Marieke de Koker

Opera History Paper: Die Zauberflöte by W.A. Mozart

Die Zauberflöte was an enormous success internationally since its premier, due to its

compositional mastery which combined existing trends with novel innovations. Composed in

1791, this opera is considered the greatest German Singspiel of all time.

As a Singspiel, Die Zauberflöte combines popular melodies and simple, strophic folk

songs with the Italianate musical style that was dominating the Singspiele of the time. The opera

features the typical Singspiel dances, marches, a principal comic character (Papageno), and a

wide range of vocal difficulty among characters since Singspiel troupes contained both amateur

singers and experienced ones. Though, the length of musical numbers and their complexity was

far beyond the level of typical Singspiele.

Die Zauberflöte is considered innovative for its wide range of musical styles, its use of

motifs, its incorporation of Masonic ideals, and its novel harmony, simplicity and form. As a

Singspiel, the spoken dialogue separating musical numbers allowed Mozart to incorporate an

“unprecedented stylistic range” ¹ (Rushton) of musical elements including lyrical comedy, folk

song, romantic-style arias, opera seria, chorales, marches, dances, and more. These different

musical forms and orchestrations served the story by representing the unique characters and

situations. The motifs in Die Zauberflöte laid the foundation to Wagner’s leitmotif by introducing

motivic repetition, specific keys and instrumentation linked to characters and situations.

Furthermore Mozart incorporated his Masonic beliefs by setting musical elements in groups of

three - chords, rhythms and motifs. He also used tonalities associated with masonic music, such

as E-flat major, as well as “ritual music” ¹ (Rushton) in Sarastro’s songs. His use of three

trombones, a basset horn and xylophone was certainly unorthodox for an opera orchestra.
 While the simplistic style galant was dominating Europe during Mozart’s time as a

backlash to the intricacies of Baroque, Mozart maintained a close connection to baroque

techniques of counterpoint. Mozart’s later works were much more simplified, containing

“distilled melodies, pure harmonies and luminous textures” ² (Gutmann), but his music was still

sometimes seen as “too audacious and complex” ³ (Eisen). His use of rich and chromatic

harmony, formal innovation, motivic development and counterpoint made him a unique

compositional master who at times foreshadowed elements of the Romantic, and at times

reminisced about Baroque intricacies. He largely drew influences from the structures and

techniques of Bach, the lyrical Italian opera and its overture, and the simplistic style galant of the

time. His later operas feature subtle changes in instrumentation, texture and color to show

emotional depth.

Die Zauberflöte has always fascinated me due to its abstract fantasy world and its

Commedia dell’arte stock characters. I’m more drawn to realism and verismo, or the Mozart

DaPonte operas. Like many critics over the years, I’ve had trouble connecting to the story and

text of Die Zauberflöte, and I agree with these critics that the music is what really carries this

opera through and makes it such a great work. By now I know the melodies of all the character’s

arias like the back of my hand, they are so memorable and unique to each character. In my

humble opinion, I think Mozart invented the Dramatic Coloratura fach with his Queen of the

Night, Konstanze, Fiordiligi, Madame Herz and Elektra. He wrote the voice parts for his operas

as if they were custom-fit for particular singers, which makes it a unique challenge to perform.

Sources:

¹ Rushton, J. (2002). Zauberflöte, Die. Grove Music Online. Retrieved 24 May. 2020,

from https://www-oxfordmusiconline-
com.ezproxy.depaul.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-

9781561592630-e-5000907810

² Gutmann, P. (2015). Mozart Die Zauberflöte. Classical Notes. Retrieved 24 May. 2020,

from http://www.classicalnotes.net/opera/zauberflote.html

³ Eisen, C., & Sadie, S. (2001). Mozart, (Johann Chrysostom) Wolfgang Amadeus. Grove

Music Online. Retrieved 24 May. 2020, from https://www-oxfordmusiconline-

com.ezproxy.depaul.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-

9781561592630-e-6002278233.

Branscombe, P., & Bauman, T. (2001). Singspiel. Grove Music Online. Retrieved 24

May. 2020, from https://www-oxfordmusiconline-

com.ezproxy.depaul.edu/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-

9781561592630-e-0000025877.

Bridges, K. “Outline of French German and English Opera in the 18th Century" Opera

History. DePaul University, Chicago. 30 April 2020.