Originally posted by scacchipazzo
I was out of town and had little access to a PC, although there was one, sand and water called more strongly.
Here's my take on Mozart. By far the best is not really even an opera. Die Zauberflote is a singspiel and was Beethoven's favorite because he found Don Giovanni, technically the best, lewd and disturbing, moralist that he was. I vote in favo ...[text shortened]... s greatness made even cameo appearances in his lesser works and even his early efforts.
Ah! Much as I revere all four of the great Mozart operas, I'd feel inclined to place Magic Flute lowest of the four! Perhaps that's because of the Singspiel format, which prevents the work from achieving the same kind of extraordinary structural cohesion of Mozart at his best. In the case of the Magic Flute, I feel a little more that I'm appreciating a series of separate beautiful things, less that I am experiencing a unfolding work of complete coherence. Although it could be said that I'm unfairly criticising Flute for the conventions of the Singspiel format, I think that a similar criticism could certainly be levelled at Don Giovanni, where (amazing though they are), elaborate arias such as Mi Tradi and Il Mio Tesoro seem to halt the action in a manner somewhat reminiscent of Handel rather than forming an organic part of it.
I'd have to acknowledge that the Commendatore scene, with its extraordinary combination of beauty and terror, is unequivocally one of the finest scenes in all opera and perhaps the single most intense experience in Mozart. But for me, the two truly flawless masterpieces are the two comedies. Cosi fan Tutte does an amazing job of taking what might in principle be a crude, near farcical story and making it profound. Consider the shimmering beauty of the orchestration in Soave sia il vento, which spurs you to realise that, as far as the women are concerned, their men really are going off to war and might die! It's an extraordinary opera.
But for my money, the one that is a work of absolute, unremitting perfection is Figaro. The work's structure is so elegant, both musically and dramatically; Act II is one of the best bits of screwball comedy ever contrived and escalates with perfect timing; the Countess' aria is heartbreaking, but her final Piú docile io sono is exhilarating.
But as you say, to choose one is to sacrifice so much else. You're right to mention Zaide, which though unfinished contains perhaps my favourite single Mozart aria, Ruhe Sanft mein Holdes Leben. Even the hastily composed Clemenza di Tito contains some beautiful moments. And as for the early works, I've yet to explore them as thoroughly as you clearly have. I'll have to track down La Finta Semplice at the earliest opportunity!