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001 on1028588860;

003 OCoLC;

005 20210129095614.0;

008 180306t20192019nyua b 001 0 eng ;

010 a| 2018010821;

020 a| 9780190692636q| hardcover ;q| alkaline paper;

020 a| 0190692634q| hardcover ;q| alkaline paper;

020 z| 9780190692650q| electronic publication;

035 a| (Sirsi) o1028588860;

035 a| (OCoLC)1028588860;

049 a| EREM;

050 00 a| ML410.M9b| W754 2019;

082 00 a| 782.10922| 23;

100 1 a| Woodfield, Ian,e| author.=| ^A180206;

245 10 a| Cabals and satires :b| Mozart's comic operas in Vienna /c| Ian Woodfield.;

300 a| xxxi, 265 pages :b| illustrations ;c| 25 cm.;

336 a| textb| txt2| rdacontent;

337 a| unmediatedb| n2| rdamedia;

338 a| volumeb| nc2| rdacarrier;

490 1 a| Oxford scholarship online;

504 a| Includes bibliographical references (pages 243-254) and index.;

520 a| This is a study of the political context in which Mozart wrote his three Italian comedies, Figaro, Don Giovanni, and Cos fan tutte. Joseph IIs decision to place his opera buffa troupe in competition with the re-formed Singspiel provoked a struggle between supporters of the rival national genres. Cabals soon became active, organizing claques to cheer or hiss as required, and encouraging press correspondents to circulate slanted notices. In the spring of 1786, Mozart was caught up in the infighting. Figaro, the flagship work for the Italian troupe, received a mixed reception, whereas Dittersdorfs Der Apotheker for the German party scored a triumph. In this fraught atmosphere, satire flourished. A rival setting of Die Hochzeit des Figaro by Dittersdorf, the music for which is lost, lampooned Mozart in the guise of Cherubino, focusing on his obsession with dancing. The intertroupe contest came to an abrupt end at the start of 1788, when the deteriorating international situation for the Austrian Monarchy necessitated cutbacks in expenditure, including the closure of the Singspiel. During the ensuing years of the Austro-Turkish War, Mozart successfully negotiated the unpredictable twists and turns of theater politics. The revival of Figaro in 1789, now as a Habsburg festive work following its gala performance in Prague, sealed his reputation. He was ideally placed to accept a commission from the commercial stage, the revitalization of which was the most lasting musical consequence of the war years.;

600 10 a| Mozart, Wolfgang Amadeus,d| 1756-1791.t| Nozze di Figaro.=| ^A495493;

600 10 a| Mozart, Wolfgang Amadeus,d| 1756-1791.t| Don Giovanni.=| ^A494926;

600 10 a| Mozart, Wolfgang Amadeus,d| 1756-1791.t| Così fan tutte.=| ^A497177;

600 10 a| Mozart, Wolfgang Amadeus,d| 1756-1791.t| Operas.=| ^A495312;

830 0 a| Oxford scholarship online.=| ^A1378263;

994 a| C0b| ERE;

596 a| 3;

998 a| 5525933;

999 a| ML410.M9 W754 2019w| LCc| 1i| 30372017175149d| 1/22/2026e| 1/22/2026f| 3/12/2024g| 1k| CHECKEDOUTl| MSTm| JMUSICn| 1r| Ms| Yt| MGESBKu| 11/24/2020x| BOOKz| MCIRCo| .STAFF. jjab;

Cabals and satires : Mozart's comic operas in Vienna / Ian Woodfield.

Author/creator	Woodfield, Ian author.
Format	Book
Publication Info	New York, NY : Oxford University Press, ©2019.
Description	xxxi, 265 pages : illustrations ; 25 cm.
Subjects	Mozart, Wolfgang Amadeus, 1756-1791. Nozze di Figaro. Mozart, Wolfgang Amadeus, 1756-1791. Don Giovanni. Mozart, Wolfgang Amadeus, 1756-1791. Così fan tutte. Mozart, Wolfgang Amadeus, 1756-1791. Operas. Opera--Austria. --Vienna. --18th century. Opera--Political aspects. --History. --18th century.

Series	Oxford scholarship online Oxford scholarship online. ^A1378263
Contents	Intertroupe rivalries: the reception of Figaro -- Dynastic alliances: the genesis of Don Giovanni -- Operatic satire: Dittersdorf's Figaro -- In time of war: the Vienna Don Giovanni -- Italian opera reprieved: L'ape musicale -- Da Ponte as impresario: the revival of Figaro.
Abstract	This is a study of the political context in which Mozart wrote his three Italian comedies, Figaro, Don Giovanni, and Cos fan tutte. Joseph IIs decision to place his opera buffa troupe in competition with the re-formed Singspiel provoked a struggle between supporters of the rival national genres. Cabals soon became active, organizing claques to cheer or hiss as required, and encouraging press correspondents to circulate slanted notices. In the spring of 1786, Mozart was caught up in the infighting. Figaro, the flagship work for the Italian troupe, received a mixed reception, whereas Dittersdorfs Der Apotheker for the German party scored a triumph. In this fraught atmosphere, satire flourished. A rival setting of Die Hochzeit des Figaro by Dittersdorf, the music for which is lost, lampooned Mozart in the guise of Cherubino, focusing on his obsession with dancing. The intertroupe contest came to an abrupt end at the start of 1788, when the deteriorating international situation for the Austrian Monarchy necessitated cutbacks in expenditure, including the closure of the Singspiel. During the ensuing years of the Austro-Turkish War, Mozart successfully negotiated the unpredictable twists and turns of theater politics. The revival of Figaro in 1789, now as a Habsburg festive work following its gala performance in Prague, sealed his reputation. He was ideally placed to accept a commission from the commercial stage, the revitalization of which was the most lasting musical consequence of the war years.
Bibliography note	Includes bibliographical references (pages 243-254) and index.
LCCN	2018010821
ISBN	9780190692636 hardcover ; alkaline paper
ISBN	0190692634 hardcover ; alkaline paper
ISBN	electronic publication

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Cabals and satires : Mozart's comic operas in Vienna / Ian Woodfield.

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