It is well known that Mozart had close contact with the Masonic lodges and sympathized with their ideals of Enlightenment. This is also expressed in his stage works: above all in the Da Ponte operas, but also in the Magic Flute and no less in Thamos, King of Egypt. But how much of it can can be attributed to Mozart and his librettists? And is it really justified to speak of Mozart as a man of the Enlightenment?
The young, likeable philosopher Dr. Juri Viehoff devoted himself to this question in an interesting lecture at the Mozarteum Foundation, in which he tried to break down Mozart's complex relationship to the Enlightenment.