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Friederike Sophie Seyler
Friederike Sophie Seyler or F.S. Seyler, formerly Friederike Sophie Hensel (1737 or 1738, Dresden – 22 November 1789, Schleswig, née Sparmann; also referred to as ''Sophie Friederike''), was a German actress, playwright and librettist. Alongside Friederike Caroline Neuber, she was widely considered Germany's greatest actress of the 18th century.〔Susanne Kord (1993). "Tugend im Rampenlicht: Friederike Sophie Hensel als Schauspielerin und Dramatikerin" (in the Limelight: Friederike Sophie Hensel as actress and playwright ). ''The German Quarterly'', 66(1):1–19.〕 Her libretto for the Singspiel ''Oberon'' (originally titled ''Huon and Amanda'') was a major inspiration for Emanuel Schikaneder's libretto for the opera ''The Magic Flute''. She was briefly married to the actor Johann Gottlieb Hensel and then married the famous theatre director Abel Seyler. As an actress, she was known for portraying passionate and tragic characters. She was a member of Konrad Ernst Ackermann's troupe and performed at the Vienna Burgtheater, before joining the Hamburgische Entreprise and the travelling Seyler Theatre Company. Gotthold Ephraim Lessing lauded her as one of Europe's finest actresses in his influential work ''Hamburg Dramaturgy''.
==Work==
She wrote several plays, including ''Die Entführung oder die zärtliche Mutter'', which was much acted in the 1770s. She also wrote a libretto for a ''Singspiel'' based on the poem ''Oberon'', titled ''Hüon und Amande'', that became a great success in Hamburg. Her libretto was since re-adapted by Karl Ludwig Giesecke to provide a libretto for Paul Wranitzky, but without crediting her. Wranitzky's version became the first opera performed by Emanuel Schikaneder's troupe at their new theater, that established a tradition within the company of fairy tale operas that was to culminate later in Mozart's and Schikaneder's opera ''The Magic Flute''. ''Oberon'' as written by Sophie Seyler and built upon by Giesecke is similar to ''The Magic Flute'' in its plot and characters, and a number of the singers who participated in Giesecke/Wranitzky's Oberon took similar roles in the later opera. According to Peter Branscombe, "it has long been recognized that Giesecke, the named author of Wranitzky's libretto, deserves little credit for what is largely a plagiarism," concluding that "Giesecke's "''Oberon, König der Elfen'' is hardly more than a mild revision of Seyler's book." After the theatrical success of Giesecke's plagiarized version (and also after Seyler's death), Seyler's original was renamed ''Oberon'' and performed under this title.〔Peter Branscombe, ''W. A. Mozart: Die Zauberflöte'', Cambridge University Press, 1991, p. 28〕
While she was regarded as Germany's most prominent living actress, she also had a reputation for being unusually conceited and difficult to work with.〔Jan Philipp Reemtsma, ''Lessing in Hamburg: 1766-1770'', C.H.Beck, 2007〕 Richard E. Schade describes her as "a beautiful, if rather solidly built and domineering leading lady."〔Lessing Yearbook XII, 1980 p. 81〕 According to Phyllis Hartnoll, "even Lessing, who detested her, had to admit she was a fine actress. In private life she was malicious and intriguing, her character contributing to the downfall of the Hamburg enterprise."〔Phyllis Hartnoll, ''The Oxford companion to the theatre'', p. 386, Oxford University Press, 1983〕
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