Essay --

Not surprising that The Magic Flute has been staged by contemporary innovative directors- its craziness makes it ideal for being a directors medium. Modern opera house criticized for being boring or whatever, but here are three directors who, although they faced criticism themselves, approached opera with fresh perspective and with a desire to change what they felt where impish conventions that no longer Richard Wagner was supremely interested in the music of former(a) composers, both that of his contemporaries and those who had influenced the operatic stage before him. As an opera composer and librettist himself, he listened to the offerings of other composers carefully, forming his opinions with even more caution. In his anaylsis of Mozarts work, Wagner attribute the composer with creating true German operaModern music critics continue to move up their heads when considering Wagners gushing remarks on Mozart. In a review post to the Flos Carmeli Arts Blog on February 26, 2 010, Steven Riddle describes Mozart as a German composer who writes music that is flexible, nimble, light and lovely, while Wagners is like a beautiful bludgeon- slow and ponderous. While they possess little similarities in style as composers, it was not simply Mozarts music that enchant Wagner. The Magic Flute inspired Wagner with its characters and their keen development, as well as Mozarts clear voice as an interpreter of the drama deep down the music. He praised Mozart for his ability to create a genre that was unlike either previously seen in the German Opera. The Magic Flute was an opera that lived amongst Opera Seria and Opera buffa (both common in German opera at the time), but also contained many musical styles of the ornate Italian opera. ... ...e gaps caused by heavy editing to the libretto. He gave voice only to the most significant characters, Pamina and Tamino, Papageno and Papagena, the Queen of the shadow, Sarastro and Monostatos. Particularly bold was h is cutting of the Three Ladies and the Three middle Children, who he deemed merely mechanisms of exposition and magic. What Brook yearned to create where characters who were true individuals as opposed to singers in a pageant of the superfluous. His work with the Queen of The Night particularly reached this goal. While she is clearly the villainess of Flute, Mozarts music gives her a complexity that Brook highlighted. Her revenge aria, in which she mourns the loss of he daughter to Sarastro, is generally known for its treacherous colatura. In Brooks Flute, the aria began quietly and tenderly, reaveling the bevered mother underneath the evil Queen.