9780190692636 Ian Woodfield, Cabals and Satires: Mozart's Comedian Operas in Vienna

Cabals and Satires

Mozart’s Comedian Operas in Vienna

Dr. Ian Woodfield

Opinions and Awards

“Woodfield (historic musicology, Queen’s Univ., Belfast) deftly navigates the voluminous archival and periodical documentation on this hitherto uncared for topic. He exhibits the rivalry to be no much less fraught than the better-known and publicly waged Querelle des Bouffons between devotees of French opera and Italian opera that occurred in Paris within the 1750s. Though it’s a mainstay of opera historical past that the musical style is inextricably linked with politics (given the expense of manufacturing that nearly all the time wants royal patronage and/or upper-class subventions), only a few books have proven how intently aesthetic tastes are tied to particular political occasions (on this case, the Austro-Turkish Warfare of 1788-91 and its aftermath). Notably fascinating is the dialogue of Carl Ditters von Dittersdorf’s opera Die Hochzeit des Figaro, a piece that was contemporaneous with and rival to Mozart’s opera Le nozze di Figaro. Summing up: Extremely really useful” — CHOICE

“For those who love Mozart’s Le nozze di Figaro and his different late operas, you may wish to learn Ian Woodfield’s new e-book, Cabals and Satires. Professor Woodfield has found a treasure trove of recent paperwork associated to the early reception of Mozart’s operas for Vienna, and synthesizes the brand new, and at instances contradictory, proof in a completely partaking approach. Now we all know the place Mozart stood in relation to his contemporaries and rivals throughout his lifetime.” –Paul Corneilson, managing editor of Carl Philipp Emanuel Bach: The Full Works

Also Read |  All You Want To Know About Imran Hussain, Delhi's Minister Designate

“Cabals and Satires is a exceptional achievement each for its new discoveries and for its profoundly authentic conception of a uncared for subject: operatic rivalry in Vienna on the time of Figaro. Specializing in the head-to-head competitors between the German and Italian troupes created by the reinstatement of the Singspiel troupe in 1786, Woodfield explores the bigger tradition of rivalry it fostered amongst composers, librettists, singers, particular person operas, and theaters (courtroom vs. suburban). This e-book will perpetually change our understanding of operatic tradition in Mozart’s Vienna.” –Jessica Waldoff, writer of Recognition in Mozart’s Operas (OUP, 2006)