09/01/08 02:48:01
少し急ぎです。モーツァルトについての英文です。よろしくおねがいします！
The opera's total gesture needs to be ecamined on its own.Meanwhile it seems unlikely that composer
and librettist set out to rescue Freemasonry in Vienna from a doom that did not strike it until nearly
three years later.In the spring and early summer of 1791 the French Revolution was still in its moderate
constitutional phase;members of the Viennese governing class might be anxious about such things as the
abolition of titles,but the events that were to panic them-democracy,war,massacre,regicide-lay a year or
so ahead.Once Mozart got the contract for the Prague coronation opera he needed to work fast,but not-as
used to be thought-over a mere eighteen days.Time was indeed short:Guardasoni fell back,as he was allowed
to,on a 1734 libretto that had served about forty composers.La clemenza di Tito was suitable because in it
the Vienna court poet Metastasio had implied praise for the magnanimity of Leopold Ⅱ's grandfather.Its
long recitatives and string of arias were,however,out of date;Caterino Mozzola,briefly the holder of
Metastasio's post,did a rush job of turning it into what Mozart called a 'true opera'.Tis meant bringing
in the kind of numbers Italian librettists now resorted to in serious opera:duets,trios,choruses,and,as
in comic opera,a first-half finale that assembled most of the characters on stage for a highly dramatic
confrontation.