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Updated: June 7, 2025
In modern times Singspiel has for the most part become merged in comic opera, which, though originally an importation from France, has become thoroughly acclimatised in Germany, and in the hands of such men as Johann Strauss, Franz von Suppé, and Carl Millöcker, has produced work of no little artistic interest, though scarcely coming within the scope of this book.
Nevertheless the older form of the Singspiel retained its popularity, and, although founded upon incorrect æsthetic principles for no art, however ingenious, can fuse the convention of speech and the convention of song into an harmonious whole was the means in later times of giving to the world, in 'Die Zauberflöte' and 'Fidelio, nobler music than had yet been consecrated to the service of the stage.
Pizarro is forced to hurry off to receive his guest, and the husband and wife rush into each other's arms. The closing scene shows the discomfiture and disgrace of Pizarro, and the restoration of Florestan to his lost honours and dignity. The form of 'Fidelio, like that of "Die Zauberflöte," is that of the Singspiel.
The Singspiel, established by Hiller and perfected by Mozart, had languished during the early years of the century, or rather had fallen into the hands of composers who were entirely unable to do justice to its possibilities.
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