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Acknowledgements | |
Introduction Mary Hunter and James Webster | |
Part I. Historical and Literary Contexts: 1. Goldoni, opera buffa, and Mozart's advent in Vienna Daniel Heartz | |
2. Lo specchio francese: Viennese opera buffa and the legacy of French theatre Bruce Alan Brown | |
3. Il re alla caccia and Le roi et le fermier: Italian and French treatments of class and gender Marvin Carlson | |
4. Mozart and eighteenth-century comedy Paolo Gallarati | |
Part II. Social and Generic Meanings: 5. The sentimental muse of opera buffa Edmund J. Goehring | |
6. The biology lessons of opera buffa: gender, nature, and Bourgeois society on Mozart's buffa stage Tia Denora | |
7. Bourgeois values and Opera Buffa in 1780's Vienna Mary Hunter | |
8. Opera seria? Opera buffa? Genre and style as sign Marita P. McLymonds | |
9. Figaro as misogynist: on aria types and aria rhetoric Ronald J. Rabin | |
10. The alternative endings of Mozart's Don Giovanni Michael F. Robinson | |
11. Don Giovanni: recognition denied Jessica Waldoff | |
Part III. Analytical and Methodological Issues: 12. Analysis and dramaturgy: reflections towards a theory of Opera Sergio Durante | |
13. Understanding opera buffa: analysis = interpretation James Webster | |
14. Operatic ensembles and the problem of the Don Giovanni sextet John Platoff | |
15. Buffo roles in Mozart's Vienna: tessitura and tonality as signs of characterization Julian Rushton | |
List of works cited | |
Index. |
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