Dave Lampson wrote:

>[Wouldn't it be far easier and more expedient (not that we all aren't
>fascinated with the "is too" "is not" nature of the discussion so far)
>to simply list any librettos that aren't crazy? Should be an awfully
>short list.  -Dave]

By "crazy" libretto, I really meant crazy excuse for a plot, which wasn't
helped any by the opera's text.  Examples of operas with librettos that
most would agree have literary merit are, IMO:

DaPonte's (see supra)
Otello
Rosenkavalier
Falstaff

Most other operas that I know have librettos which while possibly lacking
in great literary merit at least advance a plot for which a suspension of
disbelief is not totally unreasonable.  Examples are Carmen, Meistersinger,
Flying Dutchman, Puccini's operas, and all of the other Verdi operas whose
plots I know.

*Magic Flute*, while its libretto may have some coded messages for
Freemasons, has no plot.  The Queen of the Night's ladies in waiting
send Tamino (a prince so brave that he faints at the sight of a dragon
the ladies themselves have no problem dispatching) to rescue the kidnapped
Pamina, who, it turns out was kidnapped for her own good.  Curiously
enough, her kidnapper, Sarastro, like Pamina's mom, seems to find Tamino an
ideal husband for the lass, except that he and she must pass some tests of
worthiness before they can be united.  Never is there the slightest doubt
that they will pass those tests; all they have to do is walk confidently
through the darkness and the fire and water will part for them.  It's like
a college fraternity initiation.  The only interesting part of the tale is
that of Papageno and his search for a mate.  His are the only sensible
lines.  Everybody else speaks only in painfully obvious platitudes.

wm