It is not surprising that The Magic Flute has been staged by innovative contemporary directors: its madness makes it ideal as a director's means of communication. Modern opera has been criticized for being boring or whatever, but here are three directors who, although they have faced criticism themselves, approached opera with a new perspective and a desire to change what they felt where rigid conventions that do not they were more Richard Wagner was extremely interested in the music of other composers, both those of his contemporaries and those who had influenced the opera scene before him. Being an opera composer and librettist himself, he listened carefully to the offerings of other composers, forming his opinions with even more caution. In his analysis of Mozart's work, Wagner credited the composer with having "created true German opera". Modern music critics continue to scratch their heads when considering Wagner's enthusiastic remarks about Mozart. In a review published on the Flos Carmeli Arts Blog on 26 February 2010, Steven Riddle describes Mozart as a German composer who writes music that is "flexible, agile, light and lovely", while Wagner's is "like a beautiful cudgel, slow and ponderous". . Although they have little similarity in style as composers, it was not simply Mozart's music that fascinated Wagner. The Magic Flute inspired Wagner with its characters and their acute development, as well as Mozart's clear voice as an interpreter of drama in music. He praised Mozart for his ability to create a genre unlike anything seen before in German opera. The Magic Flute was an opera that lived between Opera Seria and Opera buffa (both common in German opera of the time), but also contained many musical styles of ornate Italian opera. ...... half of the sheet ...... and gaps caused by heavy changes to 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. Particularly daring was the cutting of the Three Ladies and the Three Spirit Children, which he considered simple mechanisms of exposition and magic. What Brook wanted to create was a character who was a real individual and not a singer in a superfluous show. His work with the Queen of the Night achieved this in particular. While she is clearly the villain of Flute, Mozart's music gives her a complexity that Brook highlighted. Her aria of revenge, in which she mourns the loss of her daughter to Sarastro, is best known for its wickedness. In Brook's Flute, the aria begins softly and tenderly, revealing the mother drunk beneath the evil queen..