MOZART : MAGIC FLUTE

MOZART'S DIE ZAUBERFLÖTE

Radio New Zealand Concert network
Sunday 29th of March 2015 at 6.03 - 9.35 pm
Sunday 2nd of February 2014 at 6.03 - 8.10 pm
Sunday 2nd of May 2010 at 3.03 - 6.30 pm
Sunday 1st of February 2009 at 3 - 5 pm 
Sunday 28th of January 2007 at 3 pm
INTRODUCTION
LIBRETTO
REVIEW (2014)


MOZART: The Magic Flute, an opera in two acts
In March 1791, Mozart's old Salzburg acquaintance and fellow-mason, the actor and impresario Emanuel Schikaneder, commissioned a Singspiel for his suburban Viennese theatre. He himself played Papageno at the première in the Theater auf der Wieden, on September 30, 1791
Tamino.............................. Toby Spence
Papageno.......................... Markus Werba
Three Ladies..................... Amy Shoremount-Obra
.......................................... Renée Tatum
.......................................... Margaret Lattimore
Queen of the Night.......... Ana Durlovski
Monostatos....................... Mark Schowalter
Pamina.............................. Pretty Yende
Sarastro............................. René Pape
Papagena.......................... Ashley Emerson
Three Spirits..................... Connor Tsui
.......................................... Sebastian Berg
.......................................... Andre Gulick
Speaker............................. Ryan McKinny
Priests............................... Paul Corona
.......................................... Tony Stevenson
Guards.............................. Anthony Kalil
.......................................... Rod Nelman
Metropolitan Opera Chorus & Orch/Adam Fischer (EBU)


This was Mozart's last and best opera. However, we could argue about it even being an opera, starting from the fact that it is actually a German Singspiel (a stage-play interspersed with singing), as was his "Seraglio"; but that would be sheer pedantry.

Or you might say it is really a pantomime, since the librettist and producer of the first performances was Emanuel Schikaneder, and that is the kind of thing he put on for the crowds who flocked to his theatre; but it is not farcical, as demonstrated by Mozart himself at one of the first performances, when he moved to another box to get away from the idiot in the audience who laughed at everything, including the solemn parts.

But this solemnity suggests that it is basically a Masonic ceremony, with the teachings and rituals of Freemasonry being glorified (hence the setting in ancient Egyptian style, like the Masonic temple in our town, Palmerston North, with hieroglyphs inscribed over its entrance); Mozart and Schikaneder were both lodge-members, and so the nasty Queen of the Night could represent the Empress Maria Theresia, who had banned Freemasonry; and the good prince Tamino would be her enlightened son and successor Joseph II, who protected the Order; Sarastro, the high priest of enlightenment, was Ignaz von Born, a scientist and a Mason; Pamina was the Austrian people.

Pursuing this allegorical code-breaking to its conclusion, we may ask who or what did Monostatos the wicked black man represent. Mozart could have had that pesky priest in mind, the Archbishop of Salzburg, who had made his life a misery. Or, on another line of interpretation, Antonio Salieri has been nominated for the role of Monostatos (and that is why he murdered Mozart, of course! Not true.).

If this NY Met production is for children, the character Monostatos (the "golliwog") should have been censored right out, right? No, but the English translation could possibly clean up his act for him. When he is guarding Pamina he lusts after her and tries to have his way with her, more than once. He muses over his black skin imparting ugliness to him, and therefore he must shun love; but "white is beautiful, and I must kiss her" (Schikaneder had staged Shakespeare's Othello in his past). (Another time that James Levine conducted the Flute, the lovely Kathleen Battle was Pamina, and she obviously has a goodly amount of African ancestry.)

Never mind. In The Magic Flute we see (and hear) the battle between good and evil, light and darkness, and the triumph of love and virtue and goodness.

The cast can be divided up into pairs.
Queen of Night (nameless) versus Sarastro, Priest of sun
Pamina (daughter of the Queen) loves Tamino (a prince)
Papageno (birdcatcher) loves (eventually) Papagena
Speaker (old priest, singer) plus Third Priest (speaking role!)
First Priest (tenor) with Second Priest (bass)
First armed man (tenor) with Second armed man (bass)
Monostatos (prisoner-guard) (nobody loves him) and Slaves
Three ladies plus Three boys (all serve Queen as envoys)

These three "Damen" are no ladies: they appear right at the start, killing the serpent-monster that is threatening the life of Prince Tamino; he faints, and they are so captivated by him that each tries to persuade the other two to report to the Queen, while she stays behind to watch over him and comfort him (doubtless administering mouth-to-mouth resuscitation), but finally they all go off together.

Papageno turns up: [2] "The birdcatcher am I, yes" (but he wishes he also had a net for catching girls); he takes the credit for dispatching the snake. The dames return and arrest Papageno for grand mendacity, putting his lips under lock and key. They show Tamino a picture of Pamina; it is love at first sight: [3] "This image is enchantingly beautiful", if only I could find her "I would press her to this hot bosom of mine, and make her my own for ever".

Her Majesty herself now appears, [4] tells him it is her lost daughter, and if Tamino can find her he can keep her as a reward. Tamino and Papageno (his lips unlocked) set out on their quest. Tamino is given a magic flute to ward off danger, and Papageno has a set of bells.

Strange to say, it is Papageno who finds Pamina (his own Papagena will be revealed much later), in the custody of Monostatos in Sarastro's palace, and they sing [7] a pretty duet about love between man and woman (the tune found its way into Christian hymnbooks!).

Meanwhile, the three lads (boy guides in a balloon basket) conduct Tamino to the temple of Sarastro....

Yes, there will be trials and tribulations, but a happy ending awaits us.

Another synopsis tells all:
The setting is supposed to be Javanese (gamelan and flute connection), but some say Japanese; and local musicologist Robin Maconie argues for a Maaori influence, since the birdcatcher Papageno has a feather coat, and news of New Zealand feather-clad bird-trappers had reached Vienna.

    The story is also said to be an allegory of the education of humankind, and progress from chaos (serpent) and ignorance (darkness,  Queen of the Night) to enlightenment and rationality (Sarastro and the Temple of the Sun).

   Act 1
  After the overture, Prince Tamino appears, calling for help (Hilfe), pursued by a monstrous serpent (with two heads in this instance). Our hero faints!
   Three ladies of the Queen of the Night slay the monster with their spears. They all admire Tamino as a fine young man, and each wants to be left alone with him, to comfort him, while the others report to the Queen, but finally they all leave him. 
   The birdcatcher (Vogelfänger) named Papageno comes on the scene, singing about his craft and wishing he could catch a human bird to take to his bed.
   Tamino gets up and assumes that Papageno saved him. Yes, he did it with his bare hands,
    The three ladies return and punish his untruthfulness by putting a padlock on his mouth.         They give Tamino a miniature portrait of Pamina, daughter of the Queen, and he is enchanted by it (this image is bewitchingly beautiful, such as no eye has ever yet seen); he wants to meet her and press her to his ardent bosom. They tell him she is a prisoner of the High Priest Sarastro, and Tamino vows to rescue her.
   The Queen herself arrives in her night attire (so to speak) and promises that her daughter will be his if Tamino frees her. The assumption here is that Sarastro is evil.
   The Queen pardons her servant Papageno, and the ladies unseal his lips.  Tamino receives a magic flute to ward off danger, and Papageno now has a set of bells to go with his pan pipe. Three boys will guide them on their quest (here it will be the same  ladies dressed as boys).
   Pamina, in Sarastro’s palace, is receiving unwelcome attentions from Monostatos, the Captain of the Guard (a “Moor”). Papageno intervenes, Monostatos flees from what he believes to be the Devil. Papageno assures her that soon her prince will come and she will be saved. For his part, Papagena longs for a Papagena to share his life. They sing of love between man and woman (the tune was eventually used for church hymns).
   The three boys conduct Tamino to the Temple of Wisdom (it should have three doors). The Speaker (an old priest, and he also sings) emerges and explains that Sarastro is good and the Queen is bad. Tamino plays his flute and animals dance; he searches for his friend.
    Papageno and Pamina come looking for Tamino. Monostatos and his men (slaves!) intercept them, but the magic bells cause them to dance.
   Sarastro enters with his retinue. Pamina confesses that she wanted to escape, because of Monostatos. He tries to reassure her that he is protecting her. Monostatos brings Tamino in, and the lovers see each other at last. Monostatos is punished for his lust. Tamino must undergo trials of wisdom to make him worthy to be Pamina’s husband and mentor.
   The priests affirm that virtue and righteousness will turn Earth into a heavenly realm and make mortals to be like gods.
  
   Act 2
   Sarastro tells the council of priests that Tamino is ready for his ordeal, and he prays that Isis and Osiris will protect the young couple.
   Tamino and Papageno begin their first trial: they are sworn to silence; the three ladies tempt them to speak; Papageno nearly succumbs to their wiles; but they retreat in confusion.
   Pamina is sleeping in a garden;  Monostatos attempts to kiss her; the Queen interrupts him. She gives her daughter a dagger to kill Sarastro. Desire for revenge is seething in her heart.
   Pamina is approached by Monostatos again, but Sarastro sends him packing. She begs him to forgive her mother; he replies that in these holy halls revenge has no place.
   Priests lead Tamino and Papageno and remind them of the requirement of silence.
   Papageno complains of thirst, and an old woman offers him a drink of water. He speaks, and asks her age: 18 years and two minutes! Does she have a lover? She tells him she has one, 10 years older than herself, and his name is Papageno! When she begins to say her own name (it is Papagena) thunder causes her to leave.
   The three boys bring Tamino’s flute and Papageno’s  bells; Pamina hears the flute and tries to communicate with Tamino; she thinks he does not love her, and sinks into despair.
   The priests celebrate Tamino’s success, and pray to Isia and Osiris.
   Sarastro brings the young couple together, and tells them this will be their final farewell; she misunderstands him (he means they will be united after this trial).
   Papageno enters; he is granted a drink of wine (from a fountain in this production).
He sings of his longing for a maiden or a woman, who will kiss his troubles away.
The crone reappears, and elicits a vow of fidelity from him; she is now revealed in her maidenly beauty. But the Speaker dismisses her, as Papageno is not yet worthy of her.
   The boys find Pamina with the dagger, contemplating suicide; they reassure her.
   Two men in armour conduct Tamino to his last ordeal, through fire and water.
   Pamina brings his flute and will accompany him in conquering the fear of death.
   They come through unscathed, and they are invited to enter the temple.
   Papageno, distraught over losing Papagena, is preparing to hang himself. Goodbye cruel world. But the three boys restore her to him.
   The happy couple plight their troth in a pa-pa-pa-patter song.
   Here now cometh the Queen of the Night with her three ladies-in-waiting, and Monostatos (now her choice to have Pamina). Their plot to destroy the temple is thwarted by lightning and thunder, and they are driven out into eternal darkness.
   The sun shines on the temple, and on the enlightened Tamino and Pamina.
   Beauty and wisdom prevail, thanks to Isis and Osiris.

Recordings I have are all on black discs. The first is Thomas Beecham from 1937, on 3 vinyl discs (you can get it on 2 compact discs) originally nineteen 78rpm discs in 3 albums. Otto Klemperer is a winner, with Gedda, Janowitz, Popp (as Night Queen), Berry, Frick, with Schwarzkopf and Ludwig as mere Ladies ("a truly great recording, one of the greatest ever made," says John Deathridge, BBC Music Magazine April 2004, 53). Bernard Haitink has Jerusalem, Popp (as Pamina), Gruberova, and Marilyn Richardson (our Australian soprano) as First Lady.

MOZART: The Magic Flute
Tamino............................. Alek Shrader
Pamina............................. Heidi Stober
Papageno.......................... Nathan Gunn
Papagena.......................... Ashley Emerson
Queen of the Night........... Kathryn Lewek
Sarastro............................ Eric Owens
First Lady......................... Wendy Bryn Harmer
Second Lady..................... Renée Tatum
Third Lady....................... Margaret Lattimore
Monostatos....................... John Easterlin
Speaker of the Temple..... Shenyang
First Priest........................ Paul Corona
Second Priest................... Scott Scully
Metrop Opera Children's Chorus, Chorus & Orch/Jane Glover
(This is the one-act English version for children)
(The German libretto (Die Zauberflöte) will not be used for this performance. It will have an abridged English version, in 11 scenes, lasting 100 minutes (1h 40 m; usual running time 2h 40m); it is billed as a family show. As in the original German, rhyming will be a feature of the "lyrics". Will the overture be the first casualty?)

MOZART: The Magic Flute, an opera in two acts
In March 1791, Mozart's old Salzburg acquaintance and fellow-Mason, the actor and impresario Emanuel Schikaneder, commissioned a Singspiel for his suburban Viennese theatre; he himself played Papageno at the première in the Theater auf der Wieden, on 30 September, 1791. Tragicly (sic! yes he was very sick) Mozart died on 5 December in that same year.
Sarastro........................ Hans-Peter König
Tamino.......................... Matthew Polenzani
Queen of the Night........ Albina Shagimuratova
Pamina.......................... Julia Kleiter
Papagena...................... Monica Yunus
Papageno...................... Nathan Gunn
Speaker........................ David Pittsinger
Monostatos................... Greg Fedderly
Metropolitan Opera Chorus & Orch/Bernard Labadie


MOZART: The Magic Flute, an English language family production in one act
Tamino and Papageno are enlisted by the Queen of the Night to rescue her daughter Pamina. To aid them in their quest Tamino is given a magic flute and Papageno a magic glockenspiel
Pamina.......................... Nicole Cabell
Queen of the Night........ Cyndia Sieden
Tamino.......................... Dimitri Pittas
Papageno...................... Rodion Pogossov
Sarastro........................ Eric Owens
Metropolitan Opera Chorus & Orch/Asher Fisch
New York Metropolitan Opera broadcast
Sunday 28th of January 2007 at 3 pm
Defunct links
COMPOSER
CHARACTERS
STORYLINE
BACKGROUND
UNDERGROUND
ANALYSIS
SYMBOLISM
LIBRETTO