Read: Abbate-Parker, 113-116
Also check out the synopses of Idomeneo and La clemenza di Tito
Watch: Idomeneo, Act I (Met Opera on Demand, 1982); La clemenza di Tito, Sestos first-act aria Parto, parto, ma tu ben mio (Met Opera on Demand, 2012)
Analyze: Illias aria Padre, germani, addio and Electras aria Tutte nel cor vi sento from Idomeneo; Sestos Parto, parto, ma tu ben mio from La clemenza di Titofind .pdf scores + text/translations on Blackboard
How does Mozart differentiate the two female heroines of Idomeneo in their introductory arias?
What are the main differences between the forms of the arias from Idomeneo and that from Tito?
In what ways does the first act of Idomeneo incorporate ideals of Glucks reform operas?
Read: Abbate-Parker, 117-144
Also check out the synopsis of Le nozze di Figaro
Watch: Mozart, Le nozze di Figaro, Acts I and II (Met Opera on Demand, 1998)
Analyze: second-act finalefind .pdf score and text/translation on Blackboard
How do the first two acts of Le nozze di Figaro reflect general characteristics of late eighteenth-century opera buffa?
Using the text/translation and a score, sketch out the first part of the second-act finale (up to the arrival of the gardener Antonio), showing all the different shifts in style as well as key and signature changes. Explain how these musical changes and shifts fit with the drama.