Recognition in Mozart's Operas

Contents

• Table of Contents
• Introduction
• Recognition: An Introduction
• Recognition as a New Perspective
• Figaro's Scar as the Signature of a Fiction
• Chapter 1: Operatic Enlightenment in Die Zauberflote
• Enlightenment as Metaphor
• Tamino's Recognition: Wann wird das Licht mein Auge finden?
• Pamina, Papageno, and the End of the Opera
• The Scandal of Recognition
• Chapter 2: Recognition Scenes in Theory and Practice
• Recognition in Classical and Contemporary Poetics
• Recognitions of Identity in Mozart
• Disguise and Its Discovery
• The Quest for Self-Discovery
• What Recognition Brings in the End
• Chapter 3: Reading Opera for the Plot
• Plot in Contemporary Poetics and Opera
• Plotting in Le nozze di Figaro
• Mozart and the Plot that is Well Worked Out
• Chapter 4: Sentimental Knowledge in La finta giardiniera
• La vera and la finta giardiniera
• Reading Opera for the sentiment
• Sandrina as Virtue in Distress
• Count Belfiore, Madness, and the Restorative Recognition
• Chapter 5: Don Giovanni: Recognition Denied
• The Problem of the Ending
• Denouement and lieto fine
• Recognition Prepared and Denied
• Life without the Don
• Chapter 6: Sense and Sensibility in Cosi fan tutte
• Resisting the Ending
• Reading Cosi for the sentimen
• The Language of Sentimental Knowledge
• Vorrei dir, Smanie implacabili, and Questions of Parody
• Positions of Knowledge
• Chapter 7: Fiordiligi: A Woman of Feeling
• The Ideal of the Phoenix
• Fiordiligi, Ferrarese, and Come scoglio
• Per pieta: Recognition Denied
• The Triumph of Feeling over Constancy
• Chapter 8: La clemenza di Tito: The Sense of the Ending
• The Language of clemenza and pieta
• The Politics of Tyranny
• Vitellia's Transformation
• Sesto's Conflict
• Tito's Clemency
• Afterword
• I called him a Papageno
• Beyond Mozart
• Works Cited