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We may be able to point to passages which are a development of something occurring in the composer's earlier works, such as 'Die Entführung, but there is hardly anything in the score of 'Die Zauberflöte' which suggests an external influence.
In 1782 his "Entfuhrung aus dem Serail" was produced at Vienna by the Emperor's command. His next great opera was "Le Nozze di Figaro," which was performed in 1786, and made all Vienna go wild. "Don Giovanni" followed it the next year, and was received with equal enthusiasm.
Mozart was altogether too careless in accepting librettos unworthy of his genius. Yet occasionally he took the liberty to improve the stuff that was submitted to him. As the learned librarian, Herr Pohl, remarks, "In the 'Entführung' it is interesting to observe the alterations in Bretzner's libretto which Mozart's practical acquaintance with the stage has dictated, to the author's great disgust.
Similarly, he signalised his arrival at the full maturity of his powers by producing an Italian and German masterpiece side by side. 'Die Entführung aus dem Serail' was written for the Court Theatre at Vienna, in response to a special command of the Emperor Joseph II. It was produced on July 13, 1782.
Mozart borrowed the underlying idea of the opera buffa, applied it to the form of the Singspiel, which he kept intact, and produced a work which succeeded in revolutionising the history of German opera. But, apart from the question of form, the music of 'Die Entführung' is in itself fine enough to be the foundation even of so imposing a structure as modern German music.
In its modern form, this little opera, in which a lover is introduced into his mistress's garden inside an enormous goose, has been successfully performed both in France and England. Not even the success of 'Die Entführung' could permanently establish German opera in Vienna. The musical sympathies of the aristocracy were entirely Italian, and Mozart had to bow to expediency.
In 1782 appeared "Die Entführung aus dem Serail," his first really important opera, full of beautiful airs, which at once became enormously popular with the Viennese. The Emperor Joseph II. knew very little about music, but, as frequently happens in such cases, considered that he possessed prodigious taste.
Much of 'Die Entführung' is so thoroughly and characteristically German, that at first sight it may be thought surprising that it should have succeeded so well in a city like Vienna, which was inclined to look upon the Singspiel as a barbarian product of Northern Germany. But there is a reason for this, and it is one which goes to the root of the whole question of comic opera.
I had to sigh and sue until I was nigh unto despair before I was successful." "But you concluded both works on the same day." "Yes, sire. First, that which lay in my head, and then that which was nearest my heart." "I congratulate you upon the success of both. 'Die Entfuhrung aus dem Serail' is a charming opera. Charming, but it contains too many notes."
This same friend brought about a reconciliation with the mother of Constance. The house in which the widow and her daughter lived was called "Das Auge Gottes," and the Viennese, who knew the history of Mozart's marriage, had called it "Die Entfuhrung aus dem Auge Gottes." "Truly," replied Mozart, still somewhat embarrassed, "the abduction from the Auge Gottes, sire.
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