In heritage and career choice (his father is the legendary conductor; he himself is a producer of classical recordings and the author of Tales from the Opera), Rudel would seem just the fellow to embroider on a bit of historical musical trivia. But his debut novel, drawing on a purported meeting in 1777 Prague between Mozart and romantic adventurer Casanova, does not develop into a successful dramatic narrative. Rudel imagines a secret collaboration between the composer of sublime music and the notorious libertine, aided by librettist Lorenzo Da Ponte, a creative symbiosis that significantly influences the final version of Don Giovanni. In addition to describing the logistic and artistic complications of writing and staging the opera, Rudel attempts a plot that seems straight out of a morality play: Mozart jeopardizes his marriage by dallying with other women; Casanova takes it upon himself to show Mozart the folly of his ways. ("Give me your hand," Casanova ordered. "We'll make a pact. I'll lead you to the love you need to compose.... You'll turn Don Giovanni
into a legend; it will be your payment to me.") Descriptions are often labored, with all the musicality of a pulp fiction bodice ripper. At times, characters seem to deliver history lessons rather than think, feel and speak for themselves. (During a walk in the Prague ghetto, Casanova provides some historical facts about the edicts against Jews.) When the Marquis de Sade sends exhortations from an asylum, the narrative hits its lowest notes. Those attempting to understand what made Don Giovanni
such a revolutionary opera may enjoy this fanciful account, but most will feel that even The Magic Flute
contains more reality than this lackluster production. Agent, Eric Simonoff at Janklow Nesbit. (Sept.)
