Friedrich Lippmann: Così fan tutte, La clemenza di Tito, Die Zauberflöte: Gemeinsames und Unterschiedliches in der Versvertonung

The article examines both the similarities and dissimilarities of Mozart’s treatment of verse in his last three operas. Dissimilarities begin with the various types of verse employed. Mozart follows the rules governing the setting of Italian and German verse to music, though not to a fault, as illustrated in Ferrando’s aria “Un’aura amorosa” from Così fan tutte. Mozart’s rhythm never distorts the verse structure (which one occasionally finds in the works of Italian composers) even though his primary goal is to clarify the meaning of the words. Ultimately it is the dialectic relationship between freedom (according to T. Georgiades) and law (referring to the co-determining role of verse) that lends Mozart’s operatic melodies their special allure and charm.

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