WEFOUNDHappily Harem After: Five Classic Fairy Tales Reimagined


More recent efforts to separate the Mozart myth from reality have, if anything, underlined the genius of a creative artist who understood humanity in its infinite variety and was able to translate that understanding into music of profound invention. His finest stage works stand comparison to those of Shakespeare. He crafted new vocal pieces with specific singers in mind, accepting their strengths and weaknesses as significant shaping forces in the act of composition. 

Mozart assimilated the essence of the existing models of music for stage and church, and raised them to new heights of inspiration. His early Italian operas and pieces for the German-speaking theatre rarely challenge existing conventions, but they set the ground for the mould-breaking works of his later years. Likewise, his Salzburg masses paved the way for the great sacred pieces of his Vienna years, the C minor Mass and Requiem among them. 

Two further da Ponte operas, and final masterpieces The Magic Flute and The Requiem contain everything necessary to contradict Glenn Gould’s perverse judgement on Mozart. 


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