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Notes for Don G Paper

Notes for Don G Paper - Notes for Don G Paper Current Topic...

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Notes for Don G Paper: Current Topic: Leporello is Don G’s humanity not morality Current Thesis: The Comic Servant in Mozart’s Operas by Abram Loft “Among the age-old company of comic types, the servant is the most important because it is he who bridges the gap between the comic and the serious” (Loft 377) “Furthermore, as a servant he enjoys the function of message-carrier and general intermediary in the activities of the plot. This capacity places him in a position to control the course of events in the drama” (Loft 378) “the comic servant helps establish the plausibility of the drama, a plausibility that must be present as the starting point of any effective piece of dramatic art” (Loft 378) “Drama, in the last analysis, deals with relationships between human beings” (Loft 378) “By cutting through the surface details of reality, music can quickly reveal the hidden depths of a personality, thereby helping to explain the reactions of the various stage characters” (Loft 378) “the work as a whole presents a continuous sweep towards a powerful climax” (Loft 383) “Leporello displasys, in addition, a very worldy and cynical outlook” (Loft 383-384) “Although Leporello is a healthily discontented servant, he is forced to side with his master in moments of danger” (Loft 384) “Leporello and his master are musically identified in quite another sense in the opening duet of Act II. Here Leporello echoes the melodic material of Don Giovanni but uses the theme as a setting for his own discontent” (Loft 385) “To return to Leporello, it must be admitted that, in spite of his importance as a commentator on the actions of the other characters, he still remains a subordinate figure in the plot; he is a passive victim of circumstance rather than a prime mover of the dramatic intrigue” (Loft 386) “The character [of the comic servant] is never completely submerged” (Loft 389) Leporello’s Question by Garry L. Hagberg “Thinking that he hears someone coming, he puts into play within the opening line of Don Giovanni the intertwined themes of concealment, of person-perception, and of the
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underlying desire for human-avoidance that motivates a particular act of concealment in question” (Hagberg 181) “With the Commendatore dying, Leporello exclaims ‘What a tragedy! What a crime!’ and then, having made these morally-engaged judgments, he describes his inner state with ‘I feel my heart pounding with fear in my breast.’ Then, in humanly-engaged
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