=Characteristics of Mozart’s Operas=.—Mozart’s _conception_ of the opera is that of the _musician_, _not_ of the _dramatist_. This is plain from the indifferent texts he willingly accepted, yet so universal was his genius that he fused the two elements into a complete and consistent whole. Such a union of clearly-cut characterization and musical beauty is unknown in the opera. He made his _characters eternal types_ by means of music so apposite to their individuality that it seems in each case to spring from inward necessity, yet which as music has never been surpassed for intrinsic grace and charm. Italian melody in its best estate on a foundation of German depth and solidity is its distinguishing characteristic. This characterization is confined, however, to details and personages; of the development of the drama as a whole he apparently had but little idea. This, however, was not called for by the taste of the times; the opera was not considered from a dramatic standpoint, save by Gluck and the composers of the French school; the libretto furnished a series of situations suitable for musical illustration, not a consistent and logical dramatic action. =Their Significance to German Art=.—Mozart marks the highest point reached by the opera of the 18th century; he also _marks the passing of Italian supremacy in Germany_. The Germans were already masters of the other great forms, the Oratorio and the Symphony; Gluck and Mozart captured the Opera also for Germany, though it was not for several decades after Mozart’s death that German opera rose from its discredited position at the close of the century. =Beethoven’s Fidelio=.—A mighty impulse was given to the development of a national school by the production of _Fidelio_ (1805), Beethoven’s only opera. His two great predecessors had been obliged for the most part to write their operas to French and Italian texts. =Beethoven= (1770-1827), however, showed his independence and sturdy national character by choosing a subject totally alien to the frivolous intrigues which at that time ruled the Viennese stage—a story of heroic, wifely devotion—and composed it to German words and in the German style; that is, with dialogue instead of recitative. Essentially symphonic in character, _Fidelio_ shows the same disregard of vocal limitations which characterizes the Ninth Symphony and the Mass in D. Difficult for the singers, it was still more difficult for the public. In subject and treatment it was above their heads; they turned it the cold shoulder and it soon disappeared from the boards. An appreciation of its greatness was reserved for a later day.