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Grand finale 1791: Mozart's last year brought a great creative explosion, including his two final operas, La Clemenza di Tito and Die Zauberflote. Few works could seem less alike, but Anthony Rudel finds the connections between them.

Opera News

| April 01, 2005 | Rudel, Anthony | COPYRIGHT 2005 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

1791 was Mozart's final year, the year that saw the creation of two of his most heavenly masterpieces, Die Zauberflote and La Clemenza di Tito. Given the remarkable depth and breadth of Mozart's last burst of glory, the question arises: how did he manage to produce two operas with the wildly divergent subjects, styles and situations of Die Zauberflote and La Clemenza di Tito?

He didn't. The truth is, beyond their obvious differences--one is a comic German singspiel, the other a sober, Italian opera seria--these two final works are of a piece.

La Clemenza di Tito is one of Mozart's three major opere serie; Lucio Silla, from his earlier years, and ...

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