Zaïde is kind, loving and faithful. She is charming and delicate and believes in the power of love.
Mozart’s talent at musical characterization is already completely evident in the unfinished Singspiel Zaïde. The young Mozart experiments with new forms of expression and musical language. Zaïde’s first charming aria is in a lively dancing step, with a small adagio episode and change of tempo. The second aria is a rondo with small picturesque features. In the second act, Mozart clearly shows Zaïde’s ambivalence. The tense pathos of earlier arias is almost gone, replaced by deeply felt pain and sorrow. The highpoint of the characterization is the quartet, where Zaïde attempts to buy her lover’s life by sacrificing her own.
Mozart translates Zaïde’s feelings into the timeless language of music, allowing us to experience a multifaceted, kind, loving and strong young woman.
Madame Herz & Madame Silberklang
Madame Herz and Madame Silberklang are miserly, greedy, vain and narcissistic. The two sopranos bicker constantly.
The music for Madame Herz and Madame Silberklang reflects their conceit. They sing endless, uninteresting coloratura pieces, each trying to outdo the other in the high notes. Everything is superficial and showy without any deeper emotions.
The Singspiel Der Schauspieldirektor consists of just four vocal numbers and no major individual arias. There is thus little room for musical characterization or development.