"Today begins my happiness," wrote Wolfgang Amadeus Mozart in mid-May 1781. He was then at Vienna, happy to be there, the Austrian capital, a warm welcome to its first concerts, the rest so warmly that he had sometimes just replay - "I had to start over because the applause did not take not end, "he said in fact in a letter dated April - having largely reassured that this expectation was placed in it, an expectation that his father had expressed in these terms: " Vienna is the best place in the world for doing my job. " And surely he was especially happy to be there were right this time stay there forever, or at least as long as he would like the words he used to get rid of Archbishop Colloredo who held a lead in Salzburg, Salzburg, which he said was "a place of beggary and that to stay was bury my younger years and my talent" , being sufficiently contrary to all rules of language and behavior somewhat false and outrageous that he had to submit its status musician-servant, alas, forcing them to enable it to issue any decency in the hope of freedom. And because
that ultimately, in the case of emancipation that her heart was so attached to the person who would be the hardest to convince that his father would be, I can not help but mention this "everyone will tell you ! "He added a result of this favorable ruling that focused on Vienna, because, damn!, As irresistible to resort to the good old method of those who, having exhausted without result the following list long or less of their arguments, are obliged to take them to the irresistible and very convincing cover of public opinion. For a few, we would write the - and knock! - which is usually associated with this kind of statement, - and knock! - that ultimately only the elephantine respect he felt his father was stuck deep in his inkwell.
But deuce, why introduce this post about The Abduction from the Seraglio by Mozart who wrote in mid-May 1781: "Today starts my happiness? A question that might also arise more between the time the composer wrote these words and when we run was his opera, a full year would have expired.
Well, it's because after having lived a little over half past two that work hard this flamboyant, I realized that what really animates, the flame, a little crazy, bubbly boundary exuberance, which illuminates the point remains that we would almost forget the immeasurable distress felt by Constance have been abducted from her fiancé Belmonte, abduction followed the inconsolable grief that she had Pasha Selim and love he felt for her, that is born of the immense happiness of feeling free, that breath of freedom who was brought back to life, after all, far more convincing to explain the vitality of this great opera, this opera rather unique in the production of the maestro as he never did write like that, the only simple and enthusiasm Mozart would have felt because of his youth, even though at the time of the creation of The Abduction from the Seraglio, he was actually age.
Admittedly, this is only a personal opinion. Moreover, to know nothing of the real motivations that led Mozart to create this turquerie I would not have any difficulty accepting that only the wind Youth swelled the sails of the opera which it looks like the chorus that if the dead could hear them, they would wake up, as they are pêchus, supercharged, full of life alive. But at the same time, there's this damn book that seemed to cause much more freedom than vows of youth concerns. Certainly in this story of kidnapping and unlawful confinement, as there loves loves this time of tender years when love goes to your head, where people are more than roses love brings forth, and we even loves it more often than not since Constance, who has a crush on Belmonte is courted by Selim, and Blonde, the maid whose lover Pedrillo is expected by Osmin, the Pasha's faithful servant, but one hand, Mozart did not sing the love under the hot sun of his young days, to whistle a good part of his Magic Flute he committed shortly before death robs us all that he could have given us again, we would even be tempted to say he had the noblest feelings of the great business of his life - like you, my little smart - and secondly, it is not impossible draw a link between a number of situations that opera staged and events, states of mind or statutes that the composer had personally experienced before its liberation in Vienna. Thus, without having too need to pull the string still too elastic imagination, one can see in the status of prisoner of Constance, the servile position, hindered the composer held in Salzburg, Selim, the jailer , assuming the role of the prince-archbishop in the air with fury thereof, the famous "Martern aller Arten" nobility with which this is going to know her captor that she has completed the submission, song of his own rebellion in Blonde's character, speaking servant as an equal with her mistress to him sometimes to be a model - is it not indeed the great instigator of "Martern aller Arten" Constance? - Claims Salzburg Maestro, wishes that they could seem annoying at the time, and for good reason, if a musician could get his wealthy employer in the blue blood a little air and money for himself and his music and a voice we hear now from above, why it would not be the same for the valet or maid that he used too?, but which today seem so ordinary and legitimate to do that and finally to summarize, in the discourse of oppression of women held by Osmin, who, retrograde, not unlike the words of a certain Colloredo Mozart to the servant, who will also find a nice chord with blonde, since one can find in this desire that makes him tear his eyes both angry response to the barbarism and a purely symbolic act, Osmin n Since it had not needed his eyes to leave entirely guided by the traditions handed down by his ancestors, a feature which also seems to define a certain Colloredo, tyranny and subjugation that my favorite composer was suffering at the Salzburg Court, here, even the great and almost disproportionate reaction Blonde resonates with Mozart: "I hate the archbishop to frenzy" said he effect of the man of the Church unable to reach out to his neighbor. Basically the only thing the maestro has not experienced the time when he broke his chains and his Abduction from the Seraglio in 1782 staged is the final wisdom of Selim, since his freedom, unlike the hero of his opera which will be a man who has finally understood that gets nothing, nothing, it keeps a person against his will, he will do that himself.
I do not want to finish this post about the first great Mozart opera without saluting the memory of Karl Boehm. And because it was Mozart in his veins. Yes, Mozart in the veins. Moreover, when he led the work for the last time he had eighty six years and still had the same flame, frankly, this just old age forced him to wave his wand from a chair. The rest, which illuminates the photo that accompanies my scribbling amateur music lyric, this is not light a lamp, it does lit by a desk on which one had filed a partition he knew by heart, but invariably the rays of the burning flame.
that ultimately, in the case of emancipation that her heart was so attached to the person who would be the hardest to convince that his father would be, I can not help but mention this "everyone will tell you ! "He added a result of this favorable ruling that focused on Vienna, because, damn!, As irresistible to resort to the good old method of those who, having exhausted without result the following list long or less of their arguments, are obliged to take them to the irresistible and very convincing cover of public opinion. For a few, we would write the - and knock! - which is usually associated with this kind of statement, - and knock! - that ultimately only the elephantine respect he felt his father was stuck deep in his inkwell.
But deuce, why introduce this post about The Abduction from the Seraglio by Mozart who wrote in mid-May 1781: "Today starts my happiness? A question that might also arise more between the time the composer wrote these words and when we run was his opera, a full year would have expired.
Well, it's because after having lived a little over half past two that work hard this flamboyant, I realized that what really animates, the flame, a little crazy, bubbly boundary exuberance, which illuminates the point remains that we would almost forget the immeasurable distress felt by Constance have been abducted from her fiancé Belmonte, abduction followed the inconsolable grief that she had Pasha Selim and love he felt for her, that is born of the immense happiness of feeling free, that breath of freedom who was brought back to life, after all, far more convincing to explain the vitality of this great opera, this opera rather unique in the production of the maestro as he never did write like that, the only simple and enthusiasm Mozart would have felt because of his youth, even though at the time of the creation of The Abduction from the Seraglio, he was actually age.
Admittedly, this is only a personal opinion. Moreover, to know nothing of the real motivations that led Mozart to create this turquerie I would not have any difficulty accepting that only the wind Youth swelled the sails of the opera which it looks like the chorus that if the dead could hear them, they would wake up, as they are pêchus, supercharged, full of life alive. But at the same time, there's this damn book that seemed to cause much more freedom than vows of youth concerns. Certainly in this story of kidnapping and unlawful confinement, as there loves loves this time of tender years when love goes to your head, where people are more than roses love brings forth, and we even loves it more often than not since Constance, who has a crush on Belmonte is courted by Selim, and Blonde, the maid whose lover Pedrillo is expected by Osmin, the Pasha's faithful servant, but one hand, Mozart did not sing the love under the hot sun of his young days, to whistle a good part of his Magic Flute he committed shortly before death robs us all that he could have given us again, we would even be tempted to say he had the noblest feelings of the great business of his life - like you, my little smart - and secondly, it is not impossible draw a link between a number of situations that opera staged and events, states of mind or statutes that the composer had personally experienced before its liberation in Vienna. Thus, without having too need to pull the string still too elastic imagination, one can see in the status of prisoner of Constance, the servile position, hindered the composer held in Salzburg, Selim, the jailer , assuming the role of the prince-archbishop in the air with fury thereof, the famous "Martern aller Arten" nobility with which this is going to know her captor that she has completed the submission, song of his own rebellion in Blonde's character, speaking servant as an equal with her mistress to him sometimes to be a model - is it not indeed the great instigator of "Martern aller Arten" Constance? - Claims Salzburg Maestro, wishes that they could seem annoying at the time, and for good reason, if a musician could get his wealthy employer in the blue blood a little air and money for himself and his music and a voice we hear now from above, why it would not be the same for the valet or maid that he used too?, but which today seem so ordinary and legitimate to do that and finally to summarize, in the discourse of oppression of women held by Osmin, who, retrograde, not unlike the words of a certain Colloredo Mozart to the servant, who will also find a nice chord with blonde, since one can find in this desire that makes him tear his eyes both angry response to the barbarism and a purely symbolic act, Osmin n Since it had not needed his eyes to leave entirely guided by the traditions handed down by his ancestors, a feature which also seems to define a certain Colloredo, tyranny and subjugation that my favorite composer was suffering at the Salzburg Court, here, even the great and almost disproportionate reaction Blonde resonates with Mozart: "I hate the archbishop to frenzy" said he effect of the man of the Church unable to reach out to his neighbor. Basically the only thing the maestro has not experienced the time when he broke his chains and his Abduction from the Seraglio in 1782 staged is the final wisdom of Selim, since his freedom, unlike the hero of his opera which will be a man who has finally understood that gets nothing, nothing, it keeps a person against his will, he will do that himself.
I do not want to finish this post about the first great Mozart opera without saluting the memory of Karl Boehm. And because it was Mozart in his veins. Yes, Mozart in the veins. Moreover, when he led the work for the last time he had eighty six years and still had the same flame, frankly, this just old age forced him to wave his wand from a chair. The rest, which illuminates the photo that accompanies my scribbling amateur music lyric, this is not light a lamp, it does lit by a desk on which one had filed a partition he knew by heart, but invariably the rays of the burning flame. 
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