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Author: Tom Attea
Among the world's favorite operas, we find three of them with a libretto penned by Lorenzo Da Ponte and music by none other than the astonishingly delightful Viennese ear-confectioner Mozart. The list is a delight in itself: The Marriage of Figaro, Don Giovann, and Così Fan Tutte.
We learn in
Da Ponte even dared to contend with Mozart, who believed the text should be subservient to the music, while Da Ponte was certain that the words should be primary, in fact, that without his poetry even Mighty Mo's music would be nothing.
Yet how Da Ponte tumbled from the heights. Hard as it may be to imagine, he wound up in New York, running, at one time, a grocery store on the Bowery.
Brilliant as an artist, he was apparently, in his personal life, a managerial moron. Or, said another way, while talent flies, practical reason just plods along, like a relative moron.
Da Ponte, born Jewish, was, as a result of his father's having decided the family should become Catholic for the easement of a life of trade, ordained a priest. But his real vocation was married women. His exploits, we learn, rivaled Casanova, who became his pal and, if we believe such a thing is possible in the category at hand, his mentor.
Da Ponte himself admitted a shortcoming in comparison with his rival for insincere relationships: he didn't have Casanova's purported talent for fleecing the women he falsely wooed. In fact,
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