The Magic Flute Papageno is frightened and asks Pamina what they should say. She answers that they must tell the truth. Sarastro enters, with a crowd of followers. (chorus: "Es lebe Sarastro!") Pamina falls at Sarastro's feet and confesses that she tried to escape because Monostatos had forced his attentions on her. Sarastro receives her kindly and assures her that he wishes only for her happiness. But he refuses to return her to her mother, whom he describes as a proud, headstrong woman, and a bad influence on those around her. Pamina, he says, must be guided by a man. Monostatos brings in
Mozart and dance eighteenth-century composers were expected to be adept at producing both 'popular' and 'serious' music, and that there was no categorical difference between the two.". Abert (2007) wrote, "the most striking aspect of these dances is their almost literally inexhaustible fund of invention. Although their form offers only limited scope for experimentation, each dance differs from the others." Lindmayr-Brandl (2006) writes that "[the dances] that are accessible today, brought to life in the concert hall or in recordings, represent a precious treasure, the immediate expression of the joy of life." Mozart included a substantial ballet at the end of his opera