In Either/Or (1843) Kierkegaard provides an analysis of Mozart’s three most popular operas — The Marriage of Figaro, The Magic Flute, and Don Giovanni. The operas are all from around 1790, circa 50 years before Kierkegaard’s analysis.
Kierkegaard zooms in on Cherubino in Figaro, Papageno in Magic Flute, and Dom Juan in Don Gionvanni. He sees each figure as a “mythical figure” seeking to tell as something about the nature and modes of human desire.
The proposal is that Cherubino represents desire qua “dreaming”, Papageno represents desire qua “seeking”, and Dom Juan represents desire qua “desiring”. The attempted vindication of this reading takes up a large part of the text.
Mozart was personal business for Kierkegaard. In a journal entry from 1839 we find him saying that Mozart’s Don Giovanni
“…has so demonically taken a grip on me that I can never forget it; it was this piece that drove me like Elvira out of the quiet night of the monastery” (my translation, from …saa diabolisk har grebet mig, at jeg aldrig mere kan glemme det; det var dette Stykke, der drev mig som Elvira ud af Klostrets stille Nat; see EE :122 1839, SKS 18, 46)