caa a22 4500 386327475 CHVBK 20180307111658.0 cr unu---uuuuu 161130e198911 xx s 000 0 eng 10.1017/S0954586700003013 doi S0954586700003013 pii (NATIONALLICENCE)cambridge-10.1017/S0954586700003013 Gallarati Paolo Music and masks in Lorenzo Da Ponte's Mozartian librettos [Elektronische Daten] [Paolo Gallarati] In his trilogy of masterpieces composed to texts by Lorenzo Da Ponte, Mozart radically changed the musical and theatrical nature of Italian opera. The dramma giocoso became a true ‘comedy in music' through the use of psychological realism: a vivid representation of life in continuous transformation and in all its naked immediacy is now the real protagonist of the story, an all-embracing totality within which each character represents a separate feature. This influx of a non-rationalist sense of life into the classical proportions of sonata form (whose tonal relationships and free approach to thematic development controlled the vocal set pieces) made for an explosive mixture. Even before his collaboration with Da Ponte, Mozart himself seemed well aware of his uniqueness: ‘I guarantee that in all the operas which are to be performed until mine [L'oca del Cairo] is finished, not a single idea will resemble one of mine.' Copyright © Cambridge University Press 1989 Cambridge Opera Journal Cambridge University Press 1/3(1989-11), 225-247 0954-5867 1:3<225 1989 1 OPR https://doi.org/10.1017/S0954586700003013 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0954586700003013 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Gallarati Paolo NATIONALLICENCE 773 0- Cambridge Opera Journal Cambridge University Press 1/3(1989-11), 225-247 0954-5867 1:3<225 1989 1 OPR CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge