"Magic Flute"". Mozart is said to have whispered the following to Constanze in reference to her sister Josepha Hofer, the coloratura soprano who premiered the role of the Queen of the Night: Solomon, while noting that Mozart's biographers often left out the ""crueler memories"" surrounding his death, stated, ""Constanze Mozart told Nissen that just before the end Mozart asked her what [his physician] Dr. Closset had said. When she answered with a soothing lie, he said, 'It isn't true,' and he was very distressed: 'I shall die, now when I am able to take care of you and the children."
"The Magic Flute The Magic Flute (German: ), K. 620, is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a ""Singspiel"", a popular form that included both singing and spoken dialogue. The work was premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's premature death. In this opera, the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro; instead, he learns the high"
"role in the content of Schikaneder's libretto. Mozart was an active Mason in Vienna, and wrote a substantial quantity of music for his own lodge, including in 1791 (see ""Mozart and Freemasonry""). Schikaneder had been a Mason in Regensburg (1786–7) for a few months before his lodge suspended him. The simpler accounts of Masonic influence in ""The Magic Flute"" assume that Masonry provided a system of values, symbolism, and ritual for the opera, but no part of the narrative. More elaborate accounts suggest that the opera was intended as an allegory with a hidden Masonic agenda. For instance, the evil"
"they themselves will marry after all. Notes Sources Il matrimonio segreto Cimarosa's only work still to be regularly performed, it is arguably one of the greatest 18th century opera buffa apart from those by Mozart. Its premiere was the occasion of the longest encore in operatic history; Leopold II was so delighted that he ordered supper served to the company and the entire opera repeated immediately after. The Italian premiere of the opera was given at La Scala in Milan on 17 February 1793 with Maria Gazzotti as Carolina and Vincenzo Del Moro as Paolino. England saw the work for"
"Il matrimonio segreto Cimarosa's only work still to be regularly performed, it is arguably one of the greatest 18th century opera buffa apart from those by Mozart. Its premiere was the occasion of the longest encore in operatic history; Leopold II was so delighted that he ordered supper served to the company and the entire opera repeated immediately after. The Italian premiere of the opera was given at La Scala in Milan on 17 February 1793 with Maria Gazzotti as Carolina and Vincenzo Del Moro as Paolino. England saw the work for the first time on 11 January 1794 at"
"Masonic lodges developed rites based on those in the novel. Late in the century, Masonic writers, still assuming that ""Sethos"" was an ancient story, used the obvious resemblance between their rites and the initiation of Sethos as evidence of Freemasonry's supposedly ancient origin. Many works of fiction from the 1790s to the 1820s reused and modified the signature traits of Terrasson's Egyptian initiation: trials by three or four elements, often taking place under the pyramids. The best-known of these works is the 1791 opera ""The Magic Flute"" by Wolfgang Amadeus Mozart and Emmanuel Schikaneder, in which the main character, Tamino,"
"shade piqued"", wrote a correspondent to the Viennese composer Johann Adolph Hasse, adding: ""... they probably expected others to seek after them, rather than they after others"". Hasse replied: ""The father, as I see the man, is equally discontent everywhere"". Leaving Venice on 12 March, the Mozarts journeyed to Padua, where during a day of sightseeing Wolfgang was commissioned by Don Giuseppe Ximenes, Prince of Aragon, to compose an oratorio for the city. The history of ""La Betulia Liberata"" (""The Liberation of Bethulia"") is obscure—it may not have been performed in Padua, or at all in Wolfgang's lifetime. In Verona,"
"an ancient document and map which contain directions from an old friar Barnabáš, how he might find treasure hidden under Mount Bezděz. As he is in debt, Kalina determines to take the prompts of the friar. However, the tunnel he digs leads him to underneath a room in the Malinas’ house, where his son has been making his farewells to his forbidden love Blaženka. It becomes clear that the aim of the old Barnabáš was to make Kalina discover his ‘treasure’: his old love Róza. The opera ends happily, with a double wedding. The Secret (opera) The Secret () is"
"be noble in spirit just as nobly born could be mean-spirited. This view appears in Mozart's operas; for example, in ""The Marriage of Figaro"", an opera based on a play by Pierre Beaumarchais (another Freemason), the low-born Figaro is the hero and the Count Almaviva is the boor. The Freemasons used music in their ceremonies (see ""Masonic music""), and adopted Rousseau's humanist views on the meaning of music. ""The purpose of music in the [Masonic] ceremonies is to spread good thoughts and unity among the members"" so that they may be ""united in the idea of innocence and joy,"" wrote"
"version was given in Prague in 1977). The musicologist Daniel E. Freeman has recently demonstrated the remarkable resemblance of the opening of the overture to ""Il gran Tamerlano"" and the opening of Mozart's Symphony No. 9, K. 73. Mysliveček visited the Mozarts frequently during all three of their trips to Italy in the early 1770s, and it is likely that Mozart knew the overture from his contacts with Mysliveček at that time. Eighteenth-century Italian operas in serious style are almost always set in a distant or legendary past and are built around historical, pseudo-historical, or mythological characters. The story of"
"parody of one of Mozart's own operas, Emanuel Schikaneder asks Mozart to write an opera for his theater. Mozart, desperate for money, obliges, despite Constanze's insistence that he finish the Requiem Mass. The couple fight and Constanze leaves with their young son, Karl. Mozart collapses during a performance of his finished work, ""The Magic Flute"". Salieri takes him home and offers his assistance on the Requiem. Salieri transcribes Mozart's verbal commands, and they work through the night. The next morning, a gravely ill Mozart apologizes to Salieri for his previous behavior. A guilty Constanze returns home and locks the unfinished"
"all know the picture drawn by the movie ""Amadeus"". It is false. Salieri did not poison Mozart, but they both worked in Vienna and were competitors... Here we have a short, not great, piece by Mozart, but at least something that really sheds new light on his daily life as an opera composer in Vienna. Of his discovery, Timo Jouko Herrmann has said: The first part is by Salieri and is written in pastoral style. The second part is written by Mozart. It involves a more march-like rhythm—the beginning is reminiscent of his 1782 opera ""Die Entführung aus dem Serail""."
"isolated exceptions, modern productions strongly reflect the creative preferences of the stage director. ""The Magic Flute"" is presently among the most frequently performed of all operas. On 28 December 1791, three and a half weeks after Mozart's death, his widow Constanze offered to send a manuscript score of ""The Magic Flute"" to the electoral court in Bonn. Nikolaus Simrock published this text in the first full-score edition (Bonn, 1814), claiming that it was ""in accordance with Mozart's own wishes"" (""Allgemeine musikalische Zeitung"", 13 September 1815). ""The Magic Flute"" is noted for its prominent Masonic elements, although some scholars hold that"
"Mozart: The Conspirators of Prague Mozart: The Conspirators of Prague is a 2009 adventure game developed by GameCO Studios (Game Consulting Studios) and published by Micro Application. The game was announced on March 1, 2007. The website went live on March 13, 2007 featuring concept art, screenshots, a trailer, wallpapers, and other game information. The game concerns the life of Wolfgang Amadeus Mozart circa 1788, in which he is depicted as a Freemason. While in Prague preparing for the debut of his new opera ""Don Giovanni"", he stumbles upon a plot to overthrow Joseph II. The third-person point-and-click adventure includes"
"a text by Giovanni Bertati, based on the 1766 play, ""The Clandestine Marriage"", by George Colman the Elder and David Garrick. The opera, performed at the Burgtheater on 7 February 1792, was so successful that Leopold had it played again the same evening in his private chambers – ""the longest encore in operatic history"" as one critic put it. Cimarosa did not consider the work his best, but it has a better libretto than some of his other comic operas, the plot clear, the characters well drawn and elaborate disguises and coincidences dispensed with. The composer's own favourite of his"
"pair Nellie, found music by Wolfgang Amadeus Mozart in the end of The Maze of Bones, leading them to Vienna, Austria, to learn about him and find a related clue. In Vienna, Amy and Dan discover that Mozart had an older sister: Maria Anna ""Nannerl"" Mozart. They go to a library to view her diary, only to realize Jonah Wizard, a fellow competitor in the search for The 39 Clues, stole it. They steal it from him, but then Nellie translates it and notices that three pages are missing. After finding the music from Mozart on the Internet, Amy and"
"interminable ""Matrimonio Segreto"", which is nearly as tiresome as ""The Marriage of Figaro"" without being anything like so musical."" Robert Schumann was impressed by Cimarosa's ""absolutely masterful"" orchestration, but by little else. Eduard Hanslick praised Cimarosa's wonderful facility, masterly compositional strokes and good taste. ""Full of sunshine – that is the right expression for Cimarosa's music"". Domenico Cimarosa Domenico Cimarosa ((; 17 December 1749 – 11 January 1801) was an Italian composer of the Neapolitan school. He wrote more than eighty operas, the best known of which is ""Il matrimonio segreto"" (1792); most of his operas are comedies. He also"
"they leave. They go to an archive to find the diary of Mozart's sister, Maria Anna ""Nannerl"" Mozart, only to discover that Jonah Wizard has stolen it. They steal the diary back. The diary leads them to Salzburg, Mozart's birthplace, but their search there ends when an explosion causes a cave-in. Amy and Dan think it was caused by the mysterious man in black, who has been at every major disaster that has happened to them. However, they later find out that the explosion was caused by Alistar Oh. Dan, Amy, and Nellie then go to Venice, where Dan and"
"the Michael Nyman Band. It is built upon, and then varying, the first fifteen bars. This work, in turn, became a duet between Wolfgang and Leopold Mozart in Nyman's opera ""Letters, Riddles and Writs"" titled ""Profit and Loss."" Madamina, il catalogo è questo """" (also known as the Catalogue Aria) is a bass catalogue aria from Mozart's opera ""Don Giovanni"" to an Italian libretto by Lorenzo Da Ponte, and is one of Mozart's most famous and popular arias. It is sung by Don Giovanni's servant Leporello to Elvira during act 1 of the opera. Sung to a mostly light-hearted tune,"
"Il segreto di Susanna Il segreto di Susanna (English: ""Susanna's Secret"", German: ""Susannens Geheimnis"") is an intermezzo in one act by Ermanno Wolf-Ferrari to an Italian libretto by Enrico Golisciani. The premiere of the opera was in German, in a translation by Max Kalbeck, at the Hoftheater in Munich on 4 December 1909. Count Gil returns home suspecting that he has seen his wife, Susanna, walking alone in the street, something he had forbidden her to do after their wedding. He is relieved when he discovers that she is playing the piano in the living room. However, it was the"
"rumors? Audio Recordings (""Mainly studio recordings"") Source: www.operadis-opera-discography.org.uk ""Motsart i Salyeri (Russian)"" Mozart and Salieri (opera) Mozart and Salieri (, ""Motsart i Salyeri"") is a one-act opera in two scenes by Nikolai Rimsky-Korsakov, written in 1897 to a Russian libretto taken almost verbatim from Alexander Pushkin's 1830 verse drama of the same name. The story follows the apocryphal legend that Antonio Salieri poisoned Wolfgang Amadeus Mozart out of jealousy over the latter's music. Rimsky-Korsakov incorporated quotations from Mozart's ""Requiem"" and ""Don Giovanni"" into the score. Richard Taruskin has placed this opera in the historical context of the development of the"
"Maurerische Trauermusik The (""Masonic Funeral Music"") in C minor, K. 477 (K. 479a), is an orchestral work composed by Wolfgang Amadeus Mozart in 1785 in his capacity as a member of the Freemasons. Mozart's own entry into his catalogue under the heading ""July 1785"" may be an error; he most likely forgot to enter a new heading for November. It was performed during a Masonic funeral service held on 17 November 1785 in memory of two of Mozart's Masonic brethren, Duke Georg August of Mecklenburg-Strelitz and Count Franz Esterházy von Galántha, members of the Viennese aristocracy. The work uses the"
"interest in the exotic culture of the Ottoman Empire, a nation which had only recently ceased to be a military threat to Austria. Mozart's opera includes a Westernized version of Turkish music, based very loosely on the Turkish Janissary band music. Certain aspects of the opera conform to an eighteenth-century European view of orientalism. The Pasha's titular harem, for example, reprised themes of sexual libertinage. And the comically sinister overseer, Osmin, is a send-up of earlier stereotypes of Turkish despotism. However, the opera also defies the stereotype of despotic Turkish culture, since its climax entails a selfless act of forgiveness"
"on his ""Requiem"", which a stranger in black commissioned from him. Mozart recalls Salieri's collaboration with Pierre Beaumarchais and asks if it could be true that Beaumarchais once poisoned someone, for genius and criminality are surely incompatible. Salieri then surreptitiously pours poison into Mozart's drink. Mozart begins to play at the keyboard, as Salieri begins to cry. Mozart sees this, but Salieri urges Mozart to continue. Mozart begins to feel ill, and leaves. Salieri ends the opera pondering Mozart's belief that a genius could not murder: did not Michelangelo kill for his commissions at the Vatican, or were those idle"
"outskirts of the city. In 1791, he persuaded Mozart to set one of his libretti, ""The Magic Flute"". This proved to be no ordinary ""Singspiel"". Though the traditional farcical elements remained, Mozart added a new seriousness, particularly in the music for Sarastro and his priests. Even more than ""Die Entführung"", the ""Magic Flute"" pointed the way forward for future German opera. The greatest German composer of the next generation, Beethoven, seized on ""The Magic Flute""'s blend of domestic comedy and high seriousness for his only opera, ""Fidelio"", the story of a devoted wife who saves her husband from political imprisonment."
"point, it became forbidden to transcribe the music and it was allowed to be performed only at those particular services at the Sistine Chapel, thus adding to the mystery surrounding it. Three authorized copies of the work were distributed prior to 1770: to the Holy Roman Emperor, Leopold I; to the King of Portugal; and to Padre (Giovanni Battista) Martini. However, none of them succeeded in capturing the beauty of the ""Miserere"" as performed annually in the Sistine Chapel. According to the popular story (backed up by family letters), fourteen-year-old Wolfgang Amadeus Mozart was visiting Rome when he first heard"
"also acknowledge an influence of Freemasonry. For detailed discussion of sources see , as well as ""Libretto of The Magic Flute"". In composing the opera, Mozart evidently kept in mind the skills of the singers intended for the premiere, which included both virtuoso and ordinary comic actors asked to sing for the occasion. Thus, the vocal lines for Papageno—sung by Schikaneder himself—and Monostatos (Johann Joseph Nouseul) are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments. In contrast, Mozart's sister-in-law Josepha Hofer, who premiered the role of the Queen of"
"the Mozart family grand tour between 1763 and 1766; he moved out of the premises in 1773. A museum since 1880, Mozart's birthplace introduces visitors to the early life of the composer, his first musical instruments, his friends and his passionate interest in opera. The third floor exhibits Mozart's childhood violin, harpsichord, as well as portraits, documents, family letters, and early editions of his music. There are also records of his life in Vienna and of his wife and family. The second floor is devoted to Mozart's interest in opera and includes the clavichord on which he composed ""The Magic"
"fairytale may have been influenced by his experience in the theater, which began in 1808 (Robertson 1992, xi). Wolfgang Amadeus Mozart's opera ""The Magic Flute"" was one of the many operas that Hoffmann conducted during the period in which he wrote ""The Golden Pot"". In the opera, Tamino must survive tests imposed by Sarastro,a wise magician, if he is to win her. The wise old Sarastro resembles Archivist Lindhorst in this regard, and Sarastro also has a female foe, the Queen of the Night, who is Pamina’s mother, comparing to the applemonger, who was Veronika’s wardress. Like the applemonger, the"
"disguise"". It was the first of the Italian operas to be based on Scott's romantic works, and marked the beginning of romanticism in Rossini's work. Scott was ""deeply influential in the development of Italian romantic opera"" to the extent that by 1840 (barely 20 years after this opera), there were 25 Italian operas based on his works, the most famous being Donizetti's ""Lucia di Lammermoor"" of 1835. Others in German, French and English followed. Written for the Teatro San Carlo in Naples, this was the seventh of nine operas which Rossini wrote for that house between 1815 and 1822. Although"
"such composition(s) have been lost, with only two introductory motets remaining. One of the best-known settings of the Miserere is the 17th century version by Roman School composer Gregorio Allegri. According to a famous story, Wolfgang Amadeus Mozart, aged only fourteen, heard the piece performed once, on April 11, 1770, and after going back to his lodging for the night was able to write out the entire score from memory. He went back a day or two later with his draft to correct some errors. That the final chorus comprises a ten-part harmony underscores the prodigiousness of the young Mozart's"
"desired and vows to destroy Mozart. Mozart, meanwhile, struggles to find work and begins drinking. His father, Leopold Mozart, comes to visit him in Vienna. Constanze and Mozart take Leopold to a masked party (which Salieri also attends), where Mozart entertains the guests with musical antics. Leopold disapproves of his son's hedonism, and the family argues until Leopold leaves town. Salieri hires a young girl to pose as the Mozarts' maid while spying for him. She takes him to the Mozart residence, where he discovers that Mozart is working on an opera based on the play ""The Marriage of Figaro"","
"among them. Later that year Mozart returned to Prague in order to complete and then produce his next opera, ""Don Giovanni"". At this time, he stayed with the Duscheks in their summer house, called the Villa Bertramka, at Smíchov near Prague. Mozart may also have stayed there while completing his opera ""La clemenza di Tito"" in September 1791. During the 1787 visit, Mozart wrote the concert aria ""Bella mia fiamma, addio,"" K. 528 (it is dated 3 November 1787). The composition of this aria was somewhat unusual; the following tale is attributed to Mozart's son Karl Thomas: Bernard Wilson, commenting"