《Le nozze di Figaro, KV 492》: from the play of Beaumarchais to the opera of Mozart

• Main Authors: Liu, Ni., 劉霓
• Other Authors: Chen, Han Chin
• Format: Others
• Language: zh-TW
• Published: 2003
• Online Access: http://ndltd.ncl.edu.tw/handle/60916591300910594658

碩士 === 東吳大學 === 音樂學系 === 91 === Based on the opera buffa《Le nozze di Figaro》of Mozart, this thesis will study and present an overall discussion on the tradition and the development of opera buffa , in both music and libretto; the transformation from “commedia dell’arte”, “intermezzo” to “ drama giocoso”, young Mozart’s opera buffa, and his dramatic conception of opera, in which music and drama interacted. Concluded based on various relevant research materials, the uniqueness of Mozart’s《Le nozze di Figaro》can be summarized as follows: 1. a combination of “buffa” and “seria” traditions, mixed with a “sentimental” element; 2. human characterization; 3.close collaboration of the musician and the librettist; 4. the increase in the number of ensembles; 5. development of large-scale finales with musical continuity; 6. development of ensembles in sonata forms; 7. equal emphasis and achievement on opera and drama. This thesis will explore the original play《 Le Mariage de Figaro》by Pierre Auguste Caron de Beaumarchais, the libretto of Lorenzo da Ponte, and the music composition of Mozart. About the play itself, the original work and character of French play《 Le Mariage de Figaro》 will be analyzed, and how it is related with “ Comedy of character” of Molière and “Comedy of experimental psychology” of Marivaux. A comparison is made on the differences between the libretto of da Ponte and the play of Beaumarchais. The comparison will show how da Ponte has retained the original creativity of the play. The characteristics of Mozart’s music composition of opera buffa《 Le nozze di Figaro》are also discussed and summarized as follows: 1. maintain the dramatic momentum throughout the opera; 2. avoiding segmentation by creating action-ensembles and action-arias; 3. exploitation of the tonal contrasts and resolutions inherent in the sonata principle; 4. development based on tersest thematic material; 5. combination of “text repetition” and “ musical repetition”; 6.development of “musical alliances” of characters according to the dramatic situation; 7.dramatic continuity of characters; 8. successfully building characters in a musical approach. The thesis will end with the conclusion on overall success of opera buffa《 Le nozze di Figaro》.