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The Magic Flute

2007 Schools Wikipedia Selection. Related subjects: Poetry & Opera

       Operas by Wolfgang Amadeus Mozart

   Die Schuldigkeit des ersten Gebotes (1767)
   Apollo et Hyacinthus (1767)
   Bastien und Bastienne (1768)
   La finta semplice (1769)
   Mitridate, re di Ponto (1770)
   Ascanio in Alba (1771)
   Il sogno di Scipione (1772)
   Lucio Silla (1772)
   La finta giardiniera (1775)
   Il re pastore (1775)
   Thamos, König in Ägypten (1779)
   Zaide (1780)
   Idomeneo (1781)
   Die Entführung aus dem Serail (1782)
   L'oca del Cairo (1783)
   Lo sposo deluso (1784)
   Der Schauspieldirektor (1786)
   The Marriage of Figaro (1786)
   Don Giovanni (1787)
   Così fan tutte (1790)
   The Magic Flute (1791)
   La clemenza di Tito (1791)

   Die Zauberflöte, K. 620, (en: The Magic Flute) is an opera in two acts
   composed by Wolfgang Amadeus Mozart to a German libretto by Emanuel
   Schikaneder. The work is in the form of a Singspiel, a popular form
   which included both singing and spoken dialogue.

Performance history

   It premiered in Vienna on September 30, 1791. The premiere was at an
   out-of-town but not obscure theatre. Schikaneder himself played
   Papageno, while the role of the Queen was sung by Mozart's
   sister-in-law Josepha Hofer. The opera garnered only a lukewarm
   reception at the time of its opening but slowly gained popularity,
   thanks to Schikaneder's extensive publicizing, and celebrated its 100th
   performance in November 1792. Unfortunately, Mozart did not have the
   pleasure of witnessing this milestone, as he had died on December 5,
   1791, barely two months after the opera's premiere. Today, Die
   Zauberflöte is one of the most beloved works in the operatic
   repertoire, and is presently the 10th most frequently performed opera
   in North America, according to Opera America.

Background

   The opera is often noted for its prominent Masonic elements. Both
   Schikaneder and Mozart were Masons and lodge brothers, though the
   Freemasons were at the time regarded by the public at large as a
   dangerous and subversive organization. The opera is also heavily
   influenced by Enlightenment philosophy, and can be regarded as an
   allegory espousing enlightened absolutism. The Queen of the Night
   represents irrational-diabolic obscurantism, whereas her antagonist
   Sarastro symbolises the reasonable sovereign who rules with
   paternalistic wisdom and enlightened insight. In the end he prevails
   over the darkness ("The sun's rays drive away the night, destroy the
   evil power of the dissembler"). But the darkness is by no means
   frightening and abhorrent, but beautiful, mysterious and fascinating.
   As an awesome seductress the Queen of the Night is a dangerous power
   who can only be overcome by knowledge; and since Papageno refers to her
   as "the Star-flaming Queen" (die Sternflammende Königin), it seems that
   light is not the exclusive province of the good crowd.

   Many of the melodies are highly familiar, and include the
   Papageno/Papagena duet and the coloratura aria, "Der Hölle Rache kocht
   in meinem Herzen" ("The vengeance of Hell boils in my heart"), often
   referred to as the "Queen of the Night" aria, which reaches a high F6
   (see Scientific pitch notation) – this opera is one of the few
   classical operas known to have singers reach this note. In fact, it is
   very common amongst musicians to refer to this note as "Queen of the
   Night F", especially in European countries.

   A notable feature of the music is the way in which Mozart was able to
   write for a range of skill-sets in the singers. Compare, for example,
   the vocal lines for Monostatos (which are easy, "obvious" lines to sing
   for a modest voice, are also often stated first in strings so the
   singer can find his pitch; and which are doubled as he sings, to give
   him the tune) with those of Pamina or the Queen of the Night (which
   give few such clues for the singer and demand decent operatic ability).
   Yet, in ensembles, Mozart manages to combine voices of virtuosos with
   those of what are essentially comic actors, and create a satisfying
   result. The F6 which the Queen of the Night must reach in both her
   arias is beyond the range of many first-rate sopranos. At the low end,
   Sarastro must sing an F at several points; it requires a good bass to
   hit the note impressively, but the note does not go below the range of
   the choral basses.

   Note that while the female roles in the opera are assigned to different
   voice types, Mozart referred to all his female singers as "sopranos",
   although he did not intend all the roles to be sung by actual sopranos.
   The voice type required for the part is judged by the melody itself and
   its tessitura and also which singers performed in the early
   performances.

Roles

   Emanuel Schikaneder as Papageno in Mozart's Die Zauberflöte.
   Emanuel Schikaneder as Papageno in Mozart's Die Zauberflöte.
     * Principal roles
          + Tamino - tenor
          + Papageno - baritone
          + Pamina - soprano
          + The Queen of the Night - coloratura soprano
          + Sarastro - bass
     * Minor roles
          + Three ladies - two sopranos and one mezzo-soprano
          + Monostatos - tenor
          + Three Boys (or genii) - trebles (or a treble, an alto and a
            mezzo-soprano)
          + Speaker of the temple - bass
          + Two priests - tenor and bass
          + Papagena - soprano
          + Two armored men - tenor and bass
     * Other
          + Priests, women, people, slaves - chorus

Synopsis

   Overview: Sarastro, the wise priest of Isis and Osiris, has taken
   Pamina to the temple for the humane purpose of releasing her from the
   influence of her mother, the Queen of the Night. The queen induces the
   young Prince Tamino to go in search of her daughter and free her from
   the power of Sarastro; Tamino accomplishes his end, but becomes the
   disciple of Sarastro, whose mildness and wisdom he has learned to
   admire. The prince and the princess are united.

Act I

   Tamino, a handsome prince who is lost in the forest, is pursued by a
   serpent. He faints from fatigue and three ladies, attendants of the
   queen, in black robes, appear and kill the serpent. They all fall in
   love with the prince and each plans to be alone with him. Through their
   arguing, they decide that it is best if they all leave together.

   Tamino recovers, and sees before him Papageno, arrayed entirely in the
   plumage of birds. His entrance aria tells of his job as a birdcatcher
   and the fact that he is longing for a wife. Tamino approaches Papageno
   and asks who he is. Papageno jokes with Tamino but says that he brings
   the birds that he catches to the Queen of the Night's servants, who
   give him food and drink in return. Tamino thinks that Papageno has
   saved him from the serpent and Papageno claims that he has strangled
   the serpent. At this moment, the three ladies appear and punish his lie
   by paying for his birds with a stone instead of food and water instead
   of wine, and by placing a padlock over his mouth. They tell Tamino that
   they were responsible for saving him. He deeply appreciates them and
   they show to the prince a miniature of a young maiden, Pamina, upon
   which he gazes in ecstasy. (Aria: Dies Bildnis ist bezaubernd schön)

   The Queen of the Night now appears, demanding that Tamino free her
   daughter, the original of the picture, from the hands of Sarastro,
   promising that he can marry Pamina in return. (Recitative and aria: O
   zittre nicht) The ladies give Tamino a magic flute that can change
   men's hearts, remove the padlock from Papageno and present him with a
   chime of bells to protect him. Papageno accompanies Tamino, and they
   set forth, guided by three boys. They escape all danger by the use of
   the magic instruments. (Quintet: Hm hm hm hm)

   Change of scene (this scene forms Act II when the opera is divided into
   three acts): A room in Sarastro's palace.

   Pamina is dragged in by Sarastro's servant Monostatos, a moor, who is
   persecuting her. Papageno arrives and announces to her that her mother
   has sent Tamino to her aid. Monostatos is terrified by Papageno's
   strange appearance and takes to flight. (Trio: Du feines Täubchen, nun
   herein!) Pamina and Papageno both talk of their desires, which turn out
   to be love. (Duet: Bei Männern)

   Change of scene: Grove and entrance to the temples.

   The three boys lead in the prince. As Tamino reaches the temple, he is
   denied entrance at the Gates of Nature and Reason, but at the Gate of
   Wisdom, a priest appears and reveals to him the noble character of
   Sarastro. When Papageno appears with Pamina all three are about to
   escape, but are prevented by Monostatos. Sarastro and chorus enter.
   (Chorus) Pamina falls at his feet and confesses that she was trying to
   escape because Monostatos had demanded her love. Sarastro receives her
   kindly and tells her that he will not force her inclinations, but
   cannot give her freedom. He punishes Monostatos for his insolence and
   leads Tamino and Papageno into the temple of Ordeal.

Act II

   Grove of palms. The council of priests determines that Tamino shall
   possess Pamina if he succeeds in passing through the ordeal, as they do
   not wish to return her to her mother, who has already infected the
   people with superstition. (Aria, Sarastro: "O Isis und Osiris" and
   chorus)

   Change of scene: The courtyard of the temple of Ordeal.

   Tamino and Papageno are led into the temple. Tamino is cautioned that
   this is his last chance to turn back, but he states that he will
   undergo every trial to win his Pamina. Papageno is asked if he will
   also concede to every trial, but he says that he doesn't really want
   wisdom or to struggle to get it. The priest tells Papageno that
   Sarastro may have a woman for him if he undergoes the trials, and that
   she is called Papagena. Papageno says that he wouldn't mind a look at
   her to be sure, but the priest says that he must keep silent. Papageno
   finally agrees.

   The first test is that Tamino and Papageno shall remain silent under
   the temptation of women. (Duet, Speaker and Priest) The three ladies
   appear, and tempt them to speak. (Quintet, Papageno, Tamino, Three
   Ladies) Tamino and Papageno remain firm, though Tamino must constantly
   tell Papageno,"Still!"

   Papageno confronts one of the priests and asks why he must undergo
   tests if Sarastro already has a woman that wants to be his wife. The
   priest says that it is the only way.

   Change of scene: A garden. Pamina asleep.

   Monostatos approaches and gazes upon her with rapture. (Aria,
   Monostatos: "Alles fühlt der Liebe Freuden") When the Queen of the
   Night appears and gives Pamina a dagger with which to kill Sarastro
   (Aria, Queen of the Night: " Der Hölle Rache kocht in meinem Herzen"),
   Monostatos retires and listens. He tries to force Pamina's love by
   using the secret, but is prevented by Sarastro, who allays Pamina's
   alarm. (Aria, Sarastro: "In diesen heil'gen Hallen")

   Change of scene: A hall in the temple of Ordeal.

   Tamino and Papageno must again suffer the test of silence. Papageno can
   no longer hold his tongue, but Tamino remains firm, even when Pamina
   speaks to him. Since Tamino refuses to answer, Pamina believes he loves
   her no longer. (Aria, Pamina: "Ach, ich fühl's, es ist verschwunden")

   Change of scene (sometimes used as Act III): The pyramids.

   (Chorus) Sarastro parts Pamina and Tamino. (Trio, Sarasto, Pamina,
   Tamino) Papageno also desires to have his little wife. (Aria, Papageno:
   "Ein Mädchen oder Weibchen") At the first ordeal, an old woman had
   appeared to him and declared herself his bride. She now again appears
   and changes herself into the young and pretty Papagena. However, she
   vanishes and Papageno is miserable.

   Change of scene: An open country.

   The three boys prevent Pamina from committing suicide because she
   believes Tamino to be faithless.

   Change of scene: Rocks with water and a cavern of fire.

   Men in armor lead in Tamino. Pamina arrives and is overcome with joy to
   find Tamino, who is now allowed to speak to her. Both pass unscathed
   through the final ordeal of fire and water with the help of the magic
   flute, which Pamina tells him was carved by her father from an ancient
   oak tree. Papageno wishes to take his life because he can't stop
   thinking about Papagena, but acts merrily when the boys advise him to
   use his magic bells to summon the image of Papagena. (Duet, Papageno,
   Papagena: "Papageno! Papagena!") The traitorous Monostatos appears with
   the Queen of the Night and her ladies to destroy the temple, but they
   are magically cast out. (Finale: "Nur stille, stille") The scene now
   changes to the entrance of the chief temple, where Sarastro bids the
   young lovers welcome and unites them.

Noted arias

     * " O zittre nicht, mein lieber Sohn" ("Oh, tremble not, my beloved
       son"), The Queen of the Night
     * " Der Hölle Rache kocht in meinem Herzen" ("The vengeance of Hell
       boils within my heart"), The Queen of the Night
     * "Ach, ich fühl's, es ist verschwunden" ("Ah, I feel it, it is
       gone"), Pamina
     * " Dies Bildnis ist bezaubernd schön" ("This image is enchantingly
       beautiful"), Tamino
     * "Der Vogelfänger bin ich ja" ("The birdcatcher am I"), Papageno
     * "Ein Mädchen oder Weibchen" ("A girl or a woman"), Papageno
     * "In diesen heil'gen Hallen" ("Within these sacred halls"),
       Sarastro. ( George Bernard Shaw said this is the only song ever
       written that sounds as if it could be sung by God the Father
       Himself.)
     * "O Isis und Osiris" ("O Isis and Osiris"), Sarastro
     * "Alles fühlt der Liebe Freuden" ("All feel the joys of love"),
       Monostatos

Adaptations

Films

     * In Trollflöjten, Ingmar Bergman's acclaimed 1975 film version, the
       opera is sung in Swedish although the sound was not actually
       recorded in synch with the photography. Bergman makes a major
       change in the plot: Sarastro is Pamina's father, and has a good
       claim, morally and legally, to her custody. In addition, the Three
       Boys introduce themselves, instead of being introduced by the
       Queen's Three Ladies; thus, in Bergman's version it is obvious from
       the first that the Three Boys are not in the Queen's service.

     * The Magic Flute, a new film version, set during World War I, was
       presented at the Venice Film Festival in September 2006. It was
       directed by Kenneth Branagh with a libretto by Stephen Fry .

Books

     * John Updike, A children's book based on The Magic Flute, 1962.
     * Marion Zimmer Bradley, Night's Daughter, a novel based on The Magic
       Flute, 1985. It sets the story in an Atlantis-like world with
       human-animal hybrid creatures. Bradley enthusiastically agrees with
       Bergman that Sarastro is Pamina's father.
     * Cameron Dokey, Sunlight and Shadow, (part of the Once Upon A Time
       series), 2004, a retelling of The Magic Flute for teen readers;
       Dokey's novel also states that Sarastro is Pamina's father.

Shows

     * Arctic Magic Flute is an English-language adaptation of the opera,
       set in rural Alaska.
     * "Weekend Meeting", a Vietnamese humorous show used some parts of
       "The Magic Flute" in their good-bye show.
     * "(Kuala Lumpur Performing Arts Centre)Mozart's The Magic Flute
       selected excerpts in concert with the KLPac Sinfornietta" was
       performed by the KLPac Sinfonietta. Featuring the talents of Peter
       Ong, Tan Sin Sim, Irma Lailatul Munira, Janet Lee, James Long, John
       Tan, Kho Mei Ling and Wang DiXia.

Dance

     * Pamina Devi is the Cambodian classical dance adaption of The Magic
       Flute. However, its not entirely based on the same plot and
       includes elements foreign to the original.

Trivia

     * The "Queen of the Night" Aria was covered by a Korean band called "
       Banya". Their version of the song is called "Chimera" and it's
       featured in the latest Pump It Up Dancing Game.

     * In the Simpsons episode, Margical History Tour, Bart played Mozart
       and wrote the opera, The Magic Fruit, obviously based on The Magic
       Flute.

     * Guitarist Fernando Sor wrote a famous set of variations on 'O Dolce
       Harmonia' entitled "Variations on a Theme from The Magic Flute, Op.
       9". He also arranged six arias from The Magic Flute for solo
       guitar.

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