Opera in two acts by Mozart;words by Emanuel Schikaneder and Gieseke. Produced, September 30,1791, in Vienna, in the Theatre auf der Wieden; Paris, 1801, as 'LesMystères d'Isis'; London, King's Theatre, June 6, 1811(Italian); Covent Garden, May 27, 1833 (German); Drury Lane, March10, 1838 (English); New York, Park Theatre, April 17, 1833 (English).The rôle of Astrofiammante, Queen of the Night, has been sunghere by Carlotta Patti, Ilma di Murska, Gerster, Sembrich, andHempel.

Synopsis: The Magic Flute Select a language to update the synopsis text. Wolfgang Amadeus Mozart. Emanuel Schikaneder. Met titles In. Find The Metropolitan Opera on Facebook (opens new window) Find The Metropolitan Opera on Twitter (opens new window) Find The Metropolitan Opera on Instagram (opens new.

Characters

• Sarastro, High Priest ofIsis (Bass)
• Tamino, an Egyptian Prince (Tenor)
• Papageno, a bird-catcher (Baritone)
• Astrofiammante, Queen of theNight (Soprano)
• Pamina, her daughter (Soprano)
• Monostatos, a Moor, chiefslave of the Temple (Baritone)
• Papagena (Soprano)
• Three Ladies-in-Waiting tothe Queen; Three Youths of the Temple; Priests, Priestesses, Slaves,etc.

Setting

Time—Egypt, aboutthe reign of Rameses I. Place—Near and atthe Temple of Isis, Memphis.

Libretto

The libretto to 'TheMagic Flute' is considered such a jumble of nonsense that it isas well to endeavour to extract some sense from it.

Emanucl Johann Schikaneder,who wrote it with the aid of a chorister named Gieseke, was a friendof Mozart and a member of the same Masonic Lodge. He also was themanager of a theatrical company and had persuaded Mozart to composethe music to a puppet show for him. He had selected for this show thestory of 'Lulu' by Liebeskind, which had appeared in avolume of Oriental tales brought out by Wieland under the title of'Dschinnistan.' In the original tale a wicked sorcerer hasstolen the daughter of the Queen of Night, who is restored by aPrince by means of magic. While Schikaneder was busy on his libretto,a fairy story by Perinet, music by Wenzel Muller, and treating of thesame subject, was given at another Viennese theatre. Its greatsuccess interfered with Schikaneder's original plan.

At that time, however,freemasonry was a much discussed subject. It had been interdicted byMaria Theresa and armed forces were employed to break up the lodges.As a practical man Schikaneder saw his chance to exploit theinterdicted rites on the stage. Out of the wicked sorcerer he madeSarastro, the sage priest of Isis. The ordeals of Taminoand Pamina became copies of the ceremonials offreemasonry. He also laid the scene of the opera in Egypt, wherefreemasonry believes its rites to have originated. In addition to allthis Mozart's beautiful music ennobled the libretto even in its dulland unpoetical passages, and lent to the whole a touch of themysterious and sacred. 'The muse of Mozart lightly bears hercentury of existence,' writes a French authority, of this score.

Becauseof its supposed relation to freemasonry, commentators have identifiedthe vengeful Queen of the Night with Maria Theresa, and Taminowith the Emperor. Pamina, Papageno, and Papagena areset down as types of the people, and Monostatos as thefugleman of monasticism.

Mozart wrote on 'TheMagic Flute' from March until July and in September, 1791.September 30, two months before his death, the first performance wasgiven.

Synopsis

In the overture to 'TheMagic Flute' the heavy reiterated chords represent, it has beensuggested, the knocking at the door of the lodge room, especially asthey are heard again in the temple scene, when the novitiate ofTamino is about to begin. The brilliancy of the fugued allegrooften has been commented on as well as the resemblance of its themeto that of dementi's sonata in B-flat.

Act I

The story of 'The MagicFlute' opens Act I, with Tamino endeavouring to escapefrom a huge snake. He trips in running and falls unconscious. Hearinghis cries for help, three black-garbed Ladies-in-Waiting ofthe Queen of the Night appear and kill the snake with theirspears. Quite unwillingly they leave the handsome youth, who, onrecovering consciousness, sees dancing toward him an odd-looking manentirely covered with feathers. It is Papageno, abird-catcher. He tells the astonished Tamino that this is therealm of the Queen of the Night. Nor, seeing that the snake isdead, does he hesitate to boast that it was he who killed themonster. For this lie he is immediately punished. The threeLadies-in-Waiting reappear and place a padlock on his mouth.Then they show Tamino the miniature of a maiden, whose magicalbeauty at once fills his heart with ardent love. Enter the Queenof the Night. She tells Tamino the portrait is that of herdaughter, Pamina, who has been taken from her by a wickedsorcerer, Sarastro. She has chosen Tamino to deliverthe maiden and as a reward he will receive her hand in marriage. TheQueen then disappears and the three Ladies-in-Waiting comeback. They take the padlock from Papageno's mouth, give him aset of chimes and Tamino a golden flute. By the aid of thesemagical instruments they will be able to escape the perils of theirjourney, on which they will be accompanied by three youths or genii.

Change ofscene. A richly furnished apartment in Sarastro's palace isdisclosed. A brutal Moor, Monastatos, is pursuing Paminawith unwelcome attentions. The appearance of Papageno putshim to flight. The birdcatcher recognizes Pamina as thedaughter of the Queen of the Night, and assures her that shewill soon be rescued. In the meantime the Three Youths guideTamino to a grove where three temples stand. He is driven awayfrom the doors of two, but at the third there appears a priest whoinforms him that Sarastro is no tyrant, no wicked sorcerer asthe Queen had warned him, but a man of wisdom and of noblecharacter.

The sound of Papageno'svoice arouses Tamino from the meditations inspired by thewords of the priest. He hastens forth and seeks to call his companionby playing on his flute. Papageno is not alone. He is tryingto escape with Pamina, but is prevented by the appearance ofMonostatos and some slaves, who endeavour to seize them. ButPapageno sets the Moor and his slaves dancing by playing onhis magic chimes.

Trumpet blasts announce thecoming of Sarastro. Pamina falls at the feet of the HighPriest and explains that she was trying to escape the unwelcomeattentions of the Moor. The latter now drags Tamino in, butinstead of the reward he expects, receives a sound flogging. By thecommand of Sarastro, Tamino and Pamina are brought intothe Temple of Ordeals, where they must prove that they are worthy ofthe higher happiness.

Act II

In the Palm Grove. Sarastro informs the priests of the planswhich he has laid. The gods have decided that Pamina shallbecome the wife of the noble youth Tamino. Tamino, however,must prove, by his own power, that he is worthy of admission to theTemple. Therefore Sarastro has taken under his protectionPamina, daughter of the Queen of the Night, to whom isdue all darkness and superstition. Bat the couple must go throughsevere ordeals in order to be worthy of entering the Temple of Light,and thus of thwarting the sinister machinations of the Queen.

In the succeeding scenes wesee these fabulous ordeals, which Tamino, with the assistanceof his magic flute and his own purity of purpose, finally overcomesin company with Pamina. Darkness is banished and the youngcouple enter into the light of the Temple of the Sun. Papagenoalso fares well, for he receives Papagena for wife.

Commentary

There is much nonsense andeven buffoonery in 'The Magic Flute'; and, in spite of realnobility in the rfile and music of Sarastro, Mr. Krehbiel'scomment that the piece should be regarded as somewhat in the samecategory as a Christmas pantomime is by no means far-fetched. Itlends itself to elaborate production, and spectacular performances ofit have been given at the Metropolitan Opera House.

Its representation requiresfor the rôle of Astrofiammante, Queen of the Night, a sopranoof extraordinarily high range and agility of voice, as each of thetwo great airs of this vengeful lady extend to high F and are sobrilliant in style that one associates with them almost anything butthe dire outpouring of threats their text is intended to convey. Theywere composed because Mozart's sister-in-law, Josepha Weber (Mme.Hofer) was in the cast of the first performance and her voice wassuch as has been described above. The Queen has an air in ActI and another in Act II. A quotation from the second, the so-called 'Vengeance aria,' will show the range and brilliancy of voicerequired of a singer in the rôle of Astrofiammante.

One is surprised to learnthat this tour deforce of brilliant vocalization is set towords beginning: 'Vengeance of hell is boiling in my bosom';for by no means does it boil with a vengeance.

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Papageno in his dressof feathers is an amusing character. His first song, 'A fowlerbold in me you see,' with interludes on his pipes, is jovial;and after his mouth has been padlocked his inarticulate andoft-repeated 'Hm! ' can always be made provocative oflaughter. With Pamina he has a charming duet 'The manlyheart that love desires.' The chimes with which he causesMonostatos and his slaves to dance, willy-nilly, aredelightful and so is his duet with Papagena, near the end ofthe opera. Tamino, with the magic flute, charms the wildbeasts. They come forth from their lairs and lie at his feet. 'Thymagic tones shall speak for me,' is his principal air. Theconcerted number for Pamina and trio of female voices (theThree Youths or genii) is of exceeding grace. The two Menin Armour, who in one of the scenes of the ordeals guard theportal to a subterranean cavern and announce to Tamino theawards that await him, do so to the vocal strains of an old Germansacred melody with much admired counterpoint in the orchestra.

Next, however, insignificance to the music for Astrofiammante and,indeed, of far nobler character than the airs for the Queen of theNight, are the invocation of Isis by Sarastro, 'O,Isis and Osiris,' with its interluding chant of the priests, andhis air, 'Within this hallowed dwelling.' Not only thesolemnity of the vocal score but the beauty of the orchestralaccompaniment, so rich, yet so restrained, justly cause these twonumbers to rank with Mozart's finest achievements.

'Die Zauberflote'(The Magic Flute) was its composer's swan-song in opera and perhapshis greatest popular success. Yet he is said to have made little ornothing out of it, having reserved as his compensation the right todispose of copies of the score to other theatres. Copies, however,were procured surreptitiously; his last illness set in; and, poorbusiness man that he was, others reaped the rewards of his genius.

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In 1801, ten years afterMozart's death, there was produced in Paris an extraordinary versionof 'The Magic Flute,' entitled 'Les Mysteres d'Isis'(The Mysteries of Isis). Underlying this was a considerable portionof 'The Magic Flute' score, but also introduced in it werefragments from other works of the composer ('Don Giovanni,'Figaro,' 'Clemenza di Tito') and even bits fromHaydn symphonies. Yet this hodge-podge not only had greatsuccess—owing to the magic of Mozart's music— it actually wasrevived more than a quarter of a century later, and the real'Zauberflote' was not given in Paris until 1829.

Source

Kobbé, Gustav and Katharine Wright. The Complete Opera Book: The Stories of the Operas, Together with 400 of the Leading Airs and Motives in Musical Notation. G.P. Putnam's Sons: New York & London, 1919.

ACT IA young prince named Tamino is being chased by a serpent through a valley. After he falls unconscious, three ladies enter and kill the snake. Tamino awakens and assumes the snake was killed by a good-natured bird catcher named Papageno who has just arrived on the scene. When Papageno accepts the credit, the three ladies reappear and place a padlock on his lips to prevent further lying. They show Tamino a portrait of Pamina, the beautiful daughter of their mistress, the Queen of the Night. He immediately falls in love with her. They tell him she has been kidnapped by the evil magician Sarastro.

The Queen appears and asks Tamino to rescue Pamina, which he agrees to do. The ladies free Papageno and give him a magic set of chimes.

They also give Tamino a magic flute and send the two off on their mission. Pamina is being guarded by a villain named Monostatos, who is attempting to seduce her when Papageno wanders in. Frightened, Monostatos runs off, leaving Papageno to tell Pamina that her rescuer is close by.Tamino is being led through Sarastro’s realm by three boys.

He tries to enter the three temple doors, but is turned away from two. At the third, he is greeted by a priest, who tells him the Queen is really the evil one and the good Sarastro was merely trying to get Pamina away from her mother’s dark influence. Tamino rushes off to find Pamina; a moment later, she and Papageno enter, pursued by Monostatos.

Papageno plays his magic bells, rendering the villain and his henchmen harmless. Sarastro enters and tells Pamina she is free to marry but not to return to her mother. Tamino is brought in by Monostatos, who demands a reward from Sarastro but instead gets punished.ACT IISarastro informs the priests that Tamino and Papageno are about to undergo the rites of initiation to determine if they are worthy to enter Sarastro’s Temple of Light. Tamino, who is brave, and Papageno, who is not, receive contradictory counsel from the temple priests and the Queen of the Night’s three ladies, but they decide to follow the priests, who take away the flute and bells from the pair. Monostatos attempts one last seduction of Pamina, but he is interrupted by the Queen who comes to her daughter and demands that she murder Sarastro.

Instead, Pamina goes to Sarastro and begs forgiveness for her mother; he agrees, declaring that only love, not vengeance, will lead to peace and happiness.As part of their tests, both Tamino and Papageno are sworn to silence. An old woman approaches Papageno declaring that she is really eighteen years old and in love with him. She runs away, but three boys appear and give back to Tamino and Papageno the magic flute and bells. Pamina arrives, but she misunderstands Tamino’s silence and is heartbroken. Sarastro reassures her, but she is not comforted. Papageno says that he wants a sweetheart, and the old woman returns and reveals herself to be a young woman in disguise.

Her name: Papagena. As soon as she reveals herself, however, a priest orders her away.Meanwhile, Pamina is about to commit suicide using the dagger her mother gave her to kill Sarastro. The three boys stop her and take her to Tamino, who is about to undergo the final two trials. Pamina and Tamino go through the ordeals together, emerging unscathed thanks to the magic flute.

Papageno rather reluctantly attempts to hang himself. Seeing this, the three boys suggest he play his magic bells.

He does and Papagena appears; the two declare their intent to raise a large family. Meanwhile, Monostatos has joined forces with the Queen of the Night, but their plan to kill Sarastro is foiled by an earthquake. The opera ends with Sarastro, Tamino, and Pamina celebrating the victory of light over darkness.