141:, Op. 65, for this talented singer. She was not able to sing the piece at its debut because of a conflicting engagement, but she did perform the piece in both Prague and later in Leipzig. The debut was performed by the Countess Josephine Clary, to whom Beethoven later dedicated the piece. This concert aria was also featured on Beethoven's mammoth
244:. Mozart submitted himself to the necessary; but to avenge himself for the trick Frau Duschek had played on him, he used various difficult-to-sing passages in the aria, and threatened his despotic friend that he would immediately destroy the aria if she could not succeed in performing it at sight without mistakes.
187:
While
Duschek was on friendly terms with the Mozart family at this time, Leopold was critical of her singing, writing to his daughter on 21 April 1786: 'How did Madame Duschek sing? I have to say it! She shrieked an aria by Naumann, quite astonishingly, with exaggerated expression as before but even
239:
Petranka is well-known as the villa in which Mozart enjoyed staying with his musician friends, the
Duscheks, during his visit to Prague, and where he composed several numbers for his "Don Juan" . On the summit of a hill near the villa stands a pavilion. In it, one day, Frau Duschek slyly
17:
88:. Her father’s pharmacy was in the house called "Zum weissen Einhorn" ("The White Unicorn"). Built in the Baroque style, it was situated in the Old Town Square where the pharmaceutical business flourished until the 20th century.
95:, whom she married on 21 October 1776. Josefa’s husband already had an international reputation as a music teacher. He was a welcome guest in the music salons and he and his wife became well-known hosts at their home, Villa
121:, and it was said that she continued to profit long afterwards from the relationship as the Count provided her with an annuity of 900 Gulden and even contributed to the purchase of the Villa Bertramka.
253:(mm. 27–34) are set to an awesome tangle of chromatic sequences artfully calculated to test the singer's sense of intonation and powers of interpretation. Apparently Mme. Duschek survived the
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imprisoned the great Mozart, after having provided ink, pen, and notepaper, and told him that he was not to regain his freedom until he had written an aria he had promised her to the words
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assesses her singing thus: "She was appreciated for the sonority, range and flexibility of her voice, for her musicianship, and superb execution of both bravura arias and recitatives."
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Her career as a singer was long and successful; she gave concerts in many different cities, including Prague, Vienna, Salzburg, Dresden, Weimar, Leipzig, Warsaw and Berlin.
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vol. 4, 198–199. The journal attributed the story to "Mozart's son"; of Mozart's two sons, only Karl Thomas was alive at the time. The source of this translation is
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Duschek met Mozart in 1777 when she visited
Salzburg, where her mother was from and she had relatives. At that time Mozart composed for her the recitative and aria "
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Duschek's voice was praised for its range and flexibility. Her admirers used to call her "a
Bohemian Gabrielli" after the famous Italian coloratura singer
99:. It is not known whether the couple performed together as musicians, but they hosted frequent musical gatherings at which many famous people were present.
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Josepha and her husband had three children Albert, Anton and Maria. As a singing trio, the children toured throughout Europe and met personalities like
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230:," K. 528 (it is dated 3 November 1787). The composition of this aria was somewhat unusual; the following tale is attributed to Mozart's son
159:, and lived in increasingly smaller apartments in Prague. By the time of her death in 1824 she had become impoverished. She is buried at the
80:, then a provincial capital of the Habsburg monarchy, on 6 March 1754, and lived in Prague all of her life. Her father was a prosperous
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Bernard Wilson, commenting on the story, adds: "There seems to be some corroboration of this account in the aria itself. The words
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was mounted in a Prague production. A number of Prague music lovers invited Mozart to come to Prague and hear the production; the
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Neue
Ausgabe sämtlicher Werke, Ser. II: Bühnenwerke, Werkgruppe 7: Arien, Szenen, Ensembles, und Chöre mit Orchester, Band 4
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Except where indicated by footnote, all information in this article comes from two articles on the online edition of the
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Mozart accompanied her at a private concert before the
Viennese court in 1786, shortly after the success of his opera
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In 1789 Duschek sang the work along with other arias at concerts given by Mozart in
Dresden and Leipzig, during his
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in 1808, sung by a 17-year-old
Josephine Killitschgy, who was unable to meet the vocal demands of the piece.
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Later that year Mozart returned to Prague in order to complete and then produce his next opera,
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Duschek never accepted a permanent engagement, but always remained a freelance singer.
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has suggested that Mozart and
Duschek were lovers. This is dubious; see
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After her husband’s death in 1799 she retired from public life. She sold
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Duschek's relationship with Count Clam-Gallas is detailed in
Freeman,
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suggested that Duschek and her husband František were among them.
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The singer and her husband were also close with the composer
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Josepha had earlier been the lover of the art patron Count
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During the 1787 visit, Mozart wrote the concert aria "
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18th-century women singers from the Holy Roman Empire
348:, Vol. 28, No. 2. (Apr. – Jun., 1967), pp. 249–258.
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399:: "Josefa Dušek" and "František Xaver Dušek".
344:(1967) "Child Mozart as an Aesthetic Symbol,"
251:Quest' affano, questo passo è terribile per me
473:18th-century women opera singers from Bohemia
133:
365:, Vol. 30, No. 4. (Jun., 1974), pp. 856–857.
222:The composition of "Bella mia fiamma, addio"
327:, Cambridge University Press, 2006, p. 151.
45:, who wrote a few works for her to sing.
408:. Minneapolis: Calumet Editions. 2021.
91:In her youth Josepha studied music with
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397:Grove Dictionary of Music and Musicians
336:The story was published in 1856 in the
483:Women singers from the Austrian Empire
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21:Portrait of Josepha Duschek dated 1796
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357:Wilson, Bernard E. (1974) Review of
48:Her name is most often given in its
323:Eisen, Cliff & Keefe, Simon P.
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493:Wolfgang Amadeus Mozart's singers
325:The Cambridge Mozart Encyclopedia
33:) (1754–1824) was an outstanding
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346:Journal of the History of Ideas
268:Were Mozart and Duschek lovers?
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60:or (with Germanized spelling)
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449:. New York: Harper Collins.
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119:Christian Philipp Clam-Gallas
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338:Berliner Musik-Zeitung Echo
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431:Salfellner, Harald (2003)
41:era. She was a friend of
445:Solomon, Maynard (1995)
383:See Solomon 1995, ch. 28
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488:Czech operatic sopranos
277:Mozart's Berlin journey
228:Bella mia fiamma, addio
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43:Wolfgang Amadeus Mozart
242:bella mia fiamma addio
193:The Marriage of Figaro
181:The Marriage of Figaro
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52:version as above. In
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161:MalostranskĂ˝ Cemetery
93:František Xaver Dušek
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425:Großes Sängerlexikon
129:Ludwig van Beethoven
498:Singers from Prague
218:in September 1791.
215:La clemenza di Tito
147:Theater an der Wien
403:Freeman, Daniel E.
289:Caterina Gabrielli
188:more annoyingly.'
167:Duschek and Mozart
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433:Mozart and Prague
418:Kutsch, K.J. and
414:978-1-950743-50-6
74:Josepha Hambacher
62:Josepha Duschkova
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435:. Vitalis 2003;
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58:JosefĂna Dušková
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420:Leo Riemens
262:German tour
232:Karl Thomas
175:," K. 272.
163:in Prague.
136:Ah! perfido
457:Categories
390:References
342:Peter Kivy
283:Assessment
82:apothecary
210:Bertramka
191:In 1787,
157:Bertramka
108:Beethoven
97:Bertramka
39:Classical
31:Hambacher
143:Akademie
112:Schubert
86:Salzburg
291:. The
37:of the
35:soprano
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361:. In
104:Mozart
78:Prague
50:German
299:Notes
54:Czech
29:(née
437:ISBN
410:ISBN
110:and
68:Life
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