Undergraduate Review
Volume 4 | Issue 1
Article 8
1991
Better Defining a Character Genius
Becca Ewert '91
Illinois Wesleyan University
Recommended Citation
Ewert '91, Becca (1991) "Better Defining a Character Genius," Undergraduate Review: Vol. 4: Iss. 1, Article 8.
Available at: http://digitalcommons.iwu.edu/rev/vol4/iss1/8
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Ewert '91: Better Defining a Character Genius
Better Defining a Character Genius
'13ecca f£wert
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
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
"Opera, to me, comes before anything else."
characterization. Instead of s
he admits their artificiality sil
- Mozart
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'
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Ewert '91: Better Defining a Character Genius
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
tore anything else."
- :Mozart
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.
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
The eighteenth-century audience to which Mozart displayed
sect could he respond and cc
his works was an audience of diverse and demanding expectations.
appears to have solved his p
On the one hand, there was the aristocracy, the faction holding not
within his operatic works (fc
only political power, but also social and artistic power over the
Figaro and Susana) and disF
popular aesthetics. As a composer it seems to have been under­
cope with the class conflict, •
standably vital to secure the aristocratic audience by considering its
reactions representative of tl
values as presented by a musical piece. Believing that music "must
sects found a voice through ­
never offend the ear, but must please the listener" (Wallace 36),
most part their class stations
Mozart reflected in his music those ideals which would appeal to the
ability to depict both sides 0_
aristocratic audience: namely, those maintaining the status quo (36).
degree perhaps unmatched I
That Mozart considered his patrons and the powerful
to embody personality and c
in tones" (Wallace 40).
authorities which determined not only his salary but also where and
Mozart's process of.
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
original in its rebellion again
difficult matter to solve on the other hand, there existed as well the
eighteenth century court mll­
audience of the common people, holding common values and
section of Scene iv of Act II 0
preaching the need for a reflection of the common life within art:
Tell me, no offence il
Ordinary people clearly were interested in characters
who were, or were fancied to be, much like themselves
of complexity in mue
.
minded people in th,
.
[t]he climate they created seems to have encouraged the
and-dominant, from
popular arts, which were often experimental and even
character is just as bt
defiant of traditional forms, as prose fiction [as well as later
innocent. An Old Mi
musical works] was generally, and which deliberately
Never the slightest a
addressed the interests of ordinary people (Beasley 11).
piece about real people!
boudoir! - because n
This was the audience which Mozart faced, an audience whose
earth! Underclothes (
diversity created an instant conflict between classes and simultane­
woman's body-evel
ously presented a composer with an additional difficulty: to which
want life, Baron. No
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Ewert '91: Better Defining a Character Genius
ience to which Mozart displayed
sect could he respond and continue a prosperous career? Mozart
;e and demanding expectations.
appears to have solved his personal dilemma by combining classes
:ocracy, the faction holding not
within his operatic works (for instance, the Count and his servants,
and artistic power over the
Figaro and Susana) and displaying them attempting to successfully
t seems to have been under­
cope with the class conflict, while coping as well with emotions and
'atic audience by considering its
reactions representative of the average individual. In this way, both
~ce.
sects found a voice through the operas which exemplified for the
Believing that music "must
ie the listener" (Wallace 36),
most part their class stations and consequent values. Mozart's
ideals which would appeal to the
ability to depict both sides of the coin is startling even today: UTo a
! maintaining
degree perhaps unmatched by any other musician, Mozart was able
the status quo (36).
patrons and the powerful
to embody personality and character, human conflict and resolution,
nly his salary but also where and
in tones" (Wallace 40).
n obvious fact, as it was through
~.
It remained, however, a rather
Mozart's process of characterization was in itself exclusively
original in its rebellion against the characterization of the other
r hand, there existed as well the
eighteenth century court musicians, as accurately evidenced from a
lding common values and
section of Scene iv of Act II of Amadeus:
)f the common life within art:
Tell me, no offence intended, but why are Italians so scared
re interested in characters
to be, much like themselves
~ms
of complexity in music? They really are the most simple­
.
.
to have encouraged the
minded people in the world. Tonic-and-dominant, tonic­
and-dominant, from here to Resurrection! And their idea of
[ten experimental and even
character is just as boring. A Hero is ardent. A Heroine is
,as prose fiction [as well as later
innocent. An Old Man's a miser. A Duenna is conniving.
ny, and which deliberately
Never the slightest contradiction allowed! ... I want to do a
rdinary people (Beasley 11).
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
-t faced, an audience whose
earth! Underclothes on the floor-sheets still warm from a
between classes and simultane­
woman's body-----€ven a pisspot brimming under the bed! I
l
additional difficulty: to which
want life, Baron. Not boring legends. (Gianakaris 48)
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
Exemplifying not only the character of Mozart himself, from the
So the value of the individual
above quotation Mozart's intentions towards character portraiture
the popular culture of the eig:
also become quite clear. It is the character, imbued with emotions
cludes, for instance, politics, c
and realism, which has made itself a priority within drama. But once
Mozart's insistence upon the
again, eighteenth-century dogma figures in with the consideration of
is then interpreted as being si
what type of backdrop is represented. Inasmuch as the characters
which emphasizes the imporl
themselves represent the attempt to accurately depict eighteenth­
(or at the very least aware of)
century people, "such characters emphatically reinforce our under­
s/he is a part. To be sure, the
standing of the degree to which politics, personal morality, and the
remain within the guidelines
pursuit of social identity were regarded as inseparable realities of
ture - not stock characters a
human life in their period" (Beasley 12). Just as the audience is
characters, but created neverl
inextricably tied to the art of the composer, so is the time period an
resentative of the eighteenth.
essential part of the art itself:
they are characters p:
Typically (but not always) immersed in familiar scenes of
rhetorical or dramati·
domestic conflict, such characters are most often used
conventional portrait
deliberately to reveal some vision of the degree to which
sycophant, the crafty
pri vate life is touched by external political circumstance, or
forth. (Beasley 4)
to proclaim the value of the individual life in a world made
hostile and corrupt by the moral failings of political leader­
Mozart's process of character
ship, or to echo by their experience in a miniature imaginary
the older character forms, wa.
world the kinds of political conflict characteristic of the
trend to endow characters wi
larger world outside the fictional boundaries of their stories.
tions, and thoughts. Yet whiJ
The type itself is familiar from the broader literary contexts
tributed as completely his, he
of the period: the lonely, virtuous man or woman who is
characters realistically within
really an alien in a threatening environment, struggling to
figures of flesh and blood' in
survive. (Beasley 11)
surpassed" (Biancolli 179).
That he was able to c:
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Ewert '91: Better Defining a Character Genius
,of Mozart himself, from the
So the value of the individual is reflected in terms of its value against
:; towards character portraiture
the popular culture of the eighteenth century and all that then in­
iracter, imbued with emotions
cludes, for instance, politics, art, and current beliefs and conflicts.
i priority within drama. But once
Mozart's insistence upon the reality of the situation within his operas
~res in
is then interpreted as being simply consistent with this kind of belief
with the consideration of
d. Inasmuch as the characters
which emphasizes the importance of the individual operating within
.accurately depict eighteenth­
(or at the very least aware of) the popular societal dictates of which
lphatically reinforce our under­
s/he is a part. To be sure, the characters Mozart has employed
itics, personal morality, and the
remain within the guidelines of popular eighteenth-century litera­
oded as inseparable realities of
ture - not stock characters as compared with past centuries of
'12), Just as the audience is
characters, but created nevertheless to fulfill a distinct category rep­
nposer, so is the time period an
resentative of the eighteenth century and its changing controversies:
they are characters projected to meet certain recurring
mrnersed in familiar scenes of
rhetorical or dramatic needs, and not simply repetitions of
'acters are most often used
conventional portraits of the corrupt minister, the crawling
vision of the degree to which
sycophant, the crafty practitioner of court intrigue, and so
:temal political circumstance, or
forth. (Beasley 4)
,individual life in a world made
noral failings of political leader­
Mozart's process of characterization, then, while a rebellion against
lerience in a miniature imaginary
the older character forms, was an offshoot of the then current literary
conflict characteristic of the
trend to endow characters with eighteenth-century values, percep­
tional boundaries of their stories.
tions, and thoughts, Yet while the idea for rebellion might not be at­
)m the broader literary contexts
tributed as completely his, he remains an initiator in portraying
1uous man or woman who is
characters realistically within musical forms: "as a creator of 'living
ing environment, struggling to
figures of flesh and blood' in Lyric Drama, Mozart has never been
surpassed" (Biancolli 179).
That he was able to create these characters against an
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
atmosphere of stringent regulations is a credit to Mozart's genius. It
allowed the speaking of ot)
has been said of the Classical period that the "[exploitation of] the
truly initiated a rebellion al
natural opposition of tonic and dominant in a dynamic manner not
Women, for instance, were
realized by Baroque composers" (Jones 167) directly contributed to
people to be weak, subserv:
the insistence on stability at the beginning and, above all, at the end
ders, as evidenced even by
of each work. [This allowed] the classical style to create and inte­
except those who lead a hat
grate fOTIns with a dramatic violence that the preceding Baroque
is wholly free from them [h:
style never attempted and that the Romantic style that followed
235). This attitude is furtheJ
preferred to leave unresolved, the musical tensions unreconciled.
and climaxing with the folic
For this reason, a classical composer did not always need themes of
any particular harmonic or melodicenergy for a dramatic work: the
[women's] capacity
drama is the structure. (Rosen 76)
reason, could not ah
For many composers, the drama inherently within the
level - usually that
structure of the musical composition was enough to reveal the
unmet needs, which
drama of the actual piece. Opera was an art form specifically ren­
(Peters 440)
dered, it would seem, for this very idea. Joseph Kernan agreed,
asserting that "[b]ecause it excels at presenting the felt qualities of
This condescending view of 1
experience ... opera can determine dramatic form in its most serious
"[a]t the same time that fema:
sense" (Hayward 316-317).
they seemed also to require g­
every aspect of the female eXF
Indeed, although Mozart employed the dramatic structure
commonly associated with the age in most of his music (sonata
scientific explanation as it wa:
form), he must have understood the potential within opera for a
masculine way to life, but pro
greater drama and enlarged upon the traditional notions regarding
conduct whatsoever.
its purpose with the result that his music reveals itself as outstanding
Mozart incorporates I
and revolutionary in more ways than one, amongst them his willing­
tudes regarding political situa
ness to compromise between the above mentioned class conflicts to
concerning more personal rna
include each and every voice of the period, even the feminine
within his dramas as irnportal
perspective.
are capable and even indepen
Through his music, Mozart provided an art form which
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"Mozart defined the human 0
Ewert '91: Better Defining a Character Genius
.s is a credit to Mozart's genius. It
allowed the speaking of otherwise silent voices, and in doing so, he
>d that the "[exploitation of] the
truly initiated a rebellion against popular eighteenth-eentury values.
minant in a dynamic manner not
Women, for instance, were considered by the eighteenth-century
ones 167) directly contributed to
people to be weak, subservient, and plagued by a variety of disor­
ginning and, above all, at the end
ders, as evidenced even by medical sources: "As to Females, if we
lassical style to create and inte­
except those who lead a hard and hardy life, there is rarely one who
ce that the preceding Baroque
is wholly free from them [hypochondriacal complaints]" (Sydenham
Romantic style that followed
235). This attitude is furthered by information gathered by doctors
musical tensions unreconciled.
and climaxing with the following:
~r did
not always need themes of
cenergy for a dramatic work: the
[women's] capacity to exercise their mental faculties, to
reason, could not always be taken as reliable ... at a basic
irama inherently within the
level- usually that of sexuality - women suffered from
m was enough to reveal the
unmet needs, which could lead them to crave the fantastic.
vas an art form specifically ren­
(Peters 440)
idea. Joseph Kernan agreed,
It presenting the felt qualities of
This condescending view of women culminated in the belief that
~ dramatic
"[a]t the same time that female afflictions demanded indulgence,
form in its most serious
they seemed also to require guidance and control" (440). Truly
~mployed
the dramatic structure
every aspect of the female experience was subsumed under this
in most of his music (sonata
scientific explanation as it was revealed not only inferior to the
Ie potential within opera for a
masculine way to life, but pronounced women incapable of sane
the traditional notions regarding
conduct whatsoever.
music reveals itself as outstanding
Mozart incorporates not only the eighteenth-century atti­
an one, amongst them his willing­
tudes regarding political situations within his dramas, but attitudes
x>Ve mentioned class conflicts to
concerning more personal matters as well. Female characters figure
~
within his dramas as important personages, and at first glance they
period, even the feminine
are capable and even independent. Because of these elements,
t provided an art form which
"Mozart defined the human condition in his music" (Lipton 42) and
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'­
Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
in many ways he emerged triumphantly successful from this en­
only solves a problem, but hi:
deavor. In other ways, however, because "Le Nozze di Figaro, Don
with a life and character of it~
Giovanni, and Cosi fan tulle exhibit an exceptional complexity of
presents the differences betw
character and motivation [and] their plots contain many traditional
attempts the solution of that (
and conventional elements" (Sadie 716), the disparity between
hopes to ascertain an answer
character and the surrounding plot is perceived as grossly unequal
each of the operas, examinin~
and, instead of engaging the audience, distances them from not only
verso
Within The Marriage (
the character, but also the action and emotional content revealed
through the opera as it is essentially considered separate from real
Cosi fan tulle, there is an abUl
human existence.
Events move quickly by the a
and above all through the rna
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
the characters gain an added
significant that all three of Mozart's operas, The Marriage of Figaro,
(Broder viii). The plot of this
Don Giovanni, and Cosi fan tulle derive from both the tradition of
the characterization, as reflec
opera seria and opera buffa (Biancolli 176). Incorporating comedy in
edly separate musical lines.
midst of near real conflict proves true the following:
passages appear, one to be id
1
Susanna. As Susanna claims
Each of Mozart's great operas has its unique personality;
and thoughts, their separate'
each helps us to understand some aspects of the human con­
(Deane 18).
The coordination of I
dition. Don Giovanni treats of love, lust and the destructive
power of pride. Cosi fan tulle examines the connection
well towards Mozart's attem
between social mask and personal feeling [and] The Marriage
valid terms - how better thE
of Figaro ... is a study of a wide range of individuals inter­
inherent belief that his serva.
acting in a recognisable social situation. (Deane 27)
delineate Susanna as a domiJ
tionship, before only domina
And when the combination of comedy and tragedy is coupled with
thus interestingly combines <:
the inclusion of elements of conflict not only between upper and
domination: what is it to be
lower classes, but also with men and women, Mozart's ability for
what is it to be dominant wi.
effective characterization is again proved as "the creative genius not
by love and equality?
54
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Ewert '91: Better Defining a Character Genius
hantly successful from this en­
only solves a problem, but his solution is an individual offspring
>ecause "Le Nozze di Figaro, Don
with a life and character of its own" (Biancolli 175). Mozart not only
it an exceptional complexity of
presents the differences between two warring factions, but he
~ir
attempts the solution of that conflict. Does he do so realistically? In
~
plots contain many traditional
716), the disparity between
hopes to ascertain an answer to that question we must first consider
>t is perceived as grossly unequal
each of the operas, examining both character type and plot maneu­
~nce, distances
verso
them from not only
nd emotional content revealed
Iy considered separate from real
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
lle, it is not to say that Mozart's
and above all through the magic of Mozart's marvelous music all of
Ilg the human condition. It is
the characters gain an added dimension of warmth and humanity"
's operas, The Marriage of Figaro,
(Broder viii). The plot of this opera is specifically coordinated with
~rive
from both the tradition of
the characterization, as reflected by the intertwining of the suppos­
olli 176). Incorporating comedy in
edly separate musical lines. Within the orchestral introduction, two
rue the following:
passages appear, one to be identified with Figaro, the other for
Susanna. As Susanna claims more and more of Figaro's attention
~ras
has its unique personality;
ld some aspects of the human con­
:s of love, lust and the destructive
and thoughts, their separate lines joins in "harmonious tenths"
(Deane 18).
The coordination of these two lines specifically points as
fte examines the connection
well towards Mozart's attempt to render the relationship through
lersonal feeling [and] The Marriage
valid terms - how better than to not only illustrate the nobleman's
wide range of individuals inter­
inherent belief that his servant is his sexual property but also to
:ial situation. (Deane 27)
delineate Susanna as a dominating force over the male-female rela­
tionship, before only dominated by the male? Marriage of Figaro
edyand tragedy is coupled with
thus interestingly combines differing perspectives on the issue of
t not only between upper and
domination: what is it to be dominated by an upper class member?
ld women, Mozart's ability for
what is it to be dominant within a relationship supposedly sustained
lroved as "the creative genius not
by love and equality?
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
partly undressed), but wi
The disparity between the classes and the power delegated
Countess, she never stept
to each is an essential part of this opera and, indeed, of the eight­
However, while 1
eenth-century way of life. Created to question the inequality be­
tween classes, Figaro is an innocent, seemingly unaware of the
between the sexes begins
power the upper class commands at will as he cannot comprehend
of character are known a:
Susanna's reluctance to accept the bedroom provided for them by
180) and she seems to ha'
the Count. And again, the Count, while portrayed in a somewhat
Rhythmic Gesture in Moza
negative light, is not completely to be blamed when he preaches of
and the Countess that an
his power, for that is the status quo of the period. This is repre­
Countess" (180). If this i:
sented with validity through Figaro's assertion, "That's what I call a
Ianbrook "bases her intel
nobleman: He just does what he likes" (Figaro 51), as that was
of the music, with much
indeed how things operated. And while this class barrier is never
issue of equality/ domiru
quite destroyed, it is surely questioned through such relationships as
even further credence to
the Countess with Susanna. Sharing similar status as women in a
continues her argument
traditionally male world, they share similarities that transcend the
are more intelligent than
class barrier and allow them to acknowledge their essential same­
[she] interprets the who]
ness:
celebrates the poSSibility
proved especially throul
Surely all women ought to support one another: when we
and Figaro and then thr.
think how we're treated by our husbands and lovers, oh, 'tis
Countess is presented a~
our duty. But we, poor hapless womankind, who sacrifice
devotion, love and forgi
our all to men, Receive from them but perfidy and pain
the Count, of course] [aJ
that's hard to bear. (Figaro 112)
tically 'enlightened' rea:
and honesty have their ­
Directly OppOSE
Joined through their ~omanhood, Susanna and the Countess can
together improvise plots (the Countess meeting the Count in place of
to his attentions, the Co
Susanna), admire male figures (Susanna's frank appraisal of Cheru­
though she may not ex<:
bino as they dress him up) and maneuver around rules (such as the
forgive and forget quitE
Count questioning why was Cherubino in the Countess' room,
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female, Susanna is pres
Ewert '91: Better Defining a Character Genius
classes and the power delegated
partly undressed), but while "Susanna enjoys 'girl talk' with the
pera and, indeed, of the eight­
Countess, she never steps over the class barrier" (Lipton 40).
to question the inequality be­
However, while this barrier remains in place, the barrier
t, seemingly unaware of the
between the sexes begins to be shifted. Wye Allanbrook's analyses
It will as he cannot comprehend
of character are known as both "sensitive and original," (Webster
>edroom provided for them by
180) and she seems to have demonstrated through her work in
¥hile portrayed in a somewhat
Rhythmic Gesture in Mozart that "it is Susanna's relations with Figaro
be blamed when he preaches of
and the Countess that are decisive, not those between the Count and
of the period. This is repre­
Countess" (180). If this is true, and I shall suppose that it is since AI­
)'s assertion, "That's what I call a
lanbrook "bases her interpretations on close, in part original analyses
,es" (Figaro 51), as that was
of the music, with much attention to text and context" (180), the
while this class barrier is never
issue of equality/dominance has even more emphasis. What lends
ned through such relationships as
even further credence to this assumption is the fact that A1lanbrook
g similar status as women in a
continues her argument with the assertion "that these two women
~
are more intelligent than, and morally superior to, their men ... and
similarities that transcend the
lowledge their essential same-
[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
support one another: when we
and Figaro and then through the character of the Countess. The
our husbands and lovers, oh, 'tis
Countess is presented as an "unequivocal personification of fidelity,
less womankind, who sacrifice
devotion, love and forgiveness and fraternity [as directly opposed to
1 them
the Count, of course] [and] Rosina's ethical stance creates an authen­
but perfidy and pain
12)
tically 'enlightened' realm, one in which love, fidelity, forgiveness
and honesty have their place" (Kinosian 1793-A).
usanna and the Countess can
Directly opposed to the Count's character and additionally
ess meeting the Count in place of
to his attentions, the Countess stands out as a "good" character,
mna's frank appraisal of Cheru­
though she may not exactly figure as a "strong" character (she does
euver around rules (such as the
forgive and forget quite frequently). And as another example of the
lino in the Countess' room,
female, Susanna is presented as the dominant partner, attuned to the
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
realism of the class conflict and attuned as well to her own desires,
works, appearing as well i
all much more than Figaro attends to the issues: "I am Susanna, and
Much like Figaro again is
you are stupid" (Figaro 23). The duet which opens the opera fea­
tensions of class and sex" (
tures both Susana and Figaro, each singing lines which "move in
featured characters which
complete independence of one another" (Hayward 317). The fact
doubting the opposite gen
that they each have a separate melodic line can only point to the
and faithless one and all- 6
notion that they are separate individuals, able to exist independently
this! Did ever woman have
as well as within the structure of a relationship, reflected as "though
tion, such jealous fury, suc
they are out of sorts at first, by the end they have united in blissful
created one character in w
thirds and sixths" (Webster 183). Indeed, "Mozart has devised
way as to repulse equally
musical means for expressing an idea abo';1t human relations ... that
class and sex barriers.
The character of D
with understanding discord can give way to reconciliation" (Robin­
son 18).
of the upper class, but also
Reflected through his characters is Mozart's response to the
It is not surprising, then, to
varying degrees of inequality within life. Very much like life, the
tions and the central one [is
issues of equality, sex, and power stand out as important and
hero springs whatever is en
decisive factors for the characters. As Gary Lipton maintains,
semble of men and women'
pects of Don Giovanni, it is
Le Nozze de Figaro, like life itself, sways back and forth
porello alternately wavers
between certainty and uncertainty, comedy and tragedy.
becoming the nobleman wit
Instead of creating happy endings and bad guys vs. good
of his own will: "I the genth
guys, Mozart and Da Ponte give us remarkable human
the dictates which morality i
beings who sweat, struggle, and survive [and] [t]here are no
"I will not have this mad-1m
winners or losers in Figaro, only slightly bewildered people
porello possesses as a charae
who cope with the game of life. (38)
tions, and his actions sets hil
the fantastic world in which
real person, the firm rock of
The "game of life" is a frequent theme of Mozart's operatic
colli 264). This begins a diffi
is the one "real" character of
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Ewert '91: Better Defining a Character Genius
uned as wen to her own desires,
works, appearing as well in both Don Giovanni and Cosi fan tutte .
to the issues: "1 am Susanna, and
Much like Figaro again is the fact that Don Giovanni "is based on the
uet which opens the opera fea-
tensions of class and sex" (Sadie 717). But where Mozart in Figaro
singing lines which "move in
featured characters which doubt the validity of their relationships by
ther" (Hayward 317). The fact
doubting the opposite gender ("Just the same is every woman, Frail
)dic line can only point to the
and faithless one and all- 61; "Oh cruel husband, to reduce me like
iduals, able to exist independently
this! Did ever woman have to bear such a life of neglect and deser­
relationship, reflected as "though
tion, such jealous fury, such insults?"-102), in Don Giovanni he
end they have united in blissful
created one character in which these doubts are manifested in such a
ndeed, "Mozart has devised
way as to repulse equally both sexes while still commenting on the
lea about human relations ... that
class and sex barriers.
I
The character of Don Giovanni embodies not only the power
"e way to reconciliation" (Robin­
of the upper class, but also the power of the sexually-proficient man.
lcters is Mozart's response to the
It is not surprising, then, to read that this "opera is full of contradic­
n life. Very much like life, the
tions and the central one [is] about the hero [as] from [the] doomed
tand out as important and
hero springs whatever is energetic and life-enhancing in the en­
As Gary Lipton maintains,
semble of men and women" (Hagstrum 323). Faced with the pros­
pects of Don Giovanni, it is equally unsurprising that the servant Le­
itself, sways back and forth
porello alternately wavcrs bctween the intriguing possibility of
~rtainty, comedy
becoming the nobleman with the ability to command at the dictates
and tragedy.
ndings and bad guys vs. good
of his own will: "1 the gentleman will play" (Don Giovanni 9), and
~
give us remarkable human
the dictates which morality insists upon, causing Leporello to reveal
, and survive [and] [t]here are no
"1 will not have this mad-man for a master! (97). The ability Le­
only slightly bewildered people
life. (38)
lent theme of Mozart's operatic
,
porello possesses as a character able to change his mind, his emo­
U
the fantastic world in which [Don Giovanni] is played, he is the one
tions, and his actions sets him apart as a truly "normal man," as "in
real person, the firm rock of reality in the midst of a dream" (Bian­
colli 264). This begins a difficult process of examination: if Leporello
is the one "real" character of the opera, are the others to be consid­
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
ered stock characters? Louis Biancolli points to Mozart's tendency
employing stock characters M
towards idealizing his characters as a possible answer:
of many. Through the dispari
are able to see the differences
In Don Giovanni Mozart's power of character-drawing
Anna we are presented as we]
shows itself in all its glory. If, in Figaro, he has idealized
yet, this perspective is sadly s
some ofthe characters out of all semblance to their
ideals. Women are referred t(
original selves, inDon Giovanni this idealizing process has
Giovanni 163) and the belief tt
been carried on lines exactly parallel with the original bent
must measure up is reflected·
of the several dramatis personae and serves but more highly
having makes me quite of the
to potentize their individuality. Without losing a whit of
There's an odor, th' aroma s\\
their identity, without being one jot less sharply individual­
There remain, regard
ized, they rise to the stature of universal and eternal types.
cally Elvira, who are able to r
(185)
variety of emotions, not the IE
human world: like Leporello
How distinctively peculiar! To not regard Mozart as a master in the
a nobleman and a moral pea~
art of characterization seems impossible, and yet it becomes neces­
silliness of her continued pas
sary to see his art as creating identities for characters previously
love. Though Masetto said il
considered only stock. In short, he seems not to have created new
been said of Elvira: "When a
characters, but to have revitalized the stock characters used within
her?"-111). Zerlina, too, ackr
the past literary tradition. Indeed,
dilemma which faces Elvira ~
(114). Both womenaresetuJ
each [character] is for [Mozart] simply a phase of life to be
emotions, loving the same m
transmuted into a realm of art as good as any other. They or
As an opera based u
Leporello's garlicky vulgarity and pandering knavery,
Cosi fan tulle prominently fi~
before Mozart's overmastering art they are all equal.
totally of stock characters, ac
(Biancolli 242)
events:
This, however, is not to say that by idealizing his characters and
60
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[The world of Cosi fli.
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Ewert '91: Better Defining a Character Genius
Ilcolli points to Mozart's tendency
employing stock characters Mozart lacks to present the perspectives
.as a possible answer:
of many. Through the disparity between Leporello and the Don we
are able to see the differences of class; through Elvira and Donna
s power of character-drawing
Anna we are presented as well with the female perspective. And
y. If, in Figaro, he has idealized
yet, this perspective is sadly sublimated to the eighteenth-century
It of all semblance to their
ideals. Women are referred to as "dear, unreas'ning creatures" (Don
>vanni this idealizing process has
Giovanni 163) and the belief that there is a standard to which women
ctly parallel with the original bent
must measure up is reflected by the statement, "Thy unwomanly be­
rsonae and serves but more highly
having makes me quite of thee ashamed" (81), as well as in ''Hush!
luality. Without losing a whit of
There's an odor, th' aroma sweet of womankind" (31).
~ing one
jot less sharply individual­
Jre of universal and eternal types.
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
ot regard Mozart as a master in the
a nobleman and a moral peasant, Elvira, though acceding the
IOssible, and yet it becomes neces­
silliness of her continued passion for Don Giovanni, continues to
ltities for characters previously
love. Though Masetto said it of his bride, Zerlina, it might also have
le seems not to have created new
been said of Elvira: ''When a woman's determined, who can stay
:I the stock characters used within
her?"-111). Zerlina, too, acknowledges this same heartwrenching
:I,
dilemma which faces Elvira with, ''He doth use me most unkindly"
(114). Both women are set up as parallel characters, feeling the same
ozart] simply a phase of life to be
emotions, loving the same man.
of art as good as any other. They or
As an opera based upon the female and her capacity to love,
;arity and pandering knavery,
Cosi fan tutte prominently figures. It, however, is formed almost
tering art they are all equal.
totally of stock characters, acting against a rather ridiculous series of
events:
>y idealizing his characters and
[The world of Cosi fan tutte is] scarcely a world at all; only a
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
show of marionettes. For nothing could be more ridiculous
humanity that both the head
than to pretend that the preposterous people, the still more
lack. For who could doubt a
preposterous situations of this utterly artificial intrigue were
tion to try new things, to not
meant to be believed in. (Biancolli 274)
present? If nothing else, Dor
ward, offering what often a1"
Yet for all its artifice, still the point of the opera is received and
because it is worldly and bla­
understood: "its wit enforces the lesson that human weakness must
ground of artificiality (Biancc
be realistically accepted and that romantic excess is ridiculous and
As a consequence to
fruitless" (Hagstrum 324). To be sure, however, the "human weak­
the plot, the characters of COl;
ness" depicted throughout Cosi fan tutte seems exclusively female. It
version of reality, and the les:
has been argued that "To Mozart's own public there could be
slightly stupid, but again, pel
nothing in the least shocking about that [the subject of feminine
fickleness]" (Biancolli 272), and yet there existed as well the belief
Mozart and da Ponte
that "woman was an ideal that ought never to be made ridiculous"
able human figures, i:!
(Merkling 15). To which did Mozart subscribe? Perhaps he acceded
flesh-and-blood chare
to the truth in both ideals, as the following explanation offered by
Giovanni .They were €
Frank Merkling asserts,
which a small group I
adequate. And some
There may be a double standard at work in [Don Alfonso's]
Don Alfonso and Des­
little song ending with the words "Cosi fan tutte" - after all,
opera, and Fiordiligi j
though the women in this opera are maligned for being
unfaithful, it is the men who are deceitful- but there's also
And what of the femil
wisdom in hisadvice that the men accept the women as they
both speech and example, "we
are rather than putting them on a pedestal. (15)
proves itself indeed as "a myt
And yet, through the counsel
And what, indeed, is to be made of this Don Alfonso? Is he to be
female, Despina, both sexes at
regarded as a true and accurate portrait of humanity or merely as an­
Where Don Alfonso advocate:
other stock character within the story? It appears that both he and
jungle's wilderness, or in a sh
Despina stand out as "real," endowed with characteristics of normal
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who founds his hopes on wor
Ewert '91: Better Defining a Character Genius
:;'or nothing could be more ridiculous
humanity that both the headstrong young men and the grieving girls
e preposterous people, the still more
lack. For who could doubt as real the urging of a younger genera­
s of this utterly artificial intrigue were
tion to try new things, to not be overladen with the conflicts of the
(Biancolli 274)
l.
present? If nothing else, Don Alfonso and Despina are straightfor­
ward, offering what often appears to be cynical counsel simply
Dint of the opera is received and
because it is worldly and blatant, and set oddly against a back­
he lesson that human weakness must
ground of artificiality (Biancolli 283).
at romantic excess is ridiculous and
As a consequence to all the artifice so grossly integral within
sure, however, the "human weak­
the plot, the characters of Cosi fan tutte remain distanced from our
i fan tulle seems exclusively female. It
version of reality, and the lesson that they teach seems simple and
lrt's own public there could be
slightly stupid, but again, perhaps that was an intended insight:
)€
)out that [the subject of feminine
I yet there existed as well the belief
Mozart and da Ponte were not dealing here with recognis­
ought never to be made ridiculous"
able human figures, as in Figaro, of with the creation of
:ozart subscribe? Perhaps he acceded
flesh-and-blood characters out of universal types, as in Don
e following explanation offered by
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.
standard at work in [Don Alfonso's]
Don Alfonso and Despina are as "real" as any characters in
the words "Cosi fan tutte" - after all,
opera, and Fiordiligi is far from a puppet. (Broder 4)
his opera are maligned for being
who are deceitful- but there's also
And what of the feminine perspective? Maligned through
at the men accept the women as they
both speech and example, "woman's famous faith and constancy"
them on a pedestal. (15)
proves itself indeed as "a myth and fabrication" (Cosi fan tulle 18).
i
And yet, through the counsel of both the male, Don Alfonso, and the
~
of this Don Alfonso? Is he to be
female, Despina, both sexes are represented as unworthy and untrue.
portrait of humanity or merely as an­
Where Don Alfonso advocates that "A man in danger, lost in the
story? It appears that both he and
jungle's wilderness, or in a shipwreck is safer than the simpleton
lowed with characteristics of normal
who founds his hopes on woman and her fidelity!" (72), Despina
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Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
encourages the girls to forget their beloveds: "Today you're loving
production of Mozart operas a
one man, tomorrow another. One's worth the others, because they
characters. Not much has cha:
all are worthless!" (82-3). Moreover, the parallel characterization of
all.
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
64
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Ewert '91: Better Defining a Character Genius
their beloveds: "Today you're loving
production of Mozart operas and the revival of his exemplary
One's worth the others, because they
characters. Not much has changed since the eighteenth century after
'€Over, the parallel characterization of
all.
uther reflected as Despina asserts the
nale: "It doesn't take much wisdom,
I Don 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 eighteenthis realism through his 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
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It­
Undergraduate Review, Vol. 4, Iss. 1 [1991], Art. 8
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I
Looks at Mozart: Peter Shaffer's
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