파스토랄(Pastoral)로 읽는 <코지 판 투테>
Reading <Così Fan Tutte> in Light of Pastoral
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Critics have considered <Così fan tutte> as one of the most disturbing buffa written by Mozart. Although they all acknowledge and appreciate the sheer beauty of the music it delivers, they have not provided ways in which the work can be read. Arguing that the understanding of the opera entirely depends upon the understandings of the literary as well as musical context in which the work created, performed, and appreciated, this paper proposes that the literary and musical pastoral play a significant role in deciding the character and the nature of the opera. In order to illustrate how the pastoral comes into the libretto and the music of the opera, this paper examines its definition, demonstrating various ways in which it figures into <Così fan tutte>. My examination shows that the pastoral allows both Da Ponte and Mozart to create one of the most individual as well as intriguing works that effectively portrays the characters and the drama of the work. This, in turn, allows us to read the opera in which various layers of literary, dramatic, and musical conventions interwoven together, creating a work with its significance is revealed only through the understanding of these conventions.
Abstract
Critics have considered <Così fan tutte> as one of the most disturbing buffa written by Mozart. Although they all acknowledge and appreciate the sheer beauty of the music it delivers, they have not provided ways in which the work can be read. Arguing that the understanding of the opera entirely depends upon the understandings of the literary as well as musical context in which the work created, performed, and appreciated, this paper proposes that the literary and musical pastoral play a significant role in deciding the character and the nature of the opera. In order to illustrate how the pastoral comes into the libretto and the music of the opera, this paper examines its definition, demonstrating various ways in which it figures into <Così fan tutte>. My examination shows that the pastoral allows both Da Ponte and Mozart to create one of the most individual as well as intriguing works that effectively portrays the characters and the drama of the work. This, in turn, allows us to read the opera in which various layers of literary, dramatic, and musical conventions interwoven together, creating a work with its significance is revealed only through the understanding of these conventions.
참고문헌 (14)
- Allanbrook, Wye J., "Rhythmic Gesture in Mozart: Le Nozze di Figaro & Don Giovanni" (1983), University of Chicago Press
- Ariosto, Ludovico, "Orlando Furioso. ebook" (1990), Getenberg Project
- Brown, Bruce Alan, "W. A. Mozart: Così fan tutte" (1995), Cambridge University Press
- Chew, Geoffery, "Pastorale. in: New Grove Dictionary of Music and Musicians. Vol. 13", pp.217~225 (2001), Macmillan Publisher Limited
- Da Ponte, Lorenzo, "Three Mozart Libretti" (1983), Dover Publications, Inc
- Harris, Ellen, "Handel and the Pastoral Tradition" (1980), Oxford University Press
- Heartz, Daniel, "Mozart's Operas" (1994), University of California Press
- Ovid, "Metamorphoses" (2004), W. W. Norton
- Platoff, John, "Musical and Dramatic Structure in the Opera Buffa Finale", Journal of Musicology, 7, pp.9~230 (1989)
- Stauffer, George, "Bach's Pastorale in F: A closer look to a maligned work", Organ Year Book, 14, pp.44~60 (1983)
- Steptoe, Andrew, "The Mozart-Da Ponte Operas: The Cultural and Musical Background to Le nozze di Figaro, Don Giovanni, and Così fan tutte" (1988), Clarendon Press
- Stone, John, "The Background to the Libretto. in: English Opera Guide 22 Così fan tutte" (1983), J. Calder
- Theocritus, "Idylls" (2002), Oxford University Press
- Virgil, "Ecologues, Georgics, Aeneid" (1999), Harvard University Press