mozartin Zaide

Mozartin zurkeista zaidetta koskevista ajatelmista.

Mozartin zaide nääz oli yhtä zkeidaa.

Eräs ehdotus.
Google antaa sanoilla "mozart zaide" reilusti
yli 100 000 osumaa. Hiukan pitää osata saksan-
tai/ja englanninkieltä.
Onnea "matkalle".

Zaïden perusjuoni on melko pitkälle sama kuin Ryöstön seraljista. Mozart kirjoitti Zaïden työnäytteeksi tullessaan Wieniin, mutta sitä ei hänen elinaikanaan esitetty eikä viimeistelty. Myöhemmät oopperansahan Mozart sävelsi seuraavassa järjestyksessä: ensin resitatiivit, sitten yhtyekohtaukset ja aariat viimeiseksi, vasta sitten kun Mozart oli jo saanut kuulla kunkin laulajan ääntä ja luonnetta harjoituksissa. Zaïdea ei siis ole sävelletty, räätälöity eikä viimeistelty ketään tiettyä laulajaa ajatellen. ”Ruhe sanft, mein holdes Leben” on sen ainoa kohokohta.

Siis nettigrovesta löytyi tällainen (nettigrove on maksullinen palvelu, mutta sinne pääsee useimista kirjastoista www.grovemusic.com)

Singspiel in two acts, K344/336b, by wolfgang amadeus Mozart to a libretto by Johann Andreas Schachtner after Franz Josef Sebastiani’s Das Serail; Frankfurt, 27 January 1866.

Mozart wrote Zaide in Salzburg between autumn 1779 and mid-1780, perhaps for J. H. Böhm’s touring company or Schikaneder’s, but surely with the National Singspiel in mind. In April 1781 Stephanie rejected it as too serious for Vienna. The autograph is untitled. The source, a Singspiel by Sebastiani, is called Das Serail; ‘Zaide ’ was chosen by Johann Anton André for his 1838 publication, and avoids confusion with Die Entführung aus dem Serail. Schachtner’s libretto was evidently more than a revision, but it is lost apart from incipits in the autograph score. Zaide was first performed at Frankfurt (Mozart’s birthday, 1866), as completed by André, who had added an overture and finale, and with new text by Friedrich Carl Gollmick. Other versions followed, in German, French and English, often with additional music from Thamos, König in Ägypten, K345/336 a. There is no evidence for the missing overture being the G major Symphony K318; D is a more likely tonic for the opera, the instrumentation does not correspond, and Mozart is unlikely to have written the overture first.

Act 1 begins with the slaves (tenor solo and unison chorus) cheerfully finishing work for the day (‘Brüder, lasst uns lustig sein’). Gomatz (tenor), exiled and enslaved, laments his bitter fate in what is Mozart’s greatest melodrama (‘Unerforschliche Fügung!’): the opening Adagio anticipates Mendelssohn, and other passages are of unusual enharmonic daring. Gomatz sleeps, watched by Zaide (soprano), the beautiful favourite of the Sultan. Her aria (‘Ruhe sanft’) is an image of peacefulness, a floating J. C. Bachian melody recurring after each episode. She leaves her portrait, which inspires Gomatz to defy the ragings of fate (‘Rase, Schicksal’). Zaide reveals herself and they declare mutual love (duet, ‘Meine Seele hüpft von Freuden’) in a short and gentle Allegretto.

Allazim (bass), betraying the Sultan, helps prepare their escape. Gomatz (‘Herr und Freund’) is almost embarrassingly grateful; he returns during the exitritornello offering further thanks. Allazim bids his heart take courage (‘Nur mutig, mein Herze’). They set out (trio, ‘O selige Wonne’, in E major): the sea is calm at sunrise, though Zaide imagines thunder; in a final Allegro they pray for future happiness.

Act 2 begins as the Sultan Soliman (tenor), assisted by the only appearance of trumpets and drums, fumes, in a melodrama: Zaide has spurned his love to fly with a Christian slave. An officer tells him that their recapture is imminent. Soliman rails against all women. In his huge aria (‘Der stolze Löw’’, 246 bars) his anger twice boils over into a headlong Presto. A proud lion may be tamed, but treat him shamefully and he becomes a tyrant. There follows a comic scene for the overseer Osmin (bass) with a laughing aria (‘Wer hungrig bei der Tafel sitzt’).

Soliman tells the captives that he rewards service but punishes defiance (‘Ich bin so bös’ als gut’). Zaide acknowledges his bounty, but he did not offer freedom (‘Trostlos schluchzet Philomele’); the caged nightingale sings only of her sorrow. This melting rondo fails to move him, and she turns to attack (‘Tiger! wetze nur die Klauen’) in a G minor aria of splendid fury. The contrasting middle section (‘Ach, mein Gomatz’) looks forward to release through death; but her anger extends to the last bar, with its final cry of ‘Tiger!’.

Allazim (whose life is spared) lectures Soliman (‘Ihr Mächtigen seht ungerührt’): the mighty should recognize slaves as brothers. In the quartet (’Freundin, stille deine Tränen’) Gomatz asks Zaide to calm her tears; death will crown their love. Allazim’s heart is breaking. Taking the blame (like Konstanze in Die Entführung), Zaide pleads for Gomatz’s life; Soliman remains vindictive. This resourceful ensemble worthily anticipates the Idomeneo and Entführung quartets.

Zaide herself is Mozart’s first three-dimensional character. In Das Serail Zaide and Gomatz are revealed as siblings, children of Renegat (Allazim); Soliman forgives them (Renegat once saved his life). Despite its origins in Voltaire, Mozart may have planned a less perfunctory denouement. With the quartet as finale the two acts are of equivalent length, and conceivably a third was intended. In Das Serail Soliman is a spoken role, like Selim in Die Entführung; here parts of his arias imply a more compassionate personality, suppressed in the quartet. Although not viable as it stands, Zaide marks a striking advance and at its best reaches the level of Mozart’s maturity.