Amadeus By Peter Shaffer

2016: Many works of literature contain a character who intentionally deceives others. The character’s dishonesty may be intended either to help or to hurt. Such a character, for example, may choose to mislead others for personal safety, to spare someone’s feelings, or to carry out a crime. Choose a novel or play in which a character deceives others. Then, in a well-written essay, analyze the motives for that character’s deception and discuss how the deception contributes to the meaning of the work as a whole.

In any musical drama, be it opera, oratorio, or even musical theatre, it is possible for a composer to convey the personality of their characters through compositional and musical techniques. Doing so heightens the audience’s understanding of the characters, their motivations, and the relationships between them. Monteverdi, as a pioneer of opera, was one of the first to capitalize on this opportunity to heighten the audience’s understanding of the characters. This is highly apparent in his last opera, L’Incoronazione di Poppea. The music for two of the characters, Poppea and Nerone, is especially well composed to demonstrate personality, and this is no more apparent than in the dialogue which introduces the audience to them, Signor, deh

Don Giovanni is a one-of-a-kind character, yet so predictable living a certain lifestyle, almost to the point of being mysterious. It is the enlightenment era however, where a lot of impossibilities were being explored, and presented to the public in different forms, including this opera, Don Giovanni. Although Don Giovanni seems like a total embodiment of immorality, he nevertheless carries some admirable principles, sparkling the enlightenment idea through the story of Don Giovanni.

The quiet heroism of those concerts and recitals were a potent symbol of the human achievement emanated from the fact that Myra was a Jewish and played music from the same land as the enemy’s leader who represented barbarism. No one questioned those concerts and its relevance when the world was ablaze but they understood the defiant gesture of humanity and culture in the face of unprecedented brutality, and provide a subtle noble message. The story of Dalrymple’s horrified discovery, in Liberia’s Centennial Hall where he describes about a never seen before rejection of human refinement, wherein the piano not only represented the Liberia’s culture but also an idea of civilization, in itself an obvious coarseness of the gesture of contempt. The reaction of two young British journalists, to whom there was nothing significant in the vandalizing of the piano—only an inanimate object. There was no compassion for the scores of thousands of people who had been killed and many more had been displaced from their homes in the civil wars .He was appalled to see that the two could see no connection between the impulse to destroy the piano and the impulse to kill and no connection between respect for human life and for the finer productions of human labor, no connection between the book burnings in Nazi Germany and all the subsequent barbarities of that regime. This pair of seemingly trivial incidents reveals with an odd poignancy, or

Donna Anna would have had a "waiting room" with a man servant or her lady in-waiting attending to her. It would have been highly unlikely that she, who had a fiancé, put herself in a position of having truly been violated. This is where Mozart is making the point of a woman having to put on social graces. Donna Anna shows her intelligence in her coming down in a fury and singing in the duet with Don Octavio "how she wants revenge". (Act I) It was not a physical affront, it was an affront to her intellectual dignity that he should be able to reach her inner sanctuary. In a more symbolic interpretation, perhaps Mozart was doubting Donna Anna as a bride or maybe the opposite. Mozart liked a strong, intelligent woman who set the rules. Donna Anna will not get married until Don Octavio revenges her father. He shows himself to be weaker than she is. This is usually the role of the man, but Mozart reverses the male role as a female role which is a theme he often

Produced by Wolfgang Amadeus Mozart in 1787, Don Giovanni is regarded as one the best operas ever made. The piece is based on the legend of Don Juan, an illusory libertine and seducer of women (Kerns, 2010). At first, Mozart’s opera seems more like a story of the romantic adventures of a dissolute nobleman and his disgrace. However, there is much more to Don Giovanni than just a series of events and serious laughs, just as the protagonist is much more than a notorious, single-minded, and unprincipled seducer. Closer examination of the piece reveals its core themes of social classes and divisions as depicted by Leporello’s complaints about his servitude to his employer in the first scene (Mozart, Fisher, & Ponte, 2007). The play also touches on vital human traits and principles, including loyalty, faithfulness, and sincerity. More importantly, Don Giovanni centers on the ambiguity intrinsic to human relations, the intricate connection between life and death, and the interminable tension between love and the risk of its extermination.

She educates Salieri when Mozart and Constanze are not at home, and Salieri utilizes the data to break into Mozart's living arrangement. At Mozart's living arrangement, Salieri discovers that Mozart is chipping away at a musical drama in light of Pierre Augustin Beaumarchais' play, The Marriage of Figaro. Salieri conveys this data to Count Orsini-Rosenberg and Kapellmeister Bonno, who were, from the begin, against Mozart being invited to the ruler's court. Number Orsini-Rosenberg and Kapellmeister Bonno then convey the data to the sovereign. Mozart figures out how to escape restriction through influence and luckiness.

The audience must determine whether or not Roberto is truly the perpetrator or not until the end of the play. Initially, he appears to be a character who supports the Truth Commission, but later he states that there are “things we’ll never know” (17), alluding to his guilt and fear of facing his offence. The audience’s hands whether Roberto is guilty or not, but when he encounters Paulina, he consistently convinces her that he is innocent. Therefore, during his confession, “only the cassette recorder” (58) is lit by the moonlight, and is distinguished from the scene. The cassette recorder symbolizes the separation of truth from the lies and mysteries which represent darkness encompassing the cassette recorder. As Roberto interrupts Paulina’s

The three main female character's diverse range of soprano, vary from dramatic soprano to spinto, describes the pain of each female which let viewers understand why Mozart wanted people to know that the act of aggression must be end. Their vocal range allow viewers to feel the pain and how such aggression disturb innocent people’s lives. Donna Elvira suffered from Don Giovanni’s betrayal from the past, and yet couldn’t move on even after she realize that he betrayed her once again in the last act. Her heart was broken. Donna Anna lost her father, her happiness because of Don Giovanni’s assault.

Notwithstanding the fact that Joseph II banned the play in Vienna, da Ponte gained permission from the Emperor to put on an opera with the promise to cut away the political sensitive parts, including one of the strongest criticisms towards the aristocrats with Figaro asking the Count, “What have you done to deserve such advantages? Put yourself to the trouble of being born - nothing more!” The opera premiered at Burgtheater in Vienna on May 1, 1786. Although Figaro may not be a direct cause of the French Revolution, it was responsible for spreading political ideas that undermine the authority of the aristocracy. This essay sets out to examine how the ideas of equality are reflected in Le nozze di Figaro, leading to increasing social mobility.

The friendship empowers each women’s individuality and morality, as Mozart highlights the nobility of his female characters through their later actions. The Countess is an ideal, virtuous character appropriate for an individual of her elevated standing and Suzanne is a shrewd noble character whose decisions transcend the boundaries of her social

In Guido’s real life it is completely evident a man’s paranoid! It consists in dealing with a beautiful, intelligent, and sophisticated wife, Luisa, with whom he is unfortunately estranged and he cannot communicate; a cheap, but volcanic mistress, Carla, whom is his sexual appetite and libido’s satisfier; a muse, a comforting and a refined and breath-taking woman, Claudia, whom is a movie character. The “muse” is built only by his tired mind and in his imagination, according to the fact that Claudia technically is a below average kind of woman. Also the writer, technicians, actors, doctor, producer, and his sagacious critic, from whom he is constantly advised, are mostly around him!

This timeless comedy about the events of a single, hectic day, first premiered in 1786. It tells the tale of two servants, the soon-to-be-wed Figaro and Susanna. Their master, Count Almaviva, is determined to seduce the bride-to-be, but is outwitted by the couple at every turn. An old man bent on exacting revenge, a scheming maid and a drunken gardener add to the hilarity of this production featuring some of Mozart’s most brilliant

The play in which Mozart based his Opera on was called Le Marriage de Figaro written in 1778 by Pierre Beaumarchais. The play was considered so racy and against the politics of the times that it was banned from the Viennese stage by King Louis XVI. “Mozart evidently studies Paisiello’s handling of the same personalities and included deliberate references to it.” (Sadie 2000,

At the end of the play, the Beggar and Player return to further insult opera. The Player says AAn opera must end happily@ (III.xvi), to which the Beggar replies by indicating that he can create a happy ending, because A*tis no matter how absurdly things are brought about@ in opera. additionally, the composer and performer do these things Ato satisfy the taste of the town,@ thus assigning blame for the banality of opera to its audiences.