Da Ponte's Libretti
The nature of Da Ponte's contribution to the art of libretto-writing has been much discussed. In The New Grove Dictionary of Music and Musicians, it is pointed out that "the portrayal of grand passions was not his strength", but that he worked particularly closely with his composers to bring out their strengths, especially where it was a matter of sharp characterization or humorous or satirical passages. Richard Taruskin notes that Mozart, in letters to his father Leopold, had expressed concern to secure Da Ponte, but was worried that the Italian composers in town (e.g. Salieri) were trying to keep him for themselves. He specifically wished to create a buffa comedy opera which included a seria female part for contrast; Taruskin suggests that "Da Ponte's special gift for was that of forging this virtual smorgasbord of idioms into a vivid dramatic shape." David Cairns examines Da Ponte's reworking of the scenario for Don Giovanni, (originally written by Giovanni Bertati and performed in Venice as Don Giovanni Tenorio, with music by Gazzaniga, in 1787). Cairns points out that "the verbal borrowings are few", and that Da Ponte is at every point "wittier, more stylish, more concise and more effective." Moreover, Da Ponte's restructuring of the action enables a tighter format giving better opportunities for Mozart's musical structures. David Conway suggests that Da Ponte's own life 'in disguise' (as a Jew/priest/womaniser) enabled him to infuse the operatic cliche of disguise with a sense of Romantic irony.
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