For example, Mozart's later operas feature a series of memorable, strongly drawn female characters, in particular the so-called "Viennese soubrettes" who, in opera writer Charles Osborne's phrase, "contrive to combine charm with managerial instinct". Ideas and characterisations introduced in the early works were subsequently developed and refined. Unique among composers, Mozart ended all his mature operas, starting with Idomeneo, in the key of the overture. In his maturity, according to music writer Nicholas Kenyon, he "enhanced all of these forms with the richness of his innovation", and, in Don Giovanni, he achieved a synthesis of the two Italian styles, including a seria character in Donna Anna, buffa characters in Leporello and Zerlina, and a mixed seria-buffa character in Donna Elvira. Thus, his early works follow the traditional forms of the Italian opera seria and opera buffa as well as the German Singspiel. He used this gift to break new ground, becoming simultaneously "assimilator, perfector and innovator".
In a letter to his father, dated 7 February 1778, Mozart wrote, "As you know, I can more or less adopt or imitate any kind and style of composition". for seizing on and assimilating whatever in a newly encountered style (was) most useful to him". įrom a very young age Mozart had, according to opera analyst David Cairns, "an extraordinary capacity. His mature works are all considered classics and have never been out of the repertory of the world's opera houses. Three of the works were abandoned before completion and were not performed until many years after the composer's death. They range from the small-scale, derivative works of his youth to the full-fledged operas of his maturity. Wolfgang Amadeus Mozart's operas comprise 22 musical dramas in a variety of genres. Playbill for the opening performance of Die Zauberflöte, 30 September 1791
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