Mozart is still little studied by psychoanalysts. Yet the clinical richness of the classical music school of psychoanalysis has much to offer analysts of all theoretical persuasions.  

Consider The Magic Flute. This engrossing case study centers around a mother second to none in pathogenic parenting -- she demanded that her daughter commit a murder in the service of her own megalomaniacal drive for power -- yet among analysts she has never attracted the attention that Dora's father has, say, or Mrs. Z. The intended victim was a man whom the mother feared, envied, and wished to depose, and with whom she was engaged in a bitter custody battle. The mother promised her daughter, without her consent, in marriage to a young man whom she had also enlisted in her campaign to rule the world. The daughter's efforts at separation had not been encouraged by her narcissistic mother, who now  threatened her with abandonment should she fail in the killing; success, however, would have deprived the daughter simultaneously not only of a much-desired father figure, but also of the new relationship with her husband-to-be, whom she had come to love. Her cruel dilemma brought her to the brink of suicide with the very dagger that her mother had forced into her hand.
 

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