Memoirs of Lorenzo Da Ponte (New York Review Books Classics) [Paperback]

Lorenzo Da Ponte (Author), Charles Rosen (Preface)

Book Description

Series: New York Review Books Classics | Publication Date: May 31, 2000

Plot and counterplot lie at the heart of Don Giovanni, Così fan tutte, and The Marriage of Figaro, the three brilliant libretti that Lorenzo Da Ponte prepared for Mozart. They were also central to Da Ponte's own extraordinary life. His Memoirs record a fantastic variety of romantic, political, and professional intrigues, and tell of meetings with a host of remarkable men. In a life that took him from the canals of Venice to the streets of New York, Da Ponte was at different times priest, professional gambler, proprietor of a bordello, political agitator, court poet, impresario, grocery store owner, and the first professor of Italian literature at Columbia University. His Memoirs, a minor classic of Italian literature, are the picaresque and engrossing story of a man of enormous talent and unsurpassed flair who was, above all, an indefatigable survivor.

"I shall speak of things . . . so singular in their oddity as in some manner to instruct, or at least entertain, without wearying." —Lorenzo da Ponte

Editorial Reviews

Amazon.com Review

"It was as though Providence had willed that I should ever, all my life long, keep falling into the hands of knaves," writes Lorenzo da Ponte. Certainly, this remarkable narrative documents a life beset by a vicious world, but also one of insuppressible energy. Da Ponte is known for his librettos to three Mozart masterpieces: Le nozze di Figaro, Don Giovanni, and Così fan tutte. He wrote much else for the opera company of Emperor Joseph II in Vienna (until his enemies got him dismissed), going on to be a bookseller in London, a grocer in New York, a general-store owner in Pennsylvania, and, finally, a professor of Italian at Columbia University. His life, stretching from 1749 to 1838, practically defines the term "picaresque."

Don't expect a trustworthy account, though. One reason to write memoirs is to tell your side of the story, and Da Ponte spends a lot of time settling scores. As a businessman, he's involved with a procession of false friends, who sink him with debts and slanders. At the Italian Opera in London, on the way to being forced out of another position, he juggles the egos of two rapacious divas: "The Lord help you if Morichelli gets a better reception in Martini's opera than I do in mine!" says one. His philosophy grows bitter--"I trusted in him blindly and was, as usual, barbarously tricked by him"--yet he always has another idea for making cash and, in later years, spreading the gospel of Italian literature in the New World.

Da Ponte doesn't interrupt his tale to ask probing questions. The most important period, his association with Mozart, passes with disappointing brevity. Though he salutes the composer's genius, he offers no insights into Mozart's personality or their collaboration. Da Ponte was busy at the time, however. He says he wrote Don Giovanni simultaneously with two other librettos: one in the morning, one in the afternoon, one at night.

This annotated version is a little short on notes. Da Ponte's many phrases in Latin and the untranslated Italian expressions could use some commentary. The notes do inform us when the author is mixing up his facts, which is fairly often. The 1929 translation by Elisabeth Abbott, blending 18th-century elegance with 20th-century crispness, has previously been available only in an expensive hardcover edition. This paperback is part of the New York Review of Books Classics imprint, an invaluable series that republishes worthy but hard-to-get titles. Da Ponte's book fills the bill admirably. --David Olivenbaum

From Library Journal

Though not exactly a household name, Da Ponte wrote libretti for Mozart's Don Giovanni, The Marriage of Figaro, and Cos! fan tutte. In addition, his adventures ranged from old Vienna to Venice to New York, where he was the first professor of Italian literature at Columbia University. Along the way he was everything from a grocery store clerk to the proprietor of a cat house to a priest. This translation was first published in 1957. Although probably a tad exaggerated, this should be fun.
Copyright 2000 Reed Business Information, Inc.

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Product Details

• Paperback: 472 pages
• Publisher: NYRB Classics (May 31, 2000)
• Language: English
• ISBN-10: 0940322358
• ISBN-13: 978-0940322356
• Product Dimensions: 5 x 1.2 x 8 inches
• Shipping Weight: 1.2 pounds (View shipping rates and policies)
• Average Customer Review: 3.3 out of 5 stars  See all reviews (3 customer reviews)
• Amazon Best Sellers Rank: #1,072,738 in Books (See Top 100 in Books)

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15 of 16 people found the following review helpful:

3.0 out of 5 stars Interesting Book, Shameful Presentation, December 26, 2003

By 

Buce (Palookaville) - See all my reviews

This review is from: Memoirs of Lorenzo Da Ponte (New York Review Books Classics) (Paperback)

Da Ponte's Memoirs are a worthy, if eccentric, addition to the NYRB catalog, but the NYRB provides almost no help in situating it. This translation first appeared, I believe, in 1929 and has been available in recent years from both Dover and Da Capo. One, (or was it both?), carried an excellent preface by the distinguished scholar of the Renaissance, Thomas Bergin. NYRB does not republish Bergin. It does republish the original 1929 introduction (by Arthur Livingston, once a teacher of Italian at Columbia) but with no hint of its provenance and, so far as I can discern, no mention of the date (the biblio page gives you a hint when it mentions a "renewal copyright" dated 1957). There is also an LC entry identifying "Livingston, Arthur, 1883-" but I doubt very much that Livingston was still alive when NYRB published in 2000. There is a preface by the distinguished music-scholar Charles Rosen, but it is beneath him: a slapdash affair that does little aside from assuring us that Italian olive oil is now available everywhere in America.

Aside from these matters of production - the text itself is absorbing and instructive if you understand what you are getting. Da Ponte's only real claim to fame is, of course, that he is the librettist of Mozart's three great comic operas. Da Ponte cheerily declares that Mozart was the greatest composer of his time - perhaps the greatest ever - yet he gives this greatest of all composers perhaps a half dozen pages out of the entire 472-page text, less than any of a dozen other drifters and dreamers or down-market impresarios whom he met along the way.

Rather than reading it as a work of music criticism, you can take it as a loose-jointed adventure story, in the tradition of Casanova (Da Ponte claims him as a friend) or Benvenuto Cellini. A perhaps more interesting comparison would be to Stendhal's "Charterhouse of Parma": readers who are scandalized that Da Ponte gives such short shrift to Mozart will recall that Stendhal's hero trekked all unknowing through the Battle of Waterloo. I suppose it is just possible that Stendhal read Da Ponte: I have no idea whether he did in fact. But it doesn't matter; the comparison adds a gratifying resonance anyway.

Moreover, even if this book is not remotely useful as direct criticism of Mozart, I think it does cast the great libretti in a new light: you come to understand the schemers and seducers of the Mozart operas were not a mere nonce creation: they accompanied Da Ponte throughout the whole of his long and rumbustious life. "I trusted them and they betrayed me..." would be a pretty good title for the whole. You can certainly tire of his preening, his score-settling his tale-telling. Indeed you come pretty quickly to realize that not 100 percent of it can possibly true. How much, then? 80 percent? 50? 20? Of course I have no idea: maybe 50 will do as a guess. But I don't think that matters either. Recall what Goethe said about Livy: yes, they are just stories, but they are good stories. At the end, I think you can give Da Ponte credit for his most (nearly) disinterested passion: his desire to spread Italian culture to the Anglo-Saxon world. In this light, we can greet him on his own terms: se non e vero, e ben trovato.

Four stars for the book, one for the presentation. Compromise on three.

12 of 21 people found the following review helpful:

2.0 out of 5 stars Third-rate at best., August 16, 2000

By 

Alexander (Leiden Netherlands) - See all my reviews

This review is from: Memoirs of Lorenzo Da Ponte (New York Review Books Classics) (Paperback)

The best thing about this book is the preface by Charles Rosen. The rest it hugely disappointing. It is amazing how a poet can be so non-descriptive! How can any writer has been friends with both Mozart and Casanova and yet have nothing to say about them? One gets no sense of what life was like during the end of the 18th century at all. Even Da Ponte's own thoughts and motives do not come across. All that is left are petty political games at an assortment of different opera houses. Da Ponte's story is less amusing than the description of a single flirtation in the truly interesting and picaresque memoirs of his friend Casanova.

0 of 3 people found the following review helpful:

5.0 out of 5 stars Fourth rate, September 22, 2007

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Patrick Finn - See all my reviews
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This review is from: Memoirs of Lorenzo Da Ponte (New York Review Books Classics) (Paperback)

I trawled my way through this book as I usually like to start what I finish, but, my, it was hard going. The first half particularly is basically a lot of score settling which comes across as being so irrelevant especially now two centuries later. Half the time, my mind wandered and I just found the whole thing difficult to follow. Da Ponte seems full of self-pity and perhaps a justified sense of victimhood. Anyone would think he was a failure!