Mozart s Women

Glover has given us the most convincing Mozart so far' The Scotsman 'Nowadays it seems that Mozart's genius had always ... It is Jane Glover's great gift to show how the women surrounding Mozart — his sister Nannerl, his wife Constanze, ...

Mozart s Women

Mozart s Women

Mozart was fascinated, amused, aroused, hurt, and betrayed by women. He loved and respected them, composed for them, performed with them. This unique biography looks at his interaction with each, starting with his family (his mother, Maria Anna and beloved and talented sister, Nannerl), and his marriage (which brought his 'other family', the Weber sisters). His relationships with his artists are examined, in particular those of his operas, through whose characters Mozart gave voice to the emotions of women who were, like his entire female acquaintance, restrained by the conventions and structures of eighteenth-century society. This is their story as well as his -- and shows once again that a great part of the composer’s genius was in his understanding and musical expression of human nature. Evocative and beautifully written, Mozart’s Women illuminates the music, the man, and above all the women who inspired him. 'Jane Glover has pulled off a coup des livres with her fresh take on Mozart's life and work’ Sunday Telegraph ‘Readable, informative and moving...Her passion for the music shines through this touching, vividly told story' Sunday Times

Understanding the Women of Mozart s Operas

... Hunter revisits the issue of performance responsibility in “Staging Mozart's Women.” The authors focus specifically on two arias—Konstanze's “Martern aller Arten” and Zerlina's “Batti, batti”—but the questions they raise in the ...

Understanding the Women of Mozart s Operas

Understanding the Women of Mozart s Operas

Is The Marriage of Figaro just about Figaro? Is Don Giovanni's story the only one--or even the most interesting one--in the opera that bears his name? For generations of critics, historians, and directors, it's Mozart's men who have mattered most. Too often, the female characters have been understood from the male protagonist's point of view or simply reduced on stage (and in print) to paper cutouts from the age of the powdered wig and the tightly cinched corset. It's time to give Mozart's women--and Mozart's multi-dimensional portrayals of feminine character--their due. In this lively book, Kristi Brown-Montesano offers a detailed exploration of the female roles in Mozart's four most frequently performed operas, Le nozze di Figaro, Don Giovanni, Così fan tutte, and Die Zauberflöte. Each chapter takes a close look at the music, libretto text, literary sources, and historical factors that give shape to a character, re-evaluating common assumptions and proposing fresh interpretations. Brown-Montesano views each character as the subject of a story, not merely the object of a hero's narrative or the stock figure of convention. From amiable Zerlina, to the awesome Queen of the Night, to calculating Despina, all of Mozart's women have something unique to say. These readings also tackle provocative social, political, and cultural issues, which are used in the operas to define positive and negative images of femininity: revenge, power, seduction, resistance, autonomy, sacrifice, faithfulness, class, maternity, and sisterhood. Keenly aware of the historical gap between the origins of these works and contemporary culture, Brown-Montesano discusses how attitudes about such concepts--past and current--influence our appreciation of these fascinating representations of women.

Mozart s Women

In this fascinating, evocative, and compellingly readable biography, Jane Glover, acclaimed conductor and acknowledged expert on Mozart's life and work, brings these remarkable ladies vividly to life—the real women who shared the composer ...

Mozart s Women

Mozart s Women

Throughout his life, Wolfgang Amadeus Mozart was enchanted, amused, aroused, and betrayed by women—his mother, sister, wife, sisters-in-law, female patrons, friends, lovers, and fellow artists—and he was equally complex to them. But ultimately the great composer loved and respected the women he knew intimately and those whom he admired from afar. In this fascinating, evocative, and compellingly readable biography, Jane Glover, acclaimed conductor and acknowledged expert on Mozart's life and work, brings these remarkable ladies vividly to life—the real women who shared the composer's tumultuous world and inspired some of his greatest musical achievements, as well as those he dramatized in his magnificent operas.

Recognition in Mozart s Operas

Indeed, much fiction and popular culture in the eighteenth century attests to the attraction of women to rakish men, as does Da Ponte and Mozart's own Don Giovanni. Don Alfonso's scheme leads to the enactment of a sentimental fiction ...

Recognition in Mozart s Operas

Recognition in Mozart s Operas

Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Though a standard feature of opera, recognition--a moment of new awareness that brings about a crucial reversal in the action--has been largely neglected in opera studies. In Recognition in Mozart's Operas, musicologist Jessica Waldoff draws on a broad base of critical thought on recognition from Aristotle to Terence Cave to explore the essential role it plays in Mozart's operas. The result is a fresh approach to the familiar question of opera as drama and a persuasive new reading of Mozart's operas.

Women Music Culture

Mozart's connections to the Weber family led to the composition of numerous works that were tailor-made to the sisters, as well as the creation of some of the world's most famous operatic roles for women. One of Mozart's first works ...

Women  Music  Culture

Women Music Culture

Women, Music, Culture: An Introduction, Third Edition is the first undergraduate textbook on the history and contributions of women in a variety of musical genres and professions, ideal for students in Music and Gender Studies courses. A compelling narrative, accompanied by 112 guided listening experiences, brings the world of women in music to life. The author employs a wide array of pedagogical aides, including a running glossary and a comprehensive companion website with links to Spotify playlists and supplementary videos for each chapter. The musical work of women throughout history—including that of composers, performers, conductors, technicians, and music industry personnel—is presented using both art music and popular music examples. New to this edition: An expansion from 57 to 112 listening examples conveniently available on Spotify. Additional focus on intersectionality in art and popular music. A new segment on Music and #MeToo and increased coverage of protest music. Additional coverage of global music. Substantial updates in popular music. Updated companion website materials designed to engage all learners.

Women and Musical Salons in the Enlightenment

Mozart's Women: His Family, His Friends, His Music. Oxford: Macmillan, 2005. Godt, Irving. Marianna Martines: A Woman Composer in the Vienna of Mozart and Haydn. Edited by John A. Rice. Eastman Studies in Music.

Women and Musical Salons in the Enlightenment

Women and Musical Salons in the Enlightenment

A study of musical salons in Europe and North America between 1760 and 1800 and the salon hostesses who shaped their musical worlds. In eighteenth-century Europe and America, musical salons—and the women who hosted and made music in them—played a crucial role in shaping their cultural environments. Musical salons served as a testing ground for new styles, genres, and aesthetic ideals, and they acted as a mediating force, bringing together professional musicians and their audiences of patrons, listeners, and performers. For the salonnière, the musical salon offered a space between the public and private spheres that allowed her to exercise cultural agency. In this book, musicologist and historical keyboardist Rebecca Cypess offers a broad overview of musical salons between 1760 and 1800, placing the figure of the salonnière at its center. Cypess then presents a series of in-depth case studies that meet the salonnière on her own terms. Women such as Anne-Louise Brillon de Jouy in Paris, Marianna Martines in Vienna, Sara Levy in Berlin, Angelica Kauffman in Rome, and Elizabeth Graeme in Philadelphia come to life in multidimensional ways. Crucially, Cypess uses performance as a tool for research, and her interpretations draw on her experience with the instruments and performance practices used in eighteenth-century salons. In this accessible, interdisciplinary book, Cypess explores women’s agency and authorship, reason and sentiment, and the roles of performing, collecting, listening, and conversing in the formation of eighteenth-century musical life.

Deviant Opera

See, e.g., Wye Jamison Allanbrook, Mary Hunter, and Gretchen A. Wheelock, “Staging Mozart's Women,” in Siren Songs: Representations of Gender and Sexuality in Opera, ed. Mary Ann Smart (Princeton, NJ: Princeton University Press, 2000), ...

Deviant Opera

Deviant Opera

"For decades now, radical stage directors have repeatedly dressed canonical operas--from Handel and Mozart to Wagner and Puccini and beyond--in whips, chains, leather, and other regalia of SM and fetishism. Deviant Opera seeks to understanding this phenomenon, approaching the visual code of perversion as a contemporary lens through which opera focuses and scrutinizes its own configurations of sex, gender, power, and violence. The emerging image is that of an art form which habitually plays with an eroticization of cruelty and humiliation, inviting its devotees to take sensual pleasure in the suffering of others. Ultimately, this species of opera fantasizes about breaking through the boundaries of its own role playing, pushing its erotic power exchanges from the enacted to the actual"--

Ladies Who Punch

traditionalists have even claimed women make different sounds on their instruments than men: 'For heaven's sake! ... Mozart's Women portrays the women behind the prodigy: Maria Anne, his intellectually curious mother, his gifted sister ...

Ladies Who Punch

Ladies Who Punch

Throughout history, plucky, indomitable, daring, fearless women and girls have done what they felt they had to and, intentionally or otherwise, upended the social order and common values. This collection remembers ladies who punched their way through life in the past, whilst also recognising today’s amazing rebels.

Sourcebook for Research in Music Third Edition

... 274 Mozart: The Golden Years, 1781–1791, 273 Mozart: The Man, the Musician, 273 Mozart-Jahrbuch, 86 Mozart's Operas: A Companion, 311 Mozart's Symphonies: Context, Performance Practice, Reception, 212 Mozart's Women: His Family, ...

Sourcebook for Research in Music  Third Edition

Sourcebook for Research in Music Third Edition

Since it was first published in 1993, the Sourcebook for Research in Music has become an invaluable resource in musical scholarship. The balance between depth of content and brevity of format makes it ideal for use as a textbook for students, a reference work for faculty and professional musicians, and as an aid for librarians. The introductory chapter includes a comprehensive list of bibliographical terms with definitions; bibliographic terms in German, French, and Italian; and the plan of the Library of Congress and the Dewey Decimal music classification systems. Integrating helpful commentary to instruct the reader on the scope and usefulness of specific items, this updated and expanded edition accounts for the rapid growth in new editions of standard works, in fields such as ethnomusicology, performance practice, women in music, popular music, education, business, and music technology. These enhancements to its already extensive bibliographies ensures that the Sourcebook will continue to be an indispensable reference for years to come.

Pagodas in Play

Gretchen A. Wheelock uses this phrase in her contribution to Wye Jamison Allanbrook, Mary Hunter, and Gretchen A. Wheelock, “Staging Mozart's Women,” in Siren Songs, ed. Mary Ann Smart (Princeton: Princeton University Press, 2000), ...

Pagodas in Play

Pagodas in Play

Pagodas in Play analyzes the treatment of China in the imaginative and spectacular world of eighteenth-century Italian opera. It shows how Italians used perceptions of Chinese culture to address local and transnational developments, particularly Enlightenment and secular reform initiatives. Its focus on the texts and performance practices of opera, an entertainment form accessible to a wide public, reveals cultural operations and identities harder to detect in non-fictional reformist writings, the texts traditionally privileged to explain Italian mediations of Enlightenment ideas. In its close reading of nine libretti of the most salient Settecento operas treating China (opere serie and opere buffe by authors including Metastasio, Zeno, Goldoni and Lorenzi), Pagodas in Play differentiates Italian iterations of Chinese culture from French and English counterparts. It further challenges certain tenets of orientalism, showing how it operates when nationalist and/or colonialist projects are absent, and how orientalist practices in eighteenth-century Italy exhibit early on the complexity some scholars locate only in the twentieth century. Adrienne Ward teaches Italian literature and culture at the University of Virginia.

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