature, religion, and freemasonry. |
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Página 192
... violins . The second question ( in the dominant ) : " Soll die Empfindung Liebe sein ? " already has a Schumannesque ... violin , frantic twistings followed by silences interrupted by emotion , then for the voice alone ( the two sorts ...
... violins . The second question ( in the dominant ) : " Soll die Empfindung Liebe sein ? " already has a Schumannesque ... violin , frantic twistings followed by silences interrupted by emotion , then for the voice alone ( the two sorts ...
Página 276
... violins , then first violins ( shortened theme ) , violas , and finally doublebasses . In the or- chestra of the period , the entry of the violas would have risked sounding too weak : for the sake of sonority , they are doubled by the ...
... violins , then first violins ( shortened theme ) , violas , and finally doublebasses . In the or- chestra of the period , the entry of the violas would have risked sounding too weak : for the sake of sonority , they are doubled by the ...
Página 286
... violin interpolation , doubling the voice with a different phrase ( on the words " Kind zubandelst " ) , introduces something like a reminiscence of the marvelous duet of the two women in Le Nozze di Figaro . Note also the significant ...
... violin interpolation , doubling the voice with a different phrase ( on the words " Kind zubandelst " ) , introduces something like a reminiscence of the marvelous duet of the two women in Le Nozze di Figaro . Note also the significant ...
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Términos y frases comunes
allusion appears aria beginning Birdcatcher Cabinet of Reflection cadence century character chorale chords chorus comic composed Così fan tutte degree Die Zauberflöte duet E-flat major Egyptian Elements episode evokes fauxbourdon feminine initiation final Fire and Water flöte Freemason Freemasonry fugue G major Giesecke glockenspiel initiatory Isis Jacques Chailley Jules Boucher kingdom later Leopoldstadt libretto lodge Loge Maçonnerie magic flute masculine Masonic Masonry Massin Monostatos moral Mozart Nettl Night notes Oberon opera opéra-comique orchestra Overture Palou Pamina Papageno Paris Paul Nettl phrase play portrait preceding priests profane Queen represents rhythm rite ritual role rubric Salzburg Sarastro says Schikaneder Schikaneder's score serpent Sethos Seyfried significance silence Singspiel SPOKEN SCENE stage swoon symbolic Tamino Tamino and Pamina Temple Thamos theater theatrical Three Boys Three Ladies tion tonality traditional trial by Air trial by Earth trio Vienna violins voice Wisdom woman words Zauber Zauberflöte