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99 1
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99 1
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Abstract
The main theme of this research is about vocal music works of
Wolfgang Amadeus Mozart . To bet ter understand his masterpieces ,
this paper wil l focus on his whole l i fe , the characteris t ics and
differences among his ar t songs, rel igious songs and operat ic ar ias
as well as reci tal music to explore their composi t ional background,
his torical context , t ranslat ion of lyr ics , specif ic character at t r ibutes ,
repertoire analysis and individual performance interpretat ions .
There are s ix chapters in this paper. Chapter One introduces
including study motivat ion, goal , approach and scope. Chapter Two
is about the l i fe of Wolfgang Amadeus Mozart , such as his
chi ldhood, family educat ion, learning process, music progress , his
enl ightenment, music achievements and his vocal music works.
Chapter Three discusses the analysis of ar t songs including two
songs of Ridente la Calma K.152 and Anchle K.524. Chapter Four
is about the analysis of the re l igious song of Motet te K.165 -- -
Exsultate , jubi late . Chapter Five is about the analysis of operat ic
ar ias including the opera of Le Nozze di Figaro K.492 -- - Porgi amor
qualche r is toro; the opera of Die Zauberflte K.620 --- Der Hlle
Rache kocht in meinem Herzen. Chapter Six is the conclusion.
Keyword: Mozart Opera aria Lied Motet te
iv
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Abstract -------------------------------------------------------------- i i i
- - ---------------------------------------------------------------- iv
- - ------------------------------------------------------------- vi
- - ------------------------------------------------------------- vi i
- - ------------------------------------- 1
- - ---------------------------------------------- 1
- - ---------------------------------------------- 2
- - ----------------------------- 3
- - ---------------------------------------- 3
- - ------------------------------------- 8
- - --------------------------------- 14
- - ------------------------------- 15
- - --------------------------------------------- 15
- - --------------------------------------------- 15
- - ------------------------------- 16
- - --------------------------------- 21
- - --------------------------------------------- 21
- - --------------------------------------------- 21
- - ------------------------------- 22
v
- - ----------------------- 28
- - --------------------------------------------- 28
- - --------------------------------------------- 29
- - ------------------------------- 31
- - --------------------------------- 45
- - ---------------------- 45
- - --------------------------------------------- 46
- - --------------------------------------------- 47
- - --------------------------------------------- 48
- - --------------------------------------------- 49
- - ------------------------------- 49
- - --------------------------------- 54
- - --------------------------------------------- 54
- - --------------------------------------------- 56
- - --------------------------------------------- 57
- - --------------------------------------------- 58
- - ------------------------------- 59
- - ----------------------------------------------------- 66
- - ---------------------------------------------------------- 69
- - --------------------------------------------- 69
- - --------------------------------------------- 72
- - --------------------------------------------- 73
- - --------------------------------------------- 73
vi
1 - - -------------------------------------- 17
2 -------------------------------------- 20
3 - - ----------------------------------------- 24
4 - - -------------- 32
5 - - ----------------- 33
6 - - -------------- 35
7 - - -------------- 36
8 - - ------------------------ 51
9 - - ------------------------- 61
vii
1 mm. 1-10 ----------------------------------- 18
2 mm. 11-15 ---------------------------------- 19
3 mm. 27-32 ---------------------------------- 19
4 mm. 33-38 ---------------------------------- 20
5 mm. 5-14 -------------------------------------- 25
6 mm. 15-19 ------------------------------------ 26
7 mm. 39-47 ------------------------------------ 26
8 mm. 59-69 ------------------------------------ 27
9 mm. 53-68 --------- 37
10 mm. 116-118 ----- 38
11 mm. 123 ---------- 38
12 mm. 3-5 ---------------- 39
13 mm. 41-52 ------- 40
14 mm. 105-106 ---- 41
15 mm. 51-63 ------- 41
16 mm. 99-119 ------ 42
17 mm. 134-140 ------- 43
18 mm. 141-154 ---- 43
19 mm. 15-23 --------------------- 52
20 mm. 32-38 --------------------- 53
21 mm. 39-47 --------------------- 54
22 mm. 1-8 --------------------- 62
viii
23 mm. 9-18 -------------------- 63
24 mm. 24-34 ------------------ 63
25 mm. 35-46 ------------------ 64
26 mm. 65-79 ------------------ 65
1
(W. A. Mozart , 1756~1791)
18
2
DVD CD
3
(Wolfgang Amadeus Mozart
) 1756 1 27
(Salzburg)
20 49 42
(Christoph Will ibald von Gluck, 1714~1787)
(Richard Wagne,r 1813~1883) (Giuseppe Verdi, 1813~1901)
(Michael Haydn, 1737~1806) (Ludwig van Beethoven,
1770~1827)
(Requiem )
1
1 4 (
90 ) 7
4
(Maria Anna Mozart, 1751~1829)
(Leopold Mozart , 1719~1787)
(Violin schule) 2
1763
2 (Peggy Woodford) (The
i l lus t ra ted l ives of the grea t composers : Mozar t ) ( 84 ) 3
5
3
(Johann Christian Bach, 1735~1782)
4
(Bologna)
(G. B. Martini , 1706~1784)
14
(Archduke Ferdinand)
(Archbishop Hieronymus, Count of Colloredo,
1732~1812)
3 ( 70 ) 258 4 14
6
1775
5
1777 9
(Mnchen) (Augsburg)
(Mannheim)
5
1778 (Paria)
4
6
1780
5 (Aloysia Weber, 1761~1839)
(Fr ido l in Weber) 1780 10 (A. Lange1751~1831)
6 4 a C F A
7
(Idomeneo,R di Creta, K. 366)
7
8
1782 (Vienna)
(Constanze Weber, 1762~1842)
(Die Entfhrung aus dem Serail K.384)
( Antonio Salieri , 1750~1825)9
(Joseph Haydn 1732~1809)
6
7 (Nober t El ias) (Mozar t : Zur
Sozio logie e ines Genies) ( 94 ) 132 8 ( 94 ) 253 9
8
1785 (Lerenzo da Ponte, 1749~1838)
(Le Nozze
di Figaro, K. 492)
1787 (Prague)
(Don Giovanni, K. 527) 1788
(Christoph Will ibald vonl Glusk, 1714~1787)
1 0
1791 (Die
Zauberfl te , K. 620)
(Requiem, K. 626) 1 1
1791 12 5
1 0 30
1 1 (Franz Xaver S ssmayr 1766~1803)
9
16
(Aria)
(Freemasonry)
9
(Pietro Metastasio, 1698~1782)1 2 18
(Recitativo)
60 (Scena
)1 3
(Non so
donde viene, K. 294) 1778
3 12
1 2 1147 1 3 / (
89 ) 488
10
(Un moto di gioia mi sento, K. 572)
(Ich mchte wonl der Kaiser sein, K. 539)
(Lide)
(Ridente la Calma, K.152) 1 4 (D. Jger,
1762~1802) (Dans un bois soli taire, K. 308)
(A. Houdart de la Motte, 1672~1731)
(Das Veilchen, K. 476) (J. W. von Goethe,
1749~1832) (Anchle, K. 524) (J.
G. Jacobi 1740~1814) (Sehnsusht nach dem Frhlinge,
k. 596) (C. A. Overbeck, 1755~1821)
(Sti le antico) 1 5
60 (Oratorio)
(Cantata)
15 17 (Sonata da
chiesa) (Kyrie) (Gloria)
(Credo) (Offertorium) (Motette)
(Sanctus) (Agnus Dei)
1 4 1 5 / I I (
89 ) 426
11
(vesperae) (l i tanis)1 6
1781
17811783
D (Kyrie, K.341) C (Messe c-Moll ,
K. 427) 1787
1791
(Ave Verum Corpus, K. 618)
(Requiem d-Moll , K. 626)
1785 1791
1 7
18
1 8
1 9
1 6 (
2 4
1 7 / I I 427
1 8 244 (Niccol Picc inni , 1728~1800)
1 9 ( 75 )
12
(opera buffa) 2 0
1767
1780 12 (Neapolitan
school) 1781
8 (Der Schauspieldirektor,
K. 486) (Komdie mit Musik in einem
Akt)
(Opera seria)
1781 (Idomeneo re di Creta, K. 366)
1791 (La Clemenza di Tito, K.,621)
(Opera buffa)
1786 (Le Nozze di Figaro, K .492)
1787 (Don Giovanni, K. 527)
1790 (Cosi Fan Tutte, K. 588)
(Singspiel)
1782 (Die Entfhrung aus dem Serail , K.
384)
1791 (Die Zauberflte, K.6 20)
18
67-68
2 0 ( 95 ) 12
13
14
2 1 (Bel
Canto)
Rondolfo Cellet t i
a:(hedonism)
b:
c:
d:
e:(castrato)
(travesti)
f:
2 1
(Lied) ( )
15
22
1772 1775 1799 3 25
(Breitkopg & Hrtel)
( )
(D. Jger,
1762~1812) 2 3
Ridente la calma
nell alma si desti ,
ne resti un segno di sdegno e t imor.
Tu vieni frattanto a str inger mio bene,
le dolce catene si grate al mio cor.
2 2 Rodolfo Cel le t t i , A His tory o f Be l Canto , t rans . Freder ick Ful ler
(Oxford : Clarendon Press , 1991) 9 . 2 3 / I I 504
16
Ridente la calma
nell alma si desti ,
ne resti un segno di sdegno e t imor24 .
( )
(Canzonetta)
(Rounded Contious Binary Form)3/8
(Larghetto) A(a+b)+B+A(a+b)A F
B C A
I
A (126 ) F 17
(ne resti un segno
di sdegno e t imor) 22 (Crescendo)
25 1 26
(di sdegno e t imor)
V(V4 2I6 4)vii6 4I6(23 24 )
A F
2 4 / I I 504
Ridente la ca lma
17
V C I B (2940 ) 29 33
(Tu vieni frattanto
a str inger mio bene) 35 41 V
V 36 40
(si grate al mio cor) B
C I 42 A
(Aria da capo)
(Formal Structure) 1
1
1
F
A
a 2-6
7-8
b 9-26
27-28
B 29-40 C
A
a 41-46
F
47-48
b 49-66
67-69
18
( )
A
B A
1 3
2 (
)
1 2 1 2
3 Ri-den-te la cal-ma Ri-den-te Ri den
16 32
4 5 nell al-ma si-de-ati
nell al-ma si-de-ati si
5 6 4 5 1
1 mm. 1-10
19
e i ri-den-te
ri den te sdegno sde
o a 2
2 mm. 11-15
27 29 30 41 C
Tu vieni frattanto a str inger mio bene, le dolce catene si
grate al mio cor.
3
34 le dol-ce ca-te-ne
4
3 mm. 27-32
20
4 mm. 33-38
3 27 29 42
67 1 1
(Long appoggiature)
21 1 (G A) 33 1 (D C) 40 3
(E D)
2
2
6 2 26 42 66
35
6 14 16 40 54 56
7 32
8 26 66
21
1787 9 (Anchle, K. 524)
6 24
(Abendempfindung, K. 523) (Das Veilchen, K. 476)
(Johann Georg Jacobi,
1740~1814) 2 5
Wenn die Lieb aus deinen blauen,
hellen, offnen Augen sieht,
und fr Lust, hinein zu schauen,
mir s im Herzen klopft und glht,
und ich halte dich und ksse
deine Rosenwangen warm,
Liebes Mdchen, und ich schliee
2 5 / I I (
89 ) 504
22
zi t ternd dich in meinen Arm!
Mdchen, Mdchen, und ich drcke
dich an meinen Busen fest ,
der im letzten Augenblicke,
s terbend nur dich von sich l t ;
den berauschten Blick umschattet
eine dstre Wolke mir,
und ich si tze dann ermattet ,
aber selig neben dir.
2 6
( )
(Rondo Form) A+B+A +C+A
(1 5 ) A (6 16 ) E B (16 28 )
B A (28 40 ) E C (40 47
2 6 94 4 16 19:00
23
) A f A (47 70 ) E
2/2
(Allegro)
A (7 16 )
V I B (17
28 ) 16 A B
B 4 A 21
A (29 40 ) 28
( B I E V ) E
35 36 30 31 A
A 4 (37 40 )
( sterbend nur dich von sich l t)
C (41 47 ) A
42 f
( den berauschten Blick umschattet)
44 2 ( f IV
B i i )
( eine dstre
Wolke mir) (Word
painting) 47 f IV7 E V7
A A (48 70 ) A
( und ich sitze
dann ermattet , aber selig neben dir)
59
24
(71 74 )
3
3
1-5
E A 6-16
B 17-28
A 29-40
C 41-47 f
A 48-70 E
71-74
( )
13
4
1
6
A 8 blau-en
blau en 9
25
he-len he
len 11 sient 13
schau-en 14 im
15 klopft
k l p f t
5
5 mm. 5-14
17 18 4 5 6
19
6
26
6 mm. 15-19
41 43 45 47
C 7
7 mm. 39-47
62 64 a-ber se-l ig ne-ben dir
64 66
8
27
8 mm. 59-69
27
2 7 12
28
(Motette Exsultate, jubilate
K. 165)
(Sinfonia) 2 8
1770
(Mitridate, rdi Ponto, K. 187)
2 8 / I I (
89 ) 464
29
(V.
Rauzzini , 1746~1810)
1773 1 17
(Tiazino)
2 9
Exsultate, Jubilate,
o vos animae beatae,
Exsultate, Jubilate,
dulcia cantica cantica canendo,
cantui vestro respondendo,
psallant aethera, psallant aethera cum me.
2 9 8 (
86 ) 117
30
Fulget amica dies,
jam fugere et nubile et procellae;
exortus est justis , in exspectata quies.
Undique obscura regnabat nox,
surgite tandem laeti ,
qui t imuistis ad huc,
et jucundi aurorae fortunatae
frondes dextera plena et l i l ia date.
Tu virginum corona,
-
tu nobis pacem dona
tu consolare affectus,
31
unde suspirat cor.
Alleluja
30( )
( )
1 .
(Concerto-Sonata Form) F 4/4 (Allegro)
(1 20 )
F (1 4
) (11 14 )
(21 70 )
21
(21 35 ) F (1 4 ) (21
24 ) (11 14 )
(48 55 )
( cantui vestro respondendo, psallant
aethera cum me) (66 59 ) (60
64 )
3 0 Michael Wu
32
(65 70 ) C
( )
(71 124 )
(71 83 )
(84
85 ) B (86 119
) 98 104
105
108 48
53 123
(124 129 )
F 4
4
120
F
a 2135
b 3647
4865
C 6670
a 7175
7685 F
b 8694
95107 B
33
108129 F
2 .
D 4/4
5
5
A 112 D
3 .
A 3/4
(Larghetto con espress ione)
(23 26 ) (40 44 )
(113 115 ) F
(1 22 )
A
1 6 89 93 7 12
53 59 107 113
34
(23 66 )
(23 39 ) A (23 32 )
- (Tu virginum corona, tu
nobis pacem dona) (33 39 ) (23 32 )
(40 52 )
( tu consolare affectus, unde
suspirat cor) (42 43 )
V I
(45 49 ) 49 A I E IV
50 E (50 52 )
(Overlapping) (52 59 ) (7 12 )
(60 115 )
(60 79 ) E 67
(E I A V ) A 73
(80 106 )
(88 106 )
(107 115 ) A (107
112 ) (7 12 ) 114
(A a I F iii )
6
35
6
122
A 2339
4049
5052 E
5359
6079 A
80106
107115 A
4.
F 2/4
(Allegro non troppo)
Alleluja
(1 8 ) F
A (9 25 ) 9 B
(26 59 ) 33
A (60 85 ) 60
C (95 118 ) A (119 154 )
36
119
( 155 159 ) I
7
7
18
F
A 925
B 2659
A 6085
8694
C 95118
A 119154
155159
( )
1.
5556
e ( 56 ) 16
37
61 2
65
16
9
9 mm. 53-68
38
t r ( )
10
123 Cadenza 11
10 mm. 116-118
11 mm. 23
2.
ex-or-tus est ( 3 4 ) e-xor-tu-sest
12
39
12 mm. 3-5
3.
45 52
46 49
13
40
13 mm. 41-52
105 Cadenzan
14
41
14 mm. 105-106
4.
Alleluja(
) A B A
15 16
15 mm. 51-63
42
16 mm. 99-119
Coda 135
136 137 138
17 Alleluja(
147 154 ) 15
146
43
C 18
17 mm. 134-140
18 mm. 141-154
(G. F. Handel
1685~1759) (J. S. Bach
1685~1750 ) 3 1
3 1 ( )
( 97 5 ) 3
44
45
(Duet)
(Baroque)
3 2
3 3
20 35
(Le Nozze di Figaro, K. 492)
(
)
3 2 (Haro ld C. Schonberg) 1
(The Lives of the Grea t Composers ) ( 82 ) 62
3 3 35
46
18 (opera buffa)
1785
(Lorenzo da Ponte, 1749~1838)
(Pierre- Augustin Caron de Beaumarchais , 1732~1799)
1786 5 1
(Burg)
1787 1
1789 ( )
47
(Il Barbiere di Sivigl ia
(G. Paisi l lo, 1740~1816)
)
(Conte Almaviva )
(Rossina )
3 4
(Figaro )
(Susanna )
(Bartolo )
(Marcell ina )
(Cherubino )
3 4 200 4( 76 ) 181
Ius pr imae noct is
48
( )
49
3 5
( )
Porgi amor qualche r is toro
(Cavatina)
3 6
Porgi amor qualche ristoro
al mio duolo, amiei sospir!
O mi rendi i l mio tesoro,
o mi lascia almen morir.
o mi lascia almen morir.
37
( )
3 5 ( 92 ) 258 3 6 2 ( 88 )
13 3 7
50
A-B (Simply Contious Binary
Form) E 2/4 (Larghetto)
( 1 17 ) , 1 (f)
2 (p) (Staccato)
3 6
A
(Tril l)
A
(18 25 ) E 22 23 24 25
(al mio duolo,
amiei sospir)A V 25 2
( E V B I ) B
B (26 27 ) B (28 45 )
B 35
36 32 34 (o mi
lascia almen morir)
A ( 36 1 ) (morir)
I7 36 1
( B I E V )
E 37
(Porgi amor qualche ristoro)
A A
44
45 48
(o mi lascia almen morir)
51
(50 51 ) 16 17
E I
8
8
1 17 E
A 18 25
26 27 B
B
a 28 36
b 37 45
E 46 49
50 51
( )
17 1 2
18 19 (Porgi
amor) 21 22 (qualche
ristoro) 23 (al mio duolo) 24
25 (amiei sospir)
19
52
19 mm. 15-23
32 36 (o mi lascia almen morir)
35
36 A
36 20
53
20 mm. 32-38
40 43 o mi lascia almen morir 41 la-scia
la F G
42 G
E G E
21
54
21 mm. 39-47
A
(Die Zauberflte, K. 620)
1791 9 30
55
(Auf der Wieden) 1970
(Johann Joseph Schikaneder,
1751~1812)
(
)
(Singspiel )
56
(Jonann Baptist Schenk, 1753~1836)
( -4
200p.240)
(Tamino )
(Knigin der Nacht )
(Papageno )
(Pamina )
(Sarastro )
(Monostatos )
57
(Papagena )
3 8
( )
3 9
( )
Der Hlle
3 8 61-68 3 9 178
58
Rache kocht in meinem Herzen
Der Hlle Rache kocht in meinem Herzen;
Tod und Verzweiflung flammen um mich her!
Fhlt nicht durch dich Sarastro Todesschmerzen,
So bist du meine Tochter nimmermehr,
Verstoen sei auf ewig,
verlassen sei auf ewig,
zertrmmert sein auf ewig
al le Bande der Natur,
Verstoen, verlassen und zertrmmert
59
al le Bande der Natur,
wenn nicht durch dich Sarastro wird erblassen!
Hrt! hrt! hrt! Rachegtter!
Hrt! der Mutter Schwur!
40
( )
A-B (Sectional Binary Form)
d 4/4 (Allegro assai)
A (3 47 ) d (1 2 )
(sf)
5 10
(Tod und
Verzweiflung flammen um mich her) 5
(Tod)
4 0 h t tp : / / tw.knowledge.yahoo.com/quest ion /ques t ion?qid=1405122010877
60
10 d v
11 F (12 16 )
(Fhlt nicht durch dich Sarastro Todesschmerzen) 25
47
47 B (48 52 ) F
I V
52 B
B (53 87 ) F
F
(53 58 ) (Verstoen sei auf
ewig) (verlassen sei auf ewig) (zertrmmert
sein auf ewig) (62 64 ) (Verstoen)
(verlassen) (und zertrmmert)
(59 61 ) (65 67 )
(al le
Bande der Natur) (69 73 )
(74 79 ) 3
vi i i 79 3
(F vi d i ) d 80
(86 87 )
61
87
(88 99 ) d
(Hrt! hrt! hrt! Rachegtter!)
93
96
V I
97
16
9
9
A 1-10 d
11-47
F 48-52
B 53-79
80-87 d
88-99
( )
(Allegro assai)
Der Hlle Rache kocht
in meinen Herzen um mich her!
62
224 1 13
15 23
22 mm. 1-8
4 1 Emanuel Schikaneder, and Car l Ludwic Giesecke , The Magic Flu te ,
vers ion by Ruth and Thomas Mar t in(New York: G. Secured , Inc ,1951) ,99-102
63
23 mm. 9-18
24 31 24 35 42 25
24 mm. 24-34
64
25 mm. 35-46
68 78
26
65
26 mm. 64-78
F D
6 4
6 9
7 4
66
17
( )
( )
( )
67
( )
( )
( )
( )
( )
( )
( )
68
( )
( ) tr.
(Samuel Smiles)
69
( )
4
90
2
88
8 88
83
200 4 92
200 4 76
( )
97 5
( (Vaccaj) )
90
95
88
82
100 7
70
93
92
84
90
73
94
76
89
89
94
90
83
( )
(Elias, Norbert) (Mozart : Zur
Soziologie eines Genies) 94
(Woodford, Peggy) (The
Il lustrated Lives of the Great Composers: Mozart )
89
(Miller, Hugh M., Taylor, Paul & Will iams,
Edgar)
88
(Kerst , F. , Krehbiel , H. ) (Mozart:
the man and the art ist) 84
(Salaman, Esther) (Unlocking
71
Your Voice Freedom to Sing)
84
(Hines, Jerome) (Great Singers on Great
Singing) 85
(Parouty, Michel)
83
7
86
8
86
/ II
89
(Schonberg, Harold C.) 1
(The Lives of the Great Composers)
82
(McLean, Ian ) (Great Composers-Mozart)
81
75
(Willaschek, W.) 50 (Klassiler Opera)
93
(Gay, Peter) (Mozart)
95
( )
72
95 12 )
( )
60
82 3
60 82 3
( )
94 4 16 19:00
Anderson, Emily. The Letters of Mozart and His Family , New York:
London, W. W. Norton & Company, 1990.
Cellett i , Rodolfo A History of Bel Canto , t rans. Fuller, Frederick.
Oxford: Clarendon Press, 1991.
Einstein, Alfred. Mozart: His character His Work . t rans. Arthur
Mendel and Nathan Broder. London: Cassell , 1959.
Eisen, Cliff . The New Grove Mozart , London: Macmillan Publicher
Limited, 2002.
Gossett , Phil ip. The New Grove: Masters of I talian Opera . Hong Kong:
Norton, 1983.
Schikaneder, Emanuel and Giesecke, Carl Ludwic. The Magic Flute ,
version by Ruth and Thomas Martin. NY: G. Secured, Inc,1951.
Schikaneder, Emanuel, Giesecke, Carl Ludwic. The Magic Flute ,
version by Ruth and Martin, Thomas. New York: G. Secured, Inc,
1951
73
Zaslaw, Neal. The Compleat Mozart: A Guide to the Musical Works of
Wolgang Amadeus Mozart . London: W. W. Norton & Company,
1990.
Bartoli , Cecil l ia. Italian Songs: Canzoni. London, 1993.
Batt le, Kathleen. Kathleen Battle at Carnegie Hall . Hamburg , 1992.
Berger, Ema. Berger. Membran Music,2005.
Gheorghiu, Angela. Angela Gheorghiu l ive from Covent Garden. EMI,
Jo, Sumi. La Promessa. Erato Disques, 1998.
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