Since its beginnings, opera has depended on recognition as a central aspect of both plot and theme. Though a standard feature of opera, recognition – a moment of new awareness that brings about a crucial reversal in the action – has been largely neglected in opera studies. In Recognition in Mozarts Operas, musicologist Jessica Waldoff draws on a broad base of critical thought on recognition from Aristotle to Terence Cave to explore the essential role it plays in Mozarts operas. The result is a fresh approach to the familiar question of opera as drama and a persuasive new reading of Mozarts operas.
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