Research Paper

In my field of study–voice performance–W.A. Mozart is a key composer within vocal literature. My question here is, what did Mozart use to achieve his great success in Italian opera? Whether during his lifetime or posthumously, he has acquired such acclaim that his operas have been performed in thousands of opera halls worldwide. For such a short lifetime, the man accomplished a fantastic output of writing. How did someone, who died at only 35 years old, reach such great popularity with his operas? Wolfgang Amadeus Mozart (1756-1791) discovered the combination for writing one hit after another. Mozart found popularity for his music in using the talents of the famous librettist, Lorenzo da Ponte, as well as his pivotal compositional style. His hit opera, Così fan tutte, serves as a stellar example of his success.
Lorenzo da Ponte worked with several different composers in his lifetime, the most notable of which were Antonio Salieri and Mozart. He differed from other librettists in that he thrived on writing for both opera seria and opera buffa. The opera seria style was of the older generation with classical or mythological subjects. Opera buffa emerged in response to opera seria to counteract the stiff nature of that style. It contained more of the everyday themes that applied to people of the time period. Da Ponte showed his extreme talent in his ability to switch fully between the dramatic, older opera seria style and the witty, lighthearted manner of opera buffa. Three of da Ponte’s best opera buffa operas were all composed by Mozart: Le Nozze di Figaro, Così fan tutte, and Don Giovanni. Most of the librettos that da Ponte wrote were based upon other plays or stories. For example, Le Nozze di Figaro was actually based on a play by Pierre Beaumarchais. His libretto for Così fan tutte was actually his biggest exception: it was not taken from a specific play or work. However, there is still some speculation on whether or not even Così was entirely original. The basic story, testing the faithfulness of a woman through feigned travel and disguised new men, has been passed down among story-tellers for years. This particular complicated version, however, seems to be da Ponte’s original creation- especially the Albanian disguise of the two leading men. Da Ponte characteristically elaborated upon former stories for inspiration in his most successful librettos.
Unlike other composers, Mozart preferred to let the music take over the plot, especially at the climax of a story. A person who is not conditioned to Mozart opera will perhaps find themselves frustrated with a fifteen-minute sextet in which the same action is being discussed in six different perspectives. Using the libretto as a basis, he adds musical detail to a seemingly uneventful series of events. As a result, he pleases the audience despite the lack of activity in the plot. Mozart charms the listener with the intricate way that all of the parts work together. He uses each voice part to compliment other lines with a unique contribution to the ensemble, creating a full and captivating sound.
Another distinct aspect of Mozart’s writing would be his use of the text to dictate the music. Thus, his comedies were more humorous and had more of an edge to their wit. In Così, Mozart uses this tool of text painting all the time to add power to his music. Mozart repeats the use of matched text and music throughout his writing, especially in opera. Audience members truly enjoy this combination, since it helps them understand what happens onstage. Often the words will be difficult to understand (especially when people are singing different texts), so the collaboration of the music in light of the story makes the storyline much more clear and enjoyable for viewers. Mozart’s connection to the text truly gave his career an edge.
In Così, Mozart was in his element as he collaborated with da Ponte for this wild success in 1790. Some people believe that of the three da Ponte librettos that Mozart used, Così was the most trite and shallow. This could have been the reason that the opera was not received well in Mozart’s lifetime. Unlike Mozart’s other two large-scale operas, Così lacked much significant popularity until the Mozart revival in Munich in 1895. It has since recovered from any loss of fame, thankfully. What sets Così apart from other Mozart operas is that it touches on the more serious side of opera buffa. Despite the comedy filled lines, there is a deeper undercurrent of questioning the character of women. At the time of its production, the opera buffa style was fading in popularity, which also accounts for its unenthusiastic reception in the opera community. Now that opera seria and opera buffa both fill the standard repertoire of opera, people like Così just as much, if not more, than the typical opera buffa works.
Lorenzo da Ponte’s versatile talents as a librettist and his witty writing contribute to the success of Mozart’s operas- particularly in his last work with Mozart, Così fan tutte. Mozart’s connection to the text and incredible use of several different lines all working together make his productions stand out. The delicate treatment of Così’s story and its deeper undertones qualify the opera as a pillar for Mozart’s most successful pieces. All of these aspects of his work combine to create solid reasoning for Mozart’s popularity throughout the last three centuries.

Bibliography:
Così fan tutte background.
http://en.wikipedia.org/wiki/Cos%C3%AC_fan_tutte

Lorenzo Da Ponte information.
http://www.encyclopedia.com/doc/1E1-DaPonte.html

International Mozart Foundation website.
http://www.mozarteum.at/default.asp?SID=7634416302519&deflng=en