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, only here are three directors who, although they faced criticism themselves, approached opera with late perspective and with a desire to change what they felt where stiff conventions that no longer Richard Wagner was supremely interested in the music of other composers, both that of his generation 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 credited the composer with creating true German operaModern music critics continue to scratch their heads when considering Wagners gushing remarks on Mozart. In a review posted to the Flos Carmeli Arts Blog on February 26, 2010, Steve n shield 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 ingest little similarities in style as composers, it was not simply Mozarts music that enamored Wagner. The Magic Flute inspired Wagner with its characters and their keen development, as salubrious as Mozarts clear voice as an interpreter of the drama within the music. He praised Mozart for his ability to create a genre that was unlike both previously seen in the German Opera. The Magic Flute was an opera that lived between 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 important characters, Pamina and Tamino, Papageno and Papagena, the Queen of the Night, Sarastro and Monostatos. specially bold was his cutting of th e Three Ladies and the Three Spirit 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 prejudice of he daughter to Sarastro, is mostly known for its treacherous colatura. In Brooks Flute, the aria began softly and tenderly, reaveling the bevered mother underneath the evil Queen.