It is not surprising that The Magic Flute has been directed by innovative contemporary directors: its madness makes it an ideal medium for a director. Modern opera is criticized for being boring or whatever, but here are three directors who, despite being criticized themselves, approached opera with a new perspective and with a desire to change what they felt where rigid conventions were no longer Richard Wagner was supremely interested in the music of other composers, both those of his contemporaries and those who influenced the opera scene before him. As an opera composer and librettist himself, he listened attentively to the proposals of other composers, forming his opinions with even more caution. In his analysis of Mozart's work, Wagner credits the composer with "the creation of true German opera." Modern music critics continue to scratch their heads when examining Wagner's enthusiastic remarks about Mozart. In a review published on the Flos Carmeli Arts Blog on February 26, 2010, Steven Riddle describes Mozart as a German composer who writes music that is "flexible, agile, light and charming", while Wagner's is "like a beautiful club - slow and heavy". Although they have few similarities in style as composers, it was not only Mozart's music that appealed to Wagner. The Magic Flute inspired Wagner with its characters and their vivid development, as well as by Mozart's clear voice as an interpreter of drama in music He praised Mozart for his ability to create a genre unlike any previously known in German opera. which lived between Opera Seria and Opera buffa (both common in German opera at the time), but also contained many musical styles of ornate Italian opera...... middle of paper. ......e gaps caused by heavy editing of the booklet. He only gave voice to the most important characters, Pamina and Tamino, Papageno and Papagena, the Queen of the Night, Sarastro and Monostatos. His cutting of the Three Ladies and the Three Spirit Children, which he saw as mere mechanisms of exposition and magic, was particularly daring. What Brook aspired to create were characters who were real individuals rather than singers in a spectacle of the superfluous. Her work with the Queen of the Night particularly achieves this goal. Although she is clearly the villain in Flute, Mozart's music gives her a complexity that Brook pointed out. Her aria of revenge, in which she mourns the loss of her daughter to Sarastro, is best known for its treacherous colatura. In Brook's Flute, the tune begins softly and tenderly, revealing the broken mother beneath the evil queen..