The Symposium "Modernity of Mozart" will take place on Wednesday July 15 from 2 p.m. to 5 p.m. at the French Institute in Tel Aviv: 7 Bd Rothschild
Pr. Florence Bandol Bertrand Conservatoire National Supérieur de Musique et de danse de Paris
Pr. Ouri Rom head of departement of mucic theory tel Aviv University
Ariana, Peneloppe, Didone, Armida, Medea... In baroque opera, the lamenti expressed by victimized beaten deceived women mirror the real world in order to create empathetic musical emotion. To name just a few examples : Ariana's Lamento (abandoned by Thesea on Naxos) by Monteverdi or Didone (abandoned by Enea at Carthage) by Purcell...
During Enlightment, this expression develops the opera buffa as a very way to underline equality between unaristocratic women and noble women obliged to drag themselves to survive.
At the begining of his career, Mozart inherits this topic and uses it as well as his contemporaries. For example : Comtesse Violante is beaten by Comte Belfiore who leaves her as dead. But when she regains, she dresses up as a gardener in order to win her lover back and she is only able to sing : "Povere femine/Poor women" (La finta giardiniera). Mozart is 19 and he's never fallen in love.
Over time, his female characters are stronger, strong-willed and independent, able to assume breaking-up, to enjoy freedom and to celebrate love. Barberina in Le Nozze di Figaro is the youngest and she complaints because she has been betrayed ; Marcellina, the oldest, sings that men have all power over women. But Suzana and the Comtessa are able to organise the rebellion and gain the respect.
Betrayed Donna Elvira, the official wife of Don Giovanni, moves to resignation. Dorabella and Fiordiligi, both deceived sisters in Cosi fan tutte can chose their lovers. And in The Magic Flute, Pamina who went through the hardest trials of life is able to show the way to her companion.
Mozart's empathy with women is total which is not common at his time. But his labour proved him that virtuosos are women as well as men. Singers and pianists are equal before the score and they are born equal. His female characters affirm their feminity and independence. Attentive, altruistic and generous, they pave the way with a sublime musical expression to Beethoven for Leonore/Fidelio and Goethe for Margareth (Faust) : the Eternal Feminine (Ewig Weibliche). Women command their own destinies. Thanks to Mozart, #me too is in motion.
Free entrance but mandatory registration