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FeaturesOctober 2007 Mozart's Linnaeus On Ludwig Alois Friedrich von Köchel, compiler of the Köchelverzeichnis. In 1801, some ten years after Mozart’s death, The Magic Flute was performed in Paris as Les Mystères d’Isis (The Mysteries of Isis). It bore little resemblance to the Flute we know today: it was spiced up with arrangements of arias and ensemble pieces from The Marriage of Figaro, Don Giovanni, and, for good measure, bits of a Haydn symphony. Far from being shunned by a critical and discerning public, Les Mystères was wildly successful, so much so that a quarter century passed before Parisian audiences got to hear the real thing. Across the Channel, The Abduction from the Seraglio and other Mozart operas fared little better in high-spirited mutilations by conductor-impresarios like Sir Henry Bishop. Despite outraged shrieks from the likes of Berlioz, musical vivisection was popular during much of the early nineteenth century; Mozart, revered as he was, was no e ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 26 October 2007, on page 16 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/Mozart-s-Linnaeus-3635
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