Dialogus / Wolfgang Amadeus Mozart

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Wolfgang Amadeus Mozart

Cherubino

Dearest Mozart,

First I must tell you that I simply adore your music, most especially your Figaro. I would like to know about the character of Cherubino. Why is he sung by a woman? Isn't a woman dressed in men's clothing considered risqué? Were you not risking the Emperor's displeasure when you chose to do this?

Thank you for answering my question and,
Ich liebe dich, Herr Mozart.

KLE

Gnädige Frau!

I am pleased that you have asked me this question while Figaro is still planted firmly in my mind. The subject of Cherubino being sung by a woman is a complicated one and you have hit on only one facet of this amusing decision made between Signor da Ponte and myself.

Primo - I am bored, bored, bored with castrati. They belonged to opera seria, a style I find terribly old-fashioned regardless of how many modern composers still choose to compose it, and still write parts for these monstrosities of the Church. I am against the practice of castrating boys anyway, and choose not to perpetuate that barbaric practice by writing such parts. I gave some thought to using an actual 14 year-old boy, but none I heard had enough passion in his voice, despite how strongly nature speaks to a lad that age. So it was that I began to think that a woman would be best for the role. As it turns out, I was correct. Cherubino was a huge success and garnered the most applause at every performance we gave.

Secundo - Yes, there is the factor of risqué titillation at work throughout the opera. The entire play is but one romp after another anyway (or the promise of one), and allowing men in the audience (and perhaps certain women as well) the surprise and delight of seeing a woman in men's clothes, making love as it were to a woman, was far too compelling an idea to resist. After all, these are amusements one usually only finds in private chambers and the finer Bordelle of Vienna.

Terzo - I doubt very much that the Emperor minded watching Cherubino prance and flounce about on stage, singing love songs to the ladies. If he did, he never said anything about it to any of us either before production, or after.

You are forward, Madame, in proclaiming your affection for me, but I cannot say that it does not give me a pleasant turn when I read such things these days.

I remain
Your obedient servant

Wolfg. Mozart


		lynette_erwin+cox.net writes to
		Wolfgang Amadeus Mozart

		Cherubino
		Dearest Mozart, First I must tell you that I simply adore your music, most especially your Figaro. I would like to know about the character of Cherubino. Why is he sung by a woman? Isn't a woman dressed in men's clothing considered risqué? Were you not risking the Emperor's displeasure when you chose to do this? Thank you for answering my question and, Ich liebe dich, Herr Mozart. KLE Gnädige Frau! I am pleased that you have asked me this question while Figaro is still planted firmly in my mind. The subject of Cherubino being sung by a woman is a complicated one and you have hit on only one facet of this amusing decision made between Signor da Ponte and myself. Primo - I am bored, bored, bored with castrati. They belonged to opera seria, a style I find terribly old-fashioned regardless of how many modern composers still choose to compose it, and still write parts for these monstrosities of the Church. I am against the practice of castrating boys anyway, and choose not to perpetuate that barbaric practice by writing such parts. I gave some thought to using an actual 14 year-old boy, but none I heard had enough passion in his voice, despite how strongly nature speaks to a lad that age. So it was that I began to think that a woman would be best for the role. As it turns out, I was correct. Cherubino was a huge success and garnered the most applause at every performance we gave. Secundo - Yes, there is the factor of risqué titillation at work throughout the opera. The entire play is but one romp after another anyway (or the promise of one), and allowing men in the audience (and perhaps certain women as well) the surprise and delight of seeing a woman in men's clothes, making love as it were to a woman, was far too compelling an idea to resist. After all, these are amusements one usually only finds in private chambers and the finer Bordelle of Vienna. Terzo - I doubt very much that the Emperor minded watching Cherubino prance and flounce about on stage, singing love songs to the ladies. If he did, he never said anything about it to any of us either before production, or after. You are forward, Madame, in proclaiming your affection for me, but I cannot say that it does not give me a pleasant turn when I read such things these days. I remain Your obedient servant Wolfg. Mozart