Mozart places singing at the heart of his concertos. Introverted and sometimes uncertain at the beginning of Concerto No. 17, it then transforms into a bird's song - foreshadowing that of Papageno - to conclude in a finale worthy of a comic opera. More majestic in Concerto No. 22 - contemporary with the Nozze di Figaro - it becomes harsher in the slow movement before returning to more joyful melodic motifs, one of which will be reused in Così fan tutte. Never have operas and concertos been so close.
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