Comparing The Queen Of The Night, Pamina, And Papageno

“Going up in the World: Class in ‘Cinderella’” is a scholarly article written by Elisabeth Panttaja that analyzes the roles of the mothers and the importance of class within these times. Panttaja focuses her article on the Grimm version, which is most famously critiqued and discussed. The article analyzes the importance of the mothers, which leads to the overall concept that the natural mother’s role seems irrelevant, yet Cinderella’s entire destiny is based upon her. The mother’s also show similar goals: get their daughter(s) married into power. Cinderella wins this battle, however, for she is the “true bride.”

5. Smart, Mary Ann. Mimomania : music and gesture in nineteenth-century opera. Berkeley : University of California Press, 2004.

The piece that I decide to do was Mozart Symphony No. 40 because it seemed like it would have the most instruments, different dynamics and a different sound to it.

It had been four-weeks since Madame Valmonde has seen Desiree and the baby. As she arrives at L’Abri, the home of Armand and Desiree, she “shudders at the first sight of it.” The house is covered by “big, solemn oaks” (Chopin 422) who’s “branches far-reaching shadowed it like a pall” (Chopin 422). Offering another foreshadowing, it is suggested that the shadowing trees and the branches that cover the house compare to a cloth used to cover a coffin; allowing the reader to envision L’Abri as a gloomy or serious place that is absent of pleasure and happiness--a place that had not had a woman’s touch since Armand and his father returned from Paris after the death of his mother when Armand was just eight-years old.

Chopin uses the first hand description of Adele from Edna as a literary comparison to previous descriptions of Adele, allowing insight into Edna’s own perceptions and changing world view.

The extent to which the Lais of Marie de France can be categorized as fairy tales is dependent on the definition of “fairy tale.” Using various scholars’ definitions of “fairy tale” and conceptions of the fairy tale genre, criteria for “fairy tales” arises. Then, close-readings of three lais, “Guigemar”, “Lanval” and “Yonec”, are used as a mechanism for meeting or failing the criteria. This methodology is then evaluated and problematized. The criterion for fairy tales includes origin, form, content, style, and meaning. Etymologically, the word ‘fairy tale’ has disputed origins. Supposedly, it comes from the French “contes des fees” or “tales about fairies”, popular in French courts and salons in the seventeenth century. However, Jack Zipes argues that “conte féerique” actually translates to “fairy tales” and refers to narrative form, rather than content.

As a child, I was told fairytales such as Snow White and the Seven Dwarfs every night before I went to sleep. Fairytales are an adventurous way to expand a child’s imagination and open their eyes to experience a new perspective. Modernizations of fairytales typically relate to a specific audience, such as adolescence, and put a contemporary spin on the old-aged tale. Instead of using whimsical themes heavily centered in nature, the contemporary poems connect with the reader in a more realistic everyday scenario. Also, many modernizations are written in poetic form to help reconstruct a flow in the piece and to develop or sometimes completely change the meaning from that of the original fairytale. Comparing Grimm’s Fairytale Snow White

The choice of the “Three women of Don Giovanni” can give a good understanding of the type of music which was used to create an opera in the 18th century Italy. The opera buffa was a comic opera with a funny story line and light music. Mozart wrote at different levels.

Early eighteenth century marked the beginning of the middle period, which was said to be the most productive period out of his three compositional periods as some of his most magnificent works were produced during this time (Lockwood, 194). In this paper, I will examine the heroic style - why it came about, what are some characteristics of ‘heroic’ music and through the analysis of a ‘product of the times’ (Taruskin) , compare the differences between the music of the heroic style and that of before. The middle period is also known as the heroic period from 1803 – 1812 is after the Viennese period and before the Late

     Chopin introduces the story with pleasant images and events; she enchants the reader with fairy tales. A woman who cannot have children is blessed with the most “beautiful and gentle, affectionate and sincere” (31) of

Orfeo ed Euridice by Gluck, was written in 1762 and The Marriage of Figaro by Mozart was written in 1786. It is interesting to analyse the changes and developments from opera seria to these two examples.

The Baroque period is an era of artistic style utilizing embellished motion, pure and effortlessly interpreted detail to yield drama, tension, exuberance, and opulence in representation. The opera “The Fairy Queen” by Henry Purcell is an excellent representation of the Baroque era in its inordinate application of all theatrical foundations, embroidered indications, and the selected focused elucidation to return melodrama, emotional tension, enthusiasm, and sumptuousness for the audience watching.

In discussing content, like all great authors, Chopin use symbols and metaphor to allow us to look within the subtext of their works. And many of these symbols and metaphors work to build upon their style, heavily composed of irony. As these are discussed, the themes of the obligations of women in marriage and illusions of independence, will come forward.

First and foremost, the piece reflects the development of the clarinet that its role in the orchestra became more and

This playwright uses the mention of sun and light constantly to hint at the silent presence of Apollo, who is the god of the sun’s rays. He is guiding the fate of the drama’s characters. A second examination can be focused on the use of the flute in the drama. Apollo is credited as being the creator of music and of the flute.