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The Marriage of Figaro Paperback – Sep 1 1979
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Nobody could make voices and instruments work so perfectly together as Mozart, and it's fascinating to read through a full orchestral score to see how he did it. Like all of Dover's scores, this one is a reprint of another publishing house's work. This particular house, C.F. Peters of Leipzig, gives the text in the original Italian -- and in a German translation from 1941 that's still sung in Germany and Austria today.
From the Back Cover
Now available for the first time in a sturdily produced, reasonably priced paperbound edition is the complete orchestral score of Mozart's "The Marriage of Figaro, " widely considered the greatest comic opera ever written. Based on the second play of a trilogy by Beaumarchais (the first was "The Barber of Seville"), Figaro elevates the time-honored "opera buffa" of Italian tradition to new heights, transfiguring persons and scenes with glorious melodies and superb dramatic characterizations.
This edition, based on Mozart's autograph manuscript and early German translations of the libretto, embodies both the original Italian libretto of Lorenzo Da Ponte and a new corrected version of the German text. It is totally complete and contains all passages, including some that are missing from other editions and often cut in performances. In addition, the Editor's Commentary includes a complete review of all dubious passages and text problems.
This full orchestral score is an indispensable aid for study and for anyone listening to recordings or live performances. In no other manner can the listener or student keep full awareness of the many elements that make up this opera.
Most Helpful Customer Reviews on Amazon.com (beta)
This version was completed by Georg Schünemann in Berlin in 1941! He cited the numerous "original" versions he used as references, even to the point of acknowledging that the sole copy of a particular printing was in Washington, and, sadly, not available to him at the time. He also supplies several pages of notes, identifying things that were "missing" from various versions or explaining which version he chose for a particular passage and why. As a study guide, for students of Mozart, students of opera, or students of orchestration this is an outstanding book, well made and certain to last a long time. It is unlikely anyone will produce anything "better."
For serious students it provides a good look at what Mozart wrote, and allows easy comparisons with versions produced today where some directors seem to feel that they can make "changes" and bill them as "improvements." In my opinion, Mozart knew exactly what he was doing, and "improvements" are seldom as good as the original...usually much worst. HINT: To a certain unconventional director: There's no silent angel in Mozart's work...for a good reason!
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