1. The Attitude towards Women Expressed in Classical Operas Floris van Vugt EAP Acc360 Fall 2002 Conference Talk

2. Introduction Opera –Three levels of communication; Language of Characters Language of Play Language of Music Language of Stage )(

3. Outline Introduction Classical Period Mozart Die Zauberflöte Beethoven Leonore Conclusion

4. Classical Period (1750-1825) Balance and Clarity Public Music: Old Styles & New Ways "Viennese School" –Haydn, Mozart, Beethoven, Schubert

5. Mozart – Die Zauberflöte Tamino Sarastro Queen of the Night Lady Pamina Papageno Papagena Priest femalemale Man’s Victory over Woman Lust, Revenge Rationality Peace

6. Die Zauberflöte Analysis Language of Play “Papageno > Papagena.” Ladies vs. Priests Language of Characters “Damen plaudern viel.” “Schöne Jungling.” vs. “Erwiesen” Language of Music Hölle Rache / Heil’gen Hausen / Love Duet “[The Queen’s] is a losing song; it is femininity's song. The winning world is the other one, the father's, the men's world.” - Catherine Clement

7. Von Beethoven – Leonore Florestan Leonore (Fidelio) Minister Governor Jailer female male

8. Leonore Analysis Language of Characters –Praising: “edlen Mut” (L18: Rez) “Retterin” (L18: Rez) emphasis on joy of Leonore’s husband: “wer ein holdes Weib errungen” (L18: Rez) Language of Play Leonore not depicted as independent. Language of Music Women more independent role in music. Men on evil side depicted respectfully.

9. Conclusion Female roles important, but usually inferior to male’s. Women are introduced in connection with men. Operas appear to be written from the male’s perspective.

10. The End Thank you for your attention.