The Magic Flute, Wolfgang Amadeus Mozart, Grand opera in two acts , Cast: Pamina: Kim-Lillian Strebel, Tamino: Joel Prieto, Queen of the Night. Check out The Magic Flute by Various artists on Amazon Music. Stream ad-free or purchase CD's and MP3s now on tommyrhodes.com Die Zauberflöte ist eine Oper in zwei Aufzügen von Wolfgang Amadeus Mozart, die im Freihaustheater in Wien uraufgeführt wurde. Das Libretto stammt von Emanuel Schikaneder. Das etwa dreistündige Werk zählt zu den weltweit bekanntesten und am.
DIE ZAUBERFLÖTE (THE MAGIC FLUTE)The Magic Flute Part Two is a fragmentary closet libretto by Johann Wolfgang von Goethe, which is inspired by Mozart's The Magic Flute. First parts were still. Explore this one of a kind opera adventure - The Land of the Magic Flute - A Motion Graphic Novel - Mozart reimagined. Check out The Magic Flute by Various artists on Amazon Music. Stream ad-free or purchase CD's and MP3s now on tommyrhodes.com
The Magic Flute Background and context VideoThe Royal Opera: Mozart - The Magic Flute (FULL)
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Pamina enters and tries to talk to Tamino, but he refuses to answer. She leaves in despair. Scene 5. Sarastro separates Pamina and Tamino for their final trial.
Scene 6. Papageno, still longing for a wife, plays his magic bells. The old woman reappears and demands that he promise to marry her, or else he will be alone forever.
Papageno reluctantly agrees. She is immediately transformed into a pretty girl: Papagena. As Papageno runs to embrace her, the priests frighten her away.
Scene 7. The Three Spirits come upon Pamina in a courtyard. They promise that she will see him soon. Scene 8. Two armoured men lead Tamino to his next trials, at mountains gushing fire and water.
They recite the credo of Isis that he who overcomes fear will achieve enlightenment. Tamino is reunited with Pamina.
They exchange loving words and enter the trials together. The priests laud their success. Scene 9. In a garden on the temple grounds, Papageno has given up hope of ever finding Papagena again, so he tries to hang himself.
But the Three Spirits remind him of the magic bells. He plays them, and Papagena appears. The happy pair celebrate their union.
Scene Meanwhile, Monostatos, the Queen, and the Three Ladies attempt to destroy the temple, but they are vanquished and cast into eternal darkness.
All ends happily when Sarastro unites Tamino and Pamina in marriage. Article Contents. Print print Print. Tamino, on the other hand, is a Prince.
What, then, is a Prince? Seen microcosmically, a King or a Queen, for that matter is a balanced human being, in command of his own inner Kingdom and thereby of his own circumstances: he has achieved integration of his Lower and Higher Selves: he is a true Initiate in the deepest sense of the word.
A Prince is someone who is still aspiring to all this: he is a candidate, seeking Initiation. It is also very important to keep in mind that a Prince is an educated person.
He has prepared himself for Kingship through studies in many fields and disciplines. This is a prerequisite for a good ruler: only a person with knowledge can rule well; therefore, he who wants to be King must first educate himself.
In the language of the Mysteries, this means that in order to become eligible for Initiation, we must have reached the point where we have mastered the exoteric sciences, which train our minds and give us the tools to understand the inner knowledge.
There is much preliminary work to be done before Initiation becomes possible. You cannot sublimate a pathology. This is the true meaning of Princehood.
Tamino fulfils all these requirements: he is reasonably balanced, he is brave and knowledgeable; he has stamina and self-control. The Kabbalists of old called this aspect of the microcosm, Ruach.
A modern-day term is the Ego. But right now Tamino, the conscious mind, is out of action, lying unconscious on the ground.
The Three Ladies, after some debate, all decide to return to the temple to inform the Queen of the Night, so the Prince is just left there, but not for long.
A curious figure enters — Papageno, the Bird Catcher. His feathers are, in fact, not worn like a coat that can be taken off at will, but are part of him.
He is actually part human, part bird or animal. Papageno is a simple soul, a good-natured, earthy character. He is not exactly what you would term an intellectual.
He likes simple things; if he lived today, his intellectual pursuits would limit themselves to comic books, TV soaps and a pint at the pub. As he enters, he sings a simple little tune, very typical of him.
He operates at an instinctual level, and it is not surprising to learn that he is employed by the Temple of the Moon where he, in exchange for the birds he catches, is given wine, figs and sponge-cake — all sweet and pleasurable things.
Until this is done there can be no steady progression in any direction, for the desires are called forth from without, not directed from within, and vary with the external stimulus.
It is almost as if the character of Papageno was invented to illustrate this point. He is much more interested in good food than in danger and adventure.
He is basically a coward, has absolutely no self-control, he rarely stops to think at all, but there is nothing evil in him. He is the personification of the instincts, that part of the Ruach the Ego which Kabbalists term the Nefesch or the animal soul, that part of us that connects us to Nature.
It is interesting to note that he carries a set of pipes, a Pan Flute. As we go along, you will note that all the characters may be regarded as aspects of one person: Tamino and Papageno are one.
Tamino is the conscious mind of the person that is to be initiated, Papageno is his unconscious animal soul. He is the Nefesch part of the Ruach, for the instincts can never entirely be separated from the Ego.
Treating persons in a drama or a myth as sub-personalities can often reveal very interesting things. So what we are seeing here is the Yesodic subconscious level disciplining the instincts.
Training such as this comes from many levels, not just the conscious one. In fact, the instincts are much better disciplined by the unconscious than by the conscious mind.
This shows the basic unity between the two. Pamina can be regarded as an aspect of himself which he has to reclaim in order to reach maturity and integration.
In fact, Pamina is his contrasexual image — or to use a Jungian term, his anima. It is it not surprising to us, then, when we learn from the Three Priestesses that Pamina has been abducted by a powerful evil sorcerer — the anima is in a fallen, captive state.
Naturally, Tamino promptly swears that he will save her. At this point, the scenery suddenly changes: it becomes dark, and the Queen of the Night appears.
She is sitting on a silver throne, decorated with silver stars. Under her feet is a silver crescent. In a slow, plaintive aria, she tells Tamino that if he saves Pamina from the evil magician, Sarastro, he will then be free to marry her.
Then she disappears, and the scenery changes back to normal, leaving Tamino wondering if it was a vision or a dream — so typical of an encounter with the astral levels of Yesod where everything is fluid and dream-like.
He promises never to lie again. Tamino is given a magic flute with protective properties to help him on his rescue mission. Understandably, he is not too happy about this, but agrees when he is given a set of silver bells, also with magical properties.
Three boys will hover near you on your journey; They will be your guides, Follow only their advice. These three boys, hovering nearby, are the Guardian Angels of Tamino and Papageno — they are three in number for the sake of consistency, and also because they are assigned to watch over them by the Temple of the Queen of the Night, and as children they symbolise the purity of the Higher Self.
And in yet another and third sense, in the early stages the mystical consciousness is like a child, requiring care, love and protection.
Slaves are are laughing, because Pamina has escaped from her jailer, Monostatos. He is a Moor — in other words, he is black.
Monostatos is a cruel, embittered person who lusts after Pamina and is just about to rape her when he suddenly sees Papageno through a window.
We, as moderns, cannot but help come up against the idea of racism here. We must keep in mind that years ago, the so-called supremacy of the white races was rarely questioned.
This might, perhaps, be seen as a reflection of the Masonic ideals of the essential brotherhood of all humankind. After this short scene follows the Finale of the first act.
The layout is interesting: we see three portals. The left one leads to the Temple of Reason, the right one to the Temple of Nature, and in the middle, another portal leads to the Temple of Wisdom.
Remember that we started in the forest of Yesod, in front of the Temple of the Moon? Even the final scene, which supposedly takes place in sunlit exteriors, was created partly by CGI effects.
Quotes Papageno : [ Papageno and Tamino are undergoing a trial of silence, but Papageno speaks anyway, much to the displeasure of Tamino.
An old woman enters ] Is that for me? Old Papagena : [ speaks, carrying a tray of refreshments ] Yes, my angel! Papageno : [ drinks and then speaks ] Water!
How old are you, my dear? Old Papagena : [ speaks ] I'm eighteen years and - two minutes. Papageno : [ bursts into laughter and speaks ] I see!
Do you have a boyfriend? Old Papagena : [ speaks ] Oh, yes! Papageno : [ speaks ] What's his name? Old Papagena : [ speaks ] Papageno! Papageno : [ speaks as she starts to leave ] Papa - Hey, that's me!
Crazy Credits The overture to the opera is played both at the beginning and the end, but only at the end is it played over the film's credits.
Was this review helpful to you? Yes No Report this. Frequently Asked Questions Q: Is this an opera, or an opera adapted into a musical with "regular" singing voices?
Q: Does the original Mozart opera use spoken dialogue, like the film? Q: The opera has been accused of being both sexist and racist. Is the film?
Edit Details Official Sites: Official site. Country: UK France. In this opera, the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro; instead, he learns the high ideals of Sarastro's community and seeks to join it.
Separately, then together, Tamino and Pamina undergo severe trials of initiation, which end in triumph, with the Queen and her cohorts vanquished.
The earthy Papageno, who accompanies Tamino on his quest, fails the trials completely but is rewarded anyway with the hand of his ideal female companion, Papagena.
The opera was the culmination of a period of increasing involvement by Mozart with Schikaneder's theatrical troupe, which since had been the resident company at the Theater auf der Wieden.
Mozart was a close friend of one of the singer-composers of the troupe, tenor Benedikt Schack the first Tamino , and had contributed to the compositions of the troupe, which were often collaboratively written.
Mozart's participation increased with his contributions to the collaborative opera Der Stein der Weisen The Philosopher's Stone , including the duet "Nun liebes Weibchen", K.
Like The Magic Flute , Der Stein der Weisen was a fairy-tale opera and can be considered a kind of precursor; it employed much the same cast in similar roles.
The libretto for The Magic Flute , written by Schikaneder, is thought by scholars to be based on many sources.
The libretto is also a natural continuation of a series of fairy tale operas produced at the time by Schikaneder's troupe, including an adaptation of Sophie Seyler 's Singspiel Oberon as well as Der Stein der Weisen.
Many scholars also acknowledge an influence of Freemasonry. In composing the opera, Mozart evidently kept in mind the skills of the singers intended for the premiere, which included both virtuoso and ordinary comic actors asked to sing for the occasion.
Thus, the vocal lines for Papageno—sung by Schikaneder himself—and Monostatos Johann Joseph Nouseul are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments.
In contrast, Mozart's sister-in-law Josepha Hofer , who premiered the role of the Queen of the Night, evidently needed little such help: this role is famous for its difficulty.
In ensembles, Mozart skillfully combined voices of different ability levels. The vocal ranges of two of the original singers for whom Mozart tailored his music have posed challenges for many singers who have since recreated their roles.
At the low end, the part of Sarastro, premiered by Franz Xaver Gerl , includes a conspicuous F 2 in a few locations. The opera was premiered in Vienna on 30 September at the suburban Freihaus-Theater auf der Wieden.
On the reception of the opera, Mozart scholar Maynard Solomon writes:. Although there were no reviews of the first performances,  it was immediately evident that Mozart and Schikaneder had achieved a great success, the opera drawing immense crowds and reaching hundreds of performances during the s.
As Mozart's letters show, he was very pleased to have achieved such a success. Solomon continues:. Mozart's delight is reflected in his last three letters, written to Constanze , who with her sister Sophie was spending the second week of October in Baden.
You can see how this opera is becoming more and more esteemed. He went to hear his opera almost every night, taking along [friends and] relatives.
The opera celebrated its th performance in November , though Mozart did not have the pleasure of witnessing this milestone, as he had died 5 December The opera was first performed outside Vienna 21 September in Lemberg ,  then in Prague.
It then made "triumphal progress through Germany's opera houses great and small",  and with the early 19th century spread to essentially all the countries of Europe—and eventually, everywhere in the world—where opera is cultivated.
As Branscombe documents, the earlier performances were often of highly altered, sometimes even mutilated, versions of the opera see Ludwig Wenzel Lachnith.
Productions of the past century have tended to be more faithful to Mozart's music, though faithful rendering of Mozart and Schikaneder's original quite explicit stage directions and dramatic vision continues to be rare; with isolated exceptions, modern productions strongly reflect the creative preferences of the stage director.
On 28 December , three and a half weeks after Mozart's death, his widow Constanze offered to send a manuscript score of The Magic Flute to the electoral court in Bonn.
Nikolaus Simrock published this text in the first full-score edition Bonn, , claiming that it was "in accordance with Mozart's own wishes" Allgemeine musikalische Zeitung , 13 September The Magic Flute is noted for its prominent Masonic elements,  although some scholars hold that the Masonic influence is exaggerated.
The Queen of the Night is seen by some to represent a dangerous form of obscurantism , by others to represent Roman Catholic Empress Maria Theresa ,  who banned Freemasonry from Austria.
The names of the performers at the premiere are taken from a preserved playbill for this performance at right , which does not give full names; "Hr.
While the female roles in the opera are assigned to different voice types , the playbill for the premiere performance referred to all of the female singers as "sopranos".
The casting of the roles relies on the actual vocal range of the part. The work is scored for two flutes one doubling on piccolo , two oboes , two clarinets doubling basset horns , two bassoons , two horns , two trumpets , three trombones alto, tenor, and bass , timpani and strings.
It also requires a four-part chorus for several numbers notably the finales of each act. Mozart also called for a stromento d'acciaio instrument of steel to perform Papageno's magic bells.
This instrument has since been lost to history, though modern day scholars believe it to be a keyed glockenspiel , which is usually replaced with a celesta in modern-day performances.
Charles Rosen has remarked on the character of Mozart's orchestration:. Die Zauberflöte has the greatest variety of orchestral color that the eighteenth century was to know; the very lavishness, however, is paradoxically also an economy as each effect is a concentrated one, each one—Papageno's whistle, the Queen of the Night's coloratura, the bells, Sarastro's trombones, even the farewell in Scene I for clarinets and pizzicato strings—a single dramatic stroke.
The opera begins with the overture, which Mozart composed last. Tamino, a handsome prince lost in a distant land, is pursued by a serpent and asks the gods to save him aria: " Zu Hilfe!
Zu Hilfe! He faints, and three ladies, attendants of the Queen of the Night, appear and kill the serpent. They find the unconscious prince extremely attractive, and each of them tries to convince the other two to leave.
After arguing, they reluctantly decide to leave together. Tamino wakes up, and is surprised to find himself still alive. Papageno enters dressed as a bird.
He describes his life as a bird-catcher, complaining he has no wife or girlfriend aria: " Der Vogelfänger bin ich ja ". Tamino introduces himself to Papageno, thinking Papageno killed the serpent.
Papageno happily takes the credit — claiming he strangled it with his bare hands. The three ladies suddenly reappear and instead of giving Papageno wine, cake and figs, they give him water, a stone and place a padlock over his mouth as a warning not to lie.
The ladies return and tell Tamino that Pamina has been captured by Sarastro, whom they describe as a powerful, evil demon.At La Flauta Mágica (The Magic Flute) we provide a warm, open and educationally stimulating atmosphere in which you can trust your child will be cared for and supported. offering a positive, nurturing experience for children in a home-like setting; ensuring that basic health and safety standards are met;.