An Analysis of the Dramatic Musical Writing for Soprano in Mozart's Arias: A Case Study of Le nozze di Figaro and Don Giovanni

This study takes Mozart's operas Le Nozze di Figaro and Don Giovanni as its objects of investigation, selecting the Countess's Porgi, amor, qualche ristoro, Susanna's Giunse alfin il momento—Deh vieni, non tardar, and Zerlina's Batti, batti, o bel Masetto as analytical samples. From six dimensions—musical form, tonal logic, rhythm and meter, melodic characteristics, accompaniment texture, and vocal technique—it explores how the composer constructed differentiated musical expression pathways based on the characters' social identities and dramatic situations. The analysis reveals three distinct lyrical paradigms: the Countess's aria, characterized by fixed tonality, descending stepwise melodic motion, and soft singing in the high register, forms an introverted, "stoic" tragic expression; Susanna's aria, through tonal deviation, ornamental groups, and a threefold progressive calling, externalizes a "performative" comedic psychological turn; Zerlina's aria, by means of a marked shift in meter (2/4 to 6/8) and tempo (Andante to Allegretto), realizes a "feigned-submission" emotional strategy of retreating in order to advance. These cases collectively corroborate the core principle of Mozart's aria composition—that musical form, tonality, rhythm, and vocal means all serve the character's psychological logic, with instruments and voice jointly participating in dramatic narration, elevating opera beyond formulaic vocal display to a "human art" possessing deep psychological authenticity. This paper provides a concrete and operationalizable analytical framework and theoretical reference for understanding dramatic music in Mozart's arias.