While Mozart was in Vienna, he faithfully attended the operatic performances of his Italian contemporaries, carefully observing the novelties and fashions that most pleased Viennese audiences. He would then incorporate several of these elements into his own compositions. For example, Paisiello's pastoral opera Nina, which was well received all over Italy, was produced in Vienna in the fall of 1790. Several parallels can be seen between it and Mozart's last Italian opera, La clemenza di Tito. For his protagonist's final aria, Mozart draws on Paisiello's unornamented melodic style. This contrasts greatly with the ornamental elaboration commonly found in other contemporary Italian operas. Mozart also uses Paisiello's "economical" type of orchestration, which features a thin texture and certain accompanimental figures. Similarities are also found in both composers' use of heightened rhythmic drive for climactic effect.

Works: Mozart: La clemenza di Tito (287-93).

Sources: Paisiello: Nina (287-92).

Index Classifications: 1700s

Contributed by: Laura B. Dallman