![]() The success of Figaro, particularly when it was repeated in the more congenial atmosphere of Prague, led to two further creative efforts on the part of Mozart and da Ponte: Don Giovanni in 1787, and Così fan tutte in 1790. ![]() Dramatic state music, the genre in which Mozart had the greatest potential to excel, was the most difficult to conquer without the aid of those in charge of the official court theater.įortunately for Mozart – and the world of music to follow – opportunities to reverse this trend began to present themselves in 1785, when Mozart was approached by court poet Lorenzo da Ponte, who suggested that the two collaborate on an opera based upon Beaumarchais’ Le Mariage de Figaro. Unfortunately for Mozart, they were also fickle audiences, sensitive for the most part to only the politically-influenced preferences of the court. One could expect to find there the most discriminating and intelligent of audiences. ![]() Vienna was, after all, the musical capital of Europe. When Mozart moved to Vienna in 1781 to live out what would be the last ten years of his life, he had every reason to believe that fame and fortune would come his way. First performance: October 29, 1787, Teatro di Praga, Prague. ![]()
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