This chapter provides an overview of the history, habits, and musico-dramatic conventions of German comic opera in German courtly theaters, the Burgtheater and Kärtnertortheater, and the three suburban theaters: the Theater in der Leopoldstadt, Theater auf der Wieden, and the Theater in der Josephstadt. Arguing for a transnational development of German opera, it delves deeply into paradigmatic examples of key moments in courtly and suburban theatrical life: Ignaz Umlauf’s Die Bergknappen (1778) and its relationship to resource extraction and mining in late eighteenth-century Vienna; Wranitzky’s Oberon (1789) and elements of magic opera in dialogue and in song; and finally, comic antics in Wenzel Müller’s Kaspar der Fagottist (1791).

The Magic Flute was written specifically for the Freihaus Theater auf der Wieden. As such, it is useful to consider the physical aspects and the history of the building as well as some of the other repertory that was performed there around the same time. When we include works that were performed in the Theater in der Leopoldstadt under the direction of Karl Marinelli – Schikaneder’s main rival – we can see that they share some musical and theatrical aspects of The Magic Flute. Plot lines or character types that found favor with audiences were reproduced in various works at both suburban theaters, allowing a faster creative process and resulting in a somewhat formulaic product. This adds to the notion that while The Magic Flute is certainly an exceptional work, it was, nevertheless, significantly influenced by the popular entertainment common in Viennese theaters of the eighteenth century.