W. A. Mozart <Così fan tutte>의 여주인공 피오르딜리지·도라벨라의 성격 분석

다국어 초록 (Multilingual Abstract)

W. A. Mozart left great feat in Opera buffa. Through his three major Opera buffa The Marriage of Figaro, Don Giovanni and Cosi Fan Tutte, Mozart, as a member of Freemason, revealed his perspective on social immorality and two sided factors of the nobles.
The analysis and comparison of two main female characters, Fiordiligi and Dorabella’s personalities in Mozart’s Opera Buffa Così Fan Tutte through aria and duet are as follows.
First of all, Fiordiligi is a noble mistress, who is elegant, well-mannered and a very honorable regarding love. She reveals her happy and full of love appearance in the first Act’s duet Ah, guardasorella, No. 4 while thinking of her fiancée Guglielmo.
To her, appearance of a strange noble and an abrupt confession of love makes Fiordiligi mad, and reveals her absolutely firm devotion and haughtiness towards his love through the title of Aria Come scoglio immoto resta, No. 14. However in the second Act, she gets interested in the new love and enjoys thinking of disguised noble, losing the fidelity towards her fiancée, and shows a reversal by accepting the new love. From the Second Act, Fiordiligi’s seemingly permanent and noble love towards her fiancée turns into light and brisk form is seen from the duet Prendero quell brunettino, No. 20.
Secondly, Dorabella is also a noble background mistress, and sister of Fiordiligi. Unlike Fiordiligi, she is bright, lively and a girl full of curiosities. In the duet Ah, guarda, sorella, No. 4, these personalities of Dorabella has been expressed brightly and lovely. Also, she listens well to the other people and as she is over-honest of her own emotions, even frivolous, her personality is shown in the Aria E Amore Un Ladroncello, No. 28, where she falls in new love only one day after letting her fiancée go to the battlefield.
Thirdly, Fiordiligi’s love that was expected to last forever turns into a playful and light form, which can be seen from the duet Prendero quell brunettino, No. 20.
In Fourth, Dorabella seems to have forgotten of her fiancée by enjoying her swinging love with her sister Fiordiligi. This honest personality of Dorabella can be seen also in the duet Prendero quell brunettino, No. 20.
The two different personalities of sisters fall into the same one from the honest remarks of each of the sisters’ emotions for new man, in which the two lose nobility in front of the word “love” by following their emotions and accepting frivolously of new love in just one day.
As above, this paper analyzes two main characters Fiordiligi and Dorabella’s changes in the emotions and personalities in Mozart’s last Opera buffa Così fan Tutte. Therefore, this will help to understand and express fully of Opera buffa’s satirical and witty features.

목차 (Table of Contents)

• Ι. 서론 1
• 1. 연구의 필요성 과 목적 1
• 2. 연구의 내용과 방법 2
• Ⅱ. 모차르트 오페라 부파 4
• 1. 모차르트 오페라 부파의 성격 4
• 2. 모차르트 오페라 부파 작품 5
• 3. 대본가 로렌초 다 폰테 13
• Ⅲ. 오페라<코지 판 투테> 작품 개요 17
• 1. <코지 판 투테>의 작곡 배경 17
• 2. <코지 판 투테>의 대본과 형식 17
• 3. 작품 줄거리 21
• Ⅳ. <코지 판 투테>의 여주인공 피오르딜리지 도라벨라의 성격 비교 25
• 1. 아리아와 이중창에 나타난 인물의 성격 25
• 1) 피오르딜리지의 아리아 <바위처럼 움직이지 않고, No. 14> 25
• 2) 도라벨라의 아리아 <사랑은 익살꾼, No. 28> 30
• 3) 피오르딜리지, 도라벨라의 이중창 <아, 보아라 자매여, No. 4> 34
• 4) 피오르딜리지, 도라벨라의 이중창 <나는 검은 머리를 택할 거야, No. 20> 37
• 2. 성격 분석 41
• Ⅴ. 결론 43
• 참고문헌 45
• ABSTRACT 46