Undergraduate Review
Volume 4 | Issue 1
Article 8
1991
Better Defining a Character Genius
Becca Ewert '91
Illinois Wesleyan University
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Recommended Citation
Better Defining a Character Genius
'13ecca f£wert
"Opera, to me, comes before anything else."
- Mozart
Mozart's ability for a.
universally acknowledged. I
equipped with realistic emoti
him apart from a great many
portray as well the emotions.
stage and indeed, remaining:
greater societal context. But.
presentation of realistic chara
nevertheless appealed still to
characterization. Instead of s
he admits their artificiality sil
between societal reality and f
ing not only equality betweer
This incongruity of characteri
presented through an intrigui
portrayal and the choice of lit
many consider his greatest of
Giovanni, and Cosi fan tutte. '\
validity the human experienc·
grossly artificial and idealistic
attention focused upon the fel
chosen which depict women i
By incorporating these contra
operas, Mozart seems to nega
have strived: an accurate and
not an idealistic rendering of'
tore
anything
else."
- :Mozart
Mozart's ability for accurate characterization is, it seems,
universally acknowledged. His portrayal of human characters
equipped with realistic emotions and understandable reactions sets
him apart from a great many other composers, as does his ability to
portray as well the emotions of women, before unrepresented on the
stage and indeed, remaining for the most part silent even in the
greater societal context. But for all his revolutionary tactics in the
presentation of realistic characters and the female experience, Mozart
nevertheless appealed still to the eighteenth-eentury processes of
characterization. Instead of supporting the realism in his characters,
he admits their artificiality simply by articulating the disparity
between societal reality and the idealism of which he writes, includ
ing not only equality between classes, but between the sexes as well.
This incongruity of characterization and societal expectations is
presented through an intriguing contradiction between character
portrayal and the choice of librettos, at least in regards for what
many consider his greatest operas, The Marriage of Figaro, Don
Giovanni, and Cosi fan tutte. Why did Mozart attempt to render with \
validity the human experience if only through stock characters and
grossly artificial and idealistic plots? If there was to be greater
attention focused upon the female characters, why were librettos
chosen which depict women in an unfavorable if not heinous light?
By incorporating these contradictions within the framework of his
operas, Mozart seems to negate that for which he was supposed to
have strived: an accurate and valid portrayal of human experience,
not an idealistic rendering of what that experience might possibly be.
The eighteenth-century audience to which Mozart displayed
his works was an audience of diverse and demanding expectations.
On the one hand, there was the aristocracy, the faction holding not
only political power, but also social and artistic power over the
popular aesthetics. As a composer it seems to have been under
standably vital to secure the aristocratic audience by considering its
values as presented by a musical piece. Believing that music "must
never offend the ear, but must please the listener" (Wallace 36),
Mozart reflected in his music those ideals which would appeal to the
aristocratic audience: namely, those maintaining the status quo (36).
That Mozart considered his patrons and the powerful
authorities which determined not only his salary but also where and
how his works were performed is an obvious fact, as it was through
these forces that he earned his living. It remained, however, a rather
difficult matter to solve on the other hand, there existed as well the
audience of the common people, holding common values and
preaching the need for a reflection of the common life within art:
Ordinary people clearly were interested in characters .
who were, or were fancied to be, much like themselves .
[t]he climate they created seems to have encouraged the
popular arts, which were often experimental and even
defiant of traditional forms, as prose fiction [as well as later
musical works] was generally, and which deliberately
addressed the interests of ordinary people (Beasley 11).
This was the audience which Mozart faced, an audience whose
diversity created an instant conflict between classes and simultane
ously presented a composer with an additional difficulty: to which
sect could he respond and cc
appears to have solved his p
within his operatic works (fc
Figaro and Susana) and disF
cope with the class conflict, •
reactions representative of tl
sects found a voice through
most part their class stations
ability to depict both sides 0_
degree perhaps unmatched I
to embody personality and c
in tones" (Wallace 40).
Mozart's process of.
original in its rebellion again
eighteenth century court mll
section of Scene iv of Act II 0
Tell me, no offence il
of complexity in mue
minded people in th,
and-dominant, from
character is just as bt
innocent. An Old Mi
Never the slightest a
piece about real people!
boudoir! - because
n
earth! Underclothes (
woman's body-evel
want life, Baron. No
4
Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
ience to which Mozart displayed
;e and demanding expectations.
:ocracy, the faction holding not
and artistic power over the
t seems to have been under
'atic audience by considering its
~ce. Believing that music "must
ie the listener" (Wallace 36),
ideals which would appeal to the
! maintaining the status quo (36).
patrons and the powerful
nly his salary but also where and
n obvious fact, as it was through
~. It remained, however, a rather
rhand, there existed as well the
lding common values and
)f the common life within art:
re interested in characters .
to be, much like themselves .
~msto have encouraged the
[ten experimental and even
,as prose fiction [as well as later
ny, and which deliberately
rdinary people (Beasley 11).
-t faced, an audience whose
between classes and simul tane
l additional difficulty: to which
sect could he respond and continue a prosperous career? Mozart
appears to have solved his personal dilemma by combining classes
within his operatic works (for instance, the Count and his servants,
Figaro and Susana) and displaying them attempting to successfully
cope with the class conflict, while coping as well with emotions and
reactions representative of the average individual. In this way, both
sects found a voice through the operas which exemplified for the
most part their class stations and consequent values. Mozart's
ability to depict both sides of the coin is startling even today: UTo a
degree perhaps unmatched by any other musician, Mozart was able
to embody personality and character, human conflict and resolution,
in tones" (Wallace 40).
Mozart's process of characterization was in itself exclusively
original in its rebellion against the characterization of the other
eighteenth century court musicians, as accurately evidenced from a
section of Scene iv of Act II of Amadeus:
Tell me, no offence intended, but why are Italians so scared
of complexity in music? They really are the most simple
minded people in the world. Tonic-and-dominant, tonic
and-dominant, from here to Resurrection! And their idea of
character is just as boring. A Hero is ardent. A Heroine is
innocent. An Old Man's a miser. A Duenna is conniving.
Never the slightest contradiction allowed! ... I want to do a
piece about real people! And I want to set it in a real place. A
boudoir! - because that to me is the most exciting place on
earth! Underclothes on the floor-sheets still warm from a
woman's body---€ven a pisspot brimming under the bed! I
want life, Baron. Not boring legends. (Gianakaris 48)
Exemplifying not only the character of Mozart himself, from the
above quotation Mozart's intentions towards character portraiture
also become quite clear. It is the character, imbued with emotions
and realism, which has made itself a priority within drama. But once
again, eighteenth-century dogma figures in with the consideration of
what type of backdrop is represented. Inasmuch as the characters
themselves represent the attempt to accurately depict eighteenth
century people, "such characters emphatically reinforce our under
standing of the degree to which politics, personal morality, and the
pursuit of social identity were regarded as inseparable realities of
human life in their period" (Beasley 12). Just as the audience is
inextricably tied to the art of the composer, so is the time period an
essential part of the art itself:
Typically (but not always) immersed in familiar scenes of
domestic conflict, such characters are most often used
deliberately to reveal some vision of the degree to which
pri vate life is touched by external political circumstance, or
to proclaim the value of the individual life in a world made
hostile and corrupt by the moral failings of political leader
ship, or to echo by their experience in a miniature imaginary
world the kinds of political conflict characteristic of the
larger world outside the fictional boundaries of their stories.
The type itself is familiar from the broader literary contexts
of the period: the lonely, virtuous man or woman who is
really an alien in a threatening environment, struggling to
survive. (Beasley 11)
So the value of the individual
the popular culture of the eig:
cludes, for instance, politics, c
Mozart's insistence upon the
is then interpreted as being si
which emphasizes the imporl
(or at the very least aware of)
s/he is a part. To be sure, the
remain within the guidelines
ture - not stock characters a
characters, but created neverl
resentative of the eighteenth.
they are characters p:
rhetorical or dramati·
conventional portrait
sycophant, the crafty
forth. (Beasley 4)
Mozart's process of character
the older character forms, wa.
trend to endow characters wi
tions, and thoughts. Yet whiJ
tributed as completely his, he
characters realistically within
figures of flesh and blood' in
surpassed" (Biancolli 179).
That he was able to c:
6
Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
,of Mozart himself, from the
:; towards character portraiture
iracter, imbued with emotions
i priority within drama. But once
~resin with the consideration of
d. Inasmuch as the characters
.accurately depict eighteenth
lphatically reinforce our under
itics, personal morality, and the
oded as inseparable realities of
'12), Just as the audience is
nposer, so is the time period an
mrnersed in familiar scenes of
'acters are most often used
vision of the degree to which
:temal political circumstance, or
,individual life in a world made
noral failings of political leader
lerience in a miniature imaginary
conflict characteristic of the
tional boundaries of their stories.
)m the broader literary contexts
1uous man or woman who is
ing environment, struggling to
So the value of the individual is reflected in terms of its value against
the popular culture of the eighteenth century and all that then in
cludes, for instance, politics, art, and current beliefs and conflicts.
Mozart's insistence upon the reality of the situation within his operas
is then interpreted as being simply consistent with this kind of belief
which emphasizes the importance of the individual operating within
(or at the very least aware of) the popular societal dictates of which
s/he is a part. To be sure, the characters Mozart has employed
remain within the guidelines of popular eighteenth-century litera
ture - not stock characters as compared with past centuries of
characters, but created nevertheless to fulfill a distinct category rep
resentative of the eighteenth century and its changing controversies:
they are characters projected to meet certain recurring
rhetorical or dramatic needs, and not simply repetitions of
conventional portraits of the corrupt minister, the crawling
sycophant, the crafty practitioner of court intrigue, and so
forth. (Beasley 4)
Mozart's process of characterization, then, while a rebellion against
the older character forms, was an offshoot of the then current literary
trend to endow characters with eighteenth-century values, percep
tions, and thoughts, Yet while the idea for rebellion might not be at
tributed as completely his, he remains an initiator in portraying
characters realistically within musical forms: "as a creator of 'living
figures of flesh and blood' in Lyric Drama, Mozart has never been
surpassed" (Biancolli 179).
atmosphere of stringent regulations is a credit to Mozart's genius. It
has been said of the Classical period that the "[exploitation of] the
natural opposition of tonic and dominant in a dynamic manner not
realized by Baroque composers" (Jones 167) directly contributed to
the insistence on stability at the beginning and, above all, at the end
of each work. [This allowed] the classical style to create and inte
grate fOTIns with a dramatic violence that the preceding Baroque
style never attempted and that the Romantic style that followed
preferred to leave unresolved, the musical tensions unreconciled.
For this reason, a classical composer did not always need themes of
any particular harmonic or melodicenergy for a dramatic work: the
drama is the structure. (Rosen 76)
For many composers, the drama inherently within the
structure of the musical composition was enough to reveal the
drama of the actual piece. Opera was an art form specifically ren
dered, it would seem, for this very idea. Joseph Kernan agreed,
asserting that "[b]ecause it excels at presenting the felt qualities of
experience ... opera can determine dramatic form in its most serious
sense" (Hayward 316-317).
Indeed, although Mozart employed the dramatic structure
commonly associated with the age in most of his music (sonata
form), he must have understood the potential within opera for a
greater drama and enlarged upon the traditional notions regarding
its purpose with the result that his music reveals itself as outstanding
and revolutionary in more ways than one, amongst them his willing
ness to compromise between the above mentioned class conflicts to
include each and every voice of the period, even the feminine
perspective.
Through his music, Mozart provided an art form which
allowed the speaking of ot)
truly initiated a rebellion al
Women, for instance, were
people to be weak, subserv:
ders, as evidenced even by
except those who lead a hat
is wholly free from them [h:
235). This attitude is furtheJ
and climaxing with the folic
[women's] capacity
reason, could not ah
level - usually that
unmet needs, which
(Peters 440)
This condescending view of 1
"[a]t the same time that fema:
they seemed also to require g
every aspect of the female eXF
scientific explanation as it wa:
masculine way to life, but pro
conduct whatsoever.
Mozart incorporates I
tudes regarding political situa
concerning more personal rna
within his dramas as irnportal
are capable and even indepen
"Mozart defined the human 0
8
Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
.s is a credit to Mozart's genius. It
>d that the "[exploitation of] the
minant in a dynamic manner not
ones 167) directly contributed to
ginning and, above all, at the end
lassical style to create and inte
ce that the preceding Baroque
Romantic style that followed
musical tensions unreconciled.
~rdid not always need themes of
cenergy for a dramatic work: the
irama inherently within the
m was enough to reveal the
vas an art form specifically ren
idea. Joseph Kernan agreed,
It presenting the felt qualities of
~dramatic form in its most serious
~mployed the dramatic structure
in most of his music (sonata
Ie potential within opera for a
the traditional notions regarding
music reveals itself as outstanding
an one, amongst them his willing
x>Ve mentioned class conflicts to
~ period, even the feminine
t provided an art form which
allowed the speaking of otherwise silent voices, and in doing so, he
truly initiated a rebellion against popular eighteenth-eentury values.
Women, for instance, were considered by the eighteenth-century
people to be weak, subservient, and plagued by a variety of disor
ders, as evidenced even by medical sources: "As to Females, if we
except those who lead a hard and hardy life, there is rarely one who
is wholly free from them [hypochondriacal complaints]" (Sydenham
235). This attitude is furthered by information gathered by doctors
and climaxing with the following:
[women's] capacity to exercise their mental faculties, to
reason, could not always be taken as reliable ... at a basic
level- usually that of sexuality - women suffered from
unmet needs, which could lead them to crave the fantastic.
(Peters 440)
This condescending view of women culminated in the belief that
"[a]t the same time that female afflictions demanded indulgence,
they seemed also to require guidance and control" (440). Truly
every aspect of the female experience was subsumed under this
scientific explanation as it was revealed not only inferior to the
masculine way to life, but pronounced women incapable of sane
conduct whatsoever.
Mozart incorporates not only the eighteenth-century atti
tudes regarding political situations within his dramas, but attitudes
concerning more personal matters as well. Female characters figure
within his dramas as important personages, and at first glance they
are capable and even independent. Because of these elements,
"Mozart defined the human condition in his music" (Lipton 42) and
in many ways he emerged triumphantly successful from this en
deavor. In other ways, however, because "Le Nozze di Figaro, Don
Giovanni, and Cosi fan tulle exhibit an exceptional complexity of
character and motivation [and] their plots contain many traditional
and conventional elements" (Sadie 716), the disparity between
character and the surrounding plot is perceived as grossly unequal
and, instead of engaging the audience, distances them from not only
the character, but also the action and emotional content revealed
through the opera as it is essentially considered separate from real
human existence.
But while this is indeed true, it is not to say that Mozart's
operas are without value in defining the human condition. It is
significant that all three of Mozart's operas, The Marriage of Figaro,
Don Giovanni, and Cosi fan tulle derive from both the tradition of
opera seria and opera buffa (Biancolli 176). Incorporating comedy in
midst of near real conflict proves true the following:
Each of Mozart's great operas has its unique personality;
each helps us to understand some aspects of the human con
dition. Don Giovanni treats of love, lust and the destructive
power of pride. Cosi fan tulle examines the connection
between social mask and personal feeling [and] The Marriage
of Figaro ... is a study of a wide range of individuals inter
acting in a recognisable social situation. (Deane 27)
And when the combination of comedy and tragedy is coupled with
the inclusion of elements of conflict not only between upper and
lower classes, but also with men and women, Mozart's ability for
effective characterization is again proved as "the creative genius not
'
only solves a problem, but hi:
with a life and character of it~
presents the differences betw
attempts the solution of that (
hopes to ascertain an answer
each of the operas, examinin~
verso
Within The Marriage (
Cosi fan tulle, there is an abUl
Events move quickly by the a
and above all through the rna
the characters gain an added
(Broder viii). The plot of this
the characterization, as reflec
edly separate musical lines.
passages appear, one to be id
Susanna. As Susanna claims
and thoughts, their separate'
(Deane 18).
The coordination of I
well towards Mozart's attem
valid terms - how better thE
inherent belief that his serva.
delineate Susanna as a domiJ
tionship, before only domina
thus interestingly combines <:
domination: what is it to be
what is it to be dominant wi.
by love and equality?
1
hantly successful from this en
>ecause "Le Nozze di Figaro, Don
it an exceptional complexity of
~ir plots contain many traditional
~ 716), the disparity between
>t is perceived as grossly unequal
~nce, distances them from not only
nd emotional content revealed
Iy considered separate from real
lle, it is not to say that Mozart's
Ilg the human condition. It is
's operas, The Marriage of Figaro,
~rivefrom both the tradition of
olli 176). Incorporating comedy in
rue the following:
~ras has its unique personality;
ld some aspects of the human con
:s of love, lust and the destructive fte examines the connection
lersonal feeling [and] The Marriage
wide range of individuals inter
:ial situation. (Deane 27)
edyand tragedy is coupled with
t not only between upper and
ld women, Mozart's ability for
lroved as "the creative genius not
only solves a problem, but his solution is an individual offspring
with a life and character of its own" (Biancolli 175). Mozart not only
presents the differences between two warring factions, but he
attempts the solution of that conflict. Does he do so realistically? In
hopes to ascertain an answer to that question we must first consider
each of the operas, examining both character type and plot maneu
verso
Within The Marriage of Figaro, as in both Don Giovanni and
Cosi fan tutte , there is an abundance of character and incident.
Events move quickly by the audience, and "through da Ponte's skill
and above all through the magic of Mozart's marvelous music all of
the characters gain an added dimension of warmth and humanity"
(Broder viii). The plot of this opera is specifically coordinated with
the characterization, as reflected by the intertwining of the suppos
edly separate musical lines. Within the orchestral introduction, two
passages appear, one to be identified with Figaro, the other for
Susanna. As Susanna claims more and more of Figaro's attention
and thoughts, their separate lines joins in "harmonious tenths"
(Deane 18).
The coordination of these two lines specifically points as
well towards Mozart's attempt to render the relationship through
valid terms - how better than to not only illustrate the nobleman's
inherent belief that his servant is his sexual property but also to
delineate Susanna as a dominating force over the male-female rela
tionship, before only dominated by the male? Marriage of Figaro
thus interestingly combines differing perspectives on the issue of
domination: what is it to be dominated by an upper class member?
what is it to be dominant within a relationship supposedly sustained
The disparity between the classes and the power delegated
to each is an essential part of this opera and, indeed, of the eight
eenth-century way of life. Created to question the inequality be
tween classes, Figaro is an innocent, seemingly unaware of the
power the upper class commands at will as he cannot comprehend
Susanna's reluctance to accept the bedroom provided for them by
the Count. And again, the Count, while portrayed in a somewhat
negative light, is not completely to be blamed when he preaches of
his power, for that is the status quo of the period. This is repre
sented with validity through Figaro's assertion, "That's what I call a
nobleman: He just does what he likes" (Figaro 51), as that was
indeed how things operated. And while this class barrier is never
quite destroyed, it is surely questioned through such relationships as
the Countess with Susanna. Sharing similar status as women in a
traditionally male world, they share similarities that transcend the
class barrier and allow them to acknowledge their essential same
ness:
Surely all women ought to support one another: when we
think how we're treated by our husbands and lovers, oh, 'tis
our duty. But we, poor hapless womankind, who sacrifice
our all to men, Receive from them but perfidy and pain
that's hard to bear. (Figaro 112)
Joined through their ~omanhood,Susanna and the Countess can
together improvise plots (the Countess meeting the Count in place of
Susanna), admire male figures (Susanna's frank appraisal of Cheru
bino as they dress him up) and maneuver around rules (such as the
Count questioning why was Cherubino in the Countess' room,
partly undressed), but wi
Countess, she never stept
However, while 1
between the sexes begins
of character are known a:
180) and she seems to ha'
Rhythmic Gesture in Moza
and the Countess that an
Countess" (180). Ifthis i:
Ianbrook "bases her intel
of the music, with much
issue of equality/ domiru
even further credence to
continues her argument
are more intelligent than
[she] interprets the who]
celebrates the poSSibility
proved especially throul
and Figaro and then thr.
Countess is presented a~
devotion, love and forgi
the Count, of course] [aJ
tically 'enlightened' rea:
and honesty have their
Directly OppOSE
to his attentions, the Co
though she may not ex<:
forgive and forget quitE
female, Susanna is pres
12
Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
classes and the power delegated
pera and, indeed, of the eight
to question the inequality be
t, seemingly unaware of the
It will as he cannot comprehend
>edroom provided for them by
¥hile portrayed in a somewhat
be blamed when he preaches of
of the period. This is repre
)'s assertion, "That's what I call a
,es" (Figaro 51), as that was
while this class barrier is never
ned through such relationships as
g similar status as women in a
~similarities that transcend the
lowledge their essential
same-support one another: when we
our husbands and lovers, oh, 'tis
less womankind, who sacrifice
1 them but perfidy and pain
12)
usanna and the Countess can
ess meeting the Count in place of
mna's frank appraisal of Cheru
euver around rules (such as the
lino in the Countess' room,
partly undressed), but while "Susanna enjoys 'girl talk' with the
Countess, she never steps over the class barrier" (Lipton 40).
However, while this barrier remains in place, the barrier
between the sexes begins to be shifted. Wye Allanbrook's analyses
of character are known as both "sensitive and original," (Webster
180) and she seems to have demonstrated through her work in
Rhythmic Gesture in Mozart that "it is Susanna's relations with Figaro
and the Countess that are decisive, not those between the Count and
Countess" (180). If this is true, and I shall suppose that it is since AI
lanbrook "bases her interpretations on close, in part original analyses
of the music, with much attention to text and context" (180), the
issue of equality/dominance has even more emphasis. What lends
even further credence to this assumption is the fact that A1lanbrook
continues her argument with the assertion "that these two women
are more intelligent than, and morally superior to, their men ... and
[she] interprets the whole action as a version of pastoral which
celebrates the possibility of human affection" (80). This, I believe, is
proved especially through the musical lines attributed to Susanna
and Figaro and then through the character of the Countess. The
Countess is presented as an "unequivocal personification of fidelity,
devotion, love and forgiveness and fraternity [as directly opposed to
the Count, of course] [and] Rosina's ethical stance creates an authen
tically 'enlightened' realm, one in which love, fidelity, forgiveness
and honesty have their place" (Kinosian 1793-A).
Directly opposed to the Count's character and additionally
to his attentions, the Countess stands out as a "good" character,
though she may not exactly figure as a "strong" character (she does
forgive and forget quite frequently). And as another example of the
female, Susanna is presented as the dominant partner, attuned to the
realism of the class conflict and attuned as well to her own desires,
all much more than Figaro attends to the issues: "I am Susanna, and
you are stupid" (Figaro 23). The duet which opens the opera fea
tures both Susana and Figaro, each singing lines which "move in
complete independence of one another" (Hayward 317). The fact
that they each have a separate melodic line can only point to the
notion that they are separate individuals, able to exist independently
as well as within the structure of a relationship, reflected as "though
they are out of sorts at first, by the end they have united in blissful
thirds and sixths" (Webster 183). Indeed, "Mozart has devised
musical means for expressing an idea abo';1t human relations ... that
with understanding discord can give way to reconciliation" (Robin
son 18).
Reflected through his characters is Mozart's response to the
varying degrees of inequality within life. Very much like life, the
issues of equality, sex, and power stand out as important and
decisive factors for the characters. As Gary Lipton maintains,
Le Nozze de Figaro, like life itself, sways back and forth
between certainty and uncertainty, comedy and tragedy.
Instead of creating happy endings and bad guys vs. good
guys, Mozart and Da Ponte give us remarkable human
beings who sweat, struggle, and survive [and] [t]here are no
winners or losers in Figaro, only slightly bewildered people
who cope with the game of life. (38)
The "game of life" is a frequent theme of Mozart's operatic
works, appearing as well i
Much like Figaro again is
tensions of class and sex" (
featured characters which
doubting the opposite gen
and faithless one and all- 6
this! Did ever woman have
tion, such jealous fury, suc
created one character in w
way as to repulse equally
class and sex barriers.
The character of D
of the upper class, but also
It is not surprising, then, to
tions and the central one [is
hero springs whatever is en
semble of men and women'
pects of Don Giovanni, it is
porello alternately wavers
becoming the nobleman wit
of his own will: "I the genth
the dictates which morality i
"I will not have this mad-1m
porello possesses as a charae
tions, and his actions sets hil
the fantastic world in which
real person, the firm rock of
colli 264). This begins a diffi
is the one "real" character of
14
Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
~
uned as wen to her own desires,
to the issues: "1 am Susanna, and
uet which opens the opera
fea-I singing lines which "move in
ther" (Hayward 317). The fact
)dic line can only point to the
iduals, able to exist independently
relationship, reflected as "though
end they have united in blissful
ndeed, "Mozart has devised
lea about human relations ... that
"e way to reconciliation" (Robin
lcters is Mozart's response to the
n life. Very much like life, the
tand out as important and
As Gary Lipton maintains,
itself, sways back and forth
~rtainty,comedy and tragedy.
ndings and bad guys vs. good
give us remarkable human
, and survive [and] [t]here are no
only slightly bewildered people
life. (38)
lent theme of Mozart's operatic
works, appearing as well in both Don Giovanni and Cosi fan tutte .
Much like Figaro again is the fact that Don Giovanni "is based on the
tensions of class and sex" (Sadie 717). But where Mozart in Figaro
featured characters which doubt the validity of their relationships by
doubting the opposite gender ("Just the same is every woman, Frail
and faithless one and all- 61; "Oh cruel husband, to reduce me like
this! Did ever woman have to bear such a life of neglect and deser
tion, such jealous fury, such insults?"-102), in Don Giovanni he
created one character in which these doubts are manifested in such a
way as to repulse equally both sexes while still commenting on the
class and sex barriers.
,
The character of Don Giovanni embodies not only the power
of the upper class, but also the power of the sexually-proficient man.
It is not surprising, then, to read that this "opera is full of contradic
tions and the central one [is] about the hero [as] from [the] doomed
hero springs whatever is energetic and life-enhancing in the en
semble of men and women" (Hagstrum 323). Faced with the pros
pects of Don Giovanni, it is equally unsurprising that the servant Le
porello alternately wavcrs bctween the intriguing possibility of
becoming the nobleman with the ability to command at the dictates
of his own will: "1 the gentleman will play" (Don Giovanni 9), and
the dictates which morality insists upon, causing Leporello to reveal
"1 will not have this mad-man for a master! (97). The ability Le
porello possesses as a character able to change his mind, his emo
tions, and his actions sets him apart as a truly "normal man," as "in
U
the fantastic world in which [Don Giovanni] is played, he is the one real person, the firm rock of reality in the midst of a dream" (Biancolli 264). This begins a difficult process of examination: if Leporello
is the one "real" character of the opera, are the others to be consid
ered stock characters? Louis Biancolli points to Mozart's tendency
towards idealizing his characters as a possible answer:
In Don Giovanni Mozart's power of character-drawing
shows itself in all its glory. If, in Figaro, he has idealized
some ofthe characters out of all semblance to their
original selves, inDon Giovanni this idealizing process has
been carried on lines exactly parallel with the original bent
of the several dramatis personae and serves but more highly
to potentize their individuality. Without losing a whit of
their identity, without being one jot less sharply individual
ized, they rise to the stature of universal and eternal types.
(185)
How distinctively peculiar! To not regard Mozart as a master in the
art of characterization seems impossible, and yet it becomes neces
sary to see his art as creating identities for characters previously
considered only stock. In short, he seems not to have created new
characters, but to have revitalized the stock characters used within
the past literary tradition. Indeed,
each [character] is for [Mozart] simply a phase of life to be
transmuted into a realm of art as good as any other. They or
Leporello's garlicky vulgarity and pandering knavery,
before Mozart's overmastering art they are all equal.
(Biancolli 242)
This, however, is not to say that by idealizing his characters and
employing stock characters M
of many. Through the dispari
are able to see the differences
Anna we are presented as we]
yet, this perspective is sadly s
ideals. Women are referred t(
Giovanni 163) and the belief tt
must measure up is reflected·
having makes me quite of the
There's an odor, th' aroma s\\
There remain, regard
cally Elvira, who are able to r
variety of emotions, not the IE
human world: like Leporello
a nobleman and a moral pea~
silliness of her continued pas
love. Though Masetto said il
been said of Elvira: "When a
her?" -111). Zerlina, too, ackr
dilemma which faces Elvira ~
(114). Both womenaresetuJ
emotions, loving the same m
As an opera based u
Cosi fan tulle prominently fi~
totally of stock characters, ac
events:
Ilcolli points to Mozart's tendency
.as a possible answer:
s power of character-drawing
y. If, in Figaro, he has idealized
It of all semblance to their
>vanni this idealizing process has
ctly parallel with the original bent
rsonae and serves but more highly
luality. Without losing a whit of
~ing one jot less sharply individual
Jre of universal and eternal types.
ot regard Mozart as a master in the
IOssible, and yet it becomes neces
ltities for characters previously
le seems not to have created new
:I the stock characters used within
:I,
ozart] simply a phase of life to be
of art as good as any other. They or
;arity and pandering knavery,
tering art they are all equal.
>y idealizing his characters and
employing stock characters Mozart lacks to present the perspectives
of many. Through the disparity between Leporello and the Don we
are able to see the differences of class; through Elvira and Donna
Anna we are presented as well with the female perspective. And
yet, this perspective is sadly sublimated to the eighteenth-century
ideals. Women are referred to as "dear, unreas'ning creatures" (Don
Giovanni 163) and the belief that there is a standard to which women
must measure up is reflected by the statement, "Thy unwomanly be
having makes me quite of thee ashamed" (81), as well as in ''Hush!
There's an odor, th' aroma sweet of womankind" (31).
There remain, regardless, women characters, most specifi
cally Elvira, who are able to reach out to the audience and display a
variety of emotions, not the least of which is their inclusion in the
human world: like Leporello, who alternates between desiring to be
a nobleman and a moral peasant, Elvira, though acceding the
silliness of her continued passion for Don Giovanni, continues to
love. Though Masetto said it of his bride, Zerlina, it might also have
been said of Elvira: ''When a woman's determined, who can stay
her?"-111). Zerlina, too, acknowledges this same heartwrenching
dilemma which faces Elvira with, ''He doth use me most unkindly"
(114). Both women are set up as parallel characters, feeling the same
emotions, loving the same man.
As an opera based upon the female and her capacity to love,
Cosi fan tutte prominently figures. It, however, is formed almost
totally of stock characters, acting against a rather ridiculous series of
events:
[The world of Cosi fan tutte is] scarcely a world at all; only a
show of marionettes. For nothing could be more ridiculous
than to pretend that the preposterous people, the still more
preposterous situations of this utterly artificial intrigue were
meant to be believed in. (Biancolli 274)
Yet for all its artifice, still the point of the opera is received and
understood: "its wit enforces the lesson that human weakness must
be realistically accepted and that romantic excess is ridiculous and
fruitless" (Hagstrum 324). To be sure, however, the "human weak
ness" depicted throughout Cosi fan tutte seems exclusively female. It
has been argued that "To Mozart's own public there could be
nothing in the least shocking about that [the subject of feminine
fickleness]" (Biancolli 272), and yet there existed as well the belief
that "woman was an ideal that ought never to be made ridiculous"
(Merkling 15). To which did Mozart subscribe? Perhaps he acceded
to the truth in both ideals, as the following explanation offered by
Frank Merkling asserts,
There may be a double standard at work in [Don Alfonso's]
little song ending with the words "Cosi fan tutte" - after all,
though the women in this opera are maligned for being
unfaithful, it is the men who are deceitful- but there's also
wisdom in hisadvice that the men accept the women as they
are rather than putting them on a pedestal. (15)
And what, indeed, is to be made of this Don Alfonso? Is he to be
regarded as a true and accurate portrait of humanity or merely as an
other stock character within the story? It appears that both he and
Despina stand out as "real," endowed with characteristics of normal
humanity that both the head
lack. For who could doubt a
tion to try new things, to not
present? If nothing else, Dor
ward, offering what often a1"
because it is worldly and bla
ground of artificiality (Biancc
As a consequence to
the plot, the characters of COl;
version of reality, and the les:
slightly stupid, but again, pel
Mozart and da Ponte
able human figures, i:!
flesh-and-blood chare
Giovanni .They were €
which a small group I
adequate. And some
Don Alfonso and Des
opera, and Fiordiligi j
And what of the femil
both speech and example, "we
proves itself indeed as "a myt
And yet, through the counsel
female, Despina, both sexes at
Where Don Alfonso advocate:
jungle's wilderness, or in a sh
who founds his hopes on wor
18
Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
i
:;'or nothing could be more ridiculous
e preposterous people, the still more
s of this utterly artificial intrigue were
l. (Biancolli 274)
Dint of the opera is received and
he lesson that human weakness must
at romantic excess is ridiculous and
)€ sure, however, the "human weak
ifan tulle seems exclusively female. It
lrt's own public there could be
)out that [the subject of feminine
Iyet there existed as well the belief
ought never to be made ridiculous"
:ozart subscribe? Perhaps he acceded
e following explanation offered by
standard at work in [Don Alfonso's]
the words "Cosi fan tutte" - after all,
his opera are maligned for being
who are deceitful- but there's also
at the men accept the women as they
them on a pedestal. (15)
~ of this Don Alfonso? Is he to be
portrait of humanity or merely as an
story? It appears that both he and
lowed with characteristics of normal
humanity that both the headstrong young men and the grieving girls
lack. For who could doubt as real the urging of a younger genera
tion to try new things, to not be overladen with the conflicts of the
present? If nothing else, Don Alfonso and Despina are straightfor
ward, offering what often appears to be cynical counsel simply
because it is worldly and blatant, and set oddly against a back
ground of artificiality (Biancolli 283).
As a consequence to all the artifice so grossly integral within
the plot, the characters of Cosi fan tutte remain distanced from our
version of reality, and the lesson that they teach seems simple and
slightly stupid, but again, perhaps that was an intended insight:
Mozart and da Ponte were not dealing here with recognis
able human figures, as in Figaro, of with the creation of
flesh-and-blood characters out of universal types, as in Don
Giovanni .They were engaged in telling an amusing tale, for
which a small group of stock characters were perfectly
adequate. And some of these characters even come alive.
Don Alfonso and Despina are as "real" as any characters in
opera, and Fiordiligi is far from a puppet. (Broder 4)
And what of the feminine perspective? Maligned through
both speech and example, "woman's famous faith and constancy"
proves itself indeed as "a myth and fabrication" (Cosi fan tulle 18).
And yet, through the counsel of both the male, Don Alfonso, and the
female, Despina, both sexes are represented as unworthy and untrue.
Where Don Alfonso advocates that "A man in danger, lost in the
jungle's wilderness, or in a shipwreck is safer than the simpleton
-64
encourages the girls to forget their beloveds: "Today you're loving
one man, tomorrow another. One's worth the others, because they
all are worthless!" (82-3). Moreover, the parallel characterization of
Don Alfonso and Despina is further reflected as Despina asserts the
power of the female over the male: "It doesn't take much wisdom,
it's female intuition" (139) and Don Alfonso shortly after her reca
pitulates with "I have succeeded in fooling a thousand men - I can
fool two foolish women" (141). Is Don Alfonso more convincing in
persuading the female sex's evil? In any case, Cosi fan tutte , while
presenting both the feminine and masculine perspective, leaves off
with the unfortunate thought: "women cannot be faithful ... You
have to take them as they are ... women always betray" (318).
Mozart is indeed a master at creating characters which are
imbued with realistic and very human characteristics. By presenting
the tensions of class and sex so inherently a part of eighteenth
century culture, he furthers this realism through his additional
incorporation of elements of the female perspective. One of the few
to attempt a realistic portrait of womanhood, Mozart, though he
does accomplish truly moving emotional displays, nevertheless
destroys the full intensity of his portraiture effect by placing his
characters against other stock characters and/or artificially contrived
plots. The audience remains distracted by this artifice and sadly
unable to appreciate the full extent of the characters' humanness. As
Louis Biancolli wrote, "Artifice is the keynote of it ... At the same
time, of course, [Mozart] infallibly hits upon the truth of his charac
ters - the truth of their stage existence, which is all there is to them"
(275). Such a part of life, Mozart's characters remain unfortunately
tied to the stage and their stage lives - subject still to an audience of
varying tastes and an overriding aesthetic which determines the
production of Mozart operas a
characters. Not much has cha:
all.
their beloveds: "Today you're loving
One's worth the others, because they
'€Over, the parallel characterization of
uther reflected as Despina asserts the
nale: "It doesn't take much wisdom,
IDon Alfonso shortly after her reca
ed in fooling a thousand men - I can
I. Is Don Alfonso more convincing in
,iI? In any case, Cosi fan tutte , while
md masculine perspective, leaves off
"women cannot be faithful ... You
.. women always betray" (318).
ster at creating characters which are
,human characteristics. By presenting
,inherently a part of
eighteenth-is realeighteenth-ism through heighteenth-is additional
\e female perspective. One of the few
f womanhood, Mozart, though he
emotional displays, nevertheless
s portraiture effect by placing his
:haracters and/or artificially contrived
istracted by this artifice and sadly
:tent of the characters' humanness. As
! is the keyno te of it ... At the same
ibly hits upon the truth of his charac
'xistence, which is all there is to them"
rt's characters remain unfortunately
~lives - subject still to an audience of
Ig aesthetic which determines the
production of Mozart operas and the revival of his exemplary
characters. Not much has changed since the eighteenth century after
all.
65 21
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c.
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