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THE MAGIC FLUTE
MUSIC LESSON - THE CHARACTERS
STUDENTS WILL
•
Read “The Story of the Opera”
•
Read the “The Characters”
•
Watch the online video selections from The Magic Flute included with the lesson.
•
Discuss and answer questions on the appropriate portion(s) of the Music Activity Worksheet.
COPIES FOR EACH STUDENT: “The Characters” and the Music Activity Worksheet.
COPIES FOR THE TEACHER: Answer Key for Music Activity Worksheet
GETTING STARTED:
Decide which section(s) of the worksheet you wish your group to complete.
Prepare internet access for The Magic Flute online listening selections.
Gather pens, pencils and additional writing paper as needed for your group.
INTRODUCTION: Have your students read “The Story of the Opera”. Give each student a copy of the
information sheet “The Characters” or display it on screen. Read through the information, discussing each
character and viewing the online selections as you go.
GUIDED/INDEPENDENT PRACTICE: Depending on your grade level, the ability of your students, and
time constraints, you may choose to have students work as a whole class, in small groups, with a partner, or
individually. Read the directions on the Music Activity Worksheet. Have students complete the portion(s)
of the Music Activity Worksheet you have chosen with opportunity for questions. If students are working
with a partner or in small groups, give them time to discuss their answers before writing them down. Have
students share their answers individually or by groups and tell why they gave their answers.
EVALUATION: Have students discuss and evaluate the answers of others. The teacher may want to guide
the discussion with the sample answers provided. After individual or small group responses have been
shared and turned in, the class can then formulate comprehensive answers for the class with the teacher
asking leading questions to guide the discussion.
FOR FURTHER STUDY: The teacher may want to have students read the accompanying articles from the
Dallas Opera website as a group, or individually to report to the class. Students may want to do additional
research on Wolfgang Amadeus Mozart, The Magic Flute, or other related topics online or in their school
library. Their findings can be shared with the class at the beginning of a later lesson.
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THE MAGIC FLUTE
ADDITIONAL MATERIAL
“Biting the Hand That Feeds You”-- Article on Wolfgang Amadeus Mozart
“I Get By With a Little Help From My Friends”— Article on Mozart’s collaboration with Emanuel
Schikaneder and his acting troupe.
“I Saw the Light”— Article on Mozart and his connection to the Freemasons.
TEKS
Music:
6th Grade
(5) Describe aurally the music representing diverse styles, periods, and cultures. A.
General Music:
7th Grade
(5) Identify relationships between content, concepts, and processes of the other fine arts, other subjects and
music. D.
8th Grade
(5) Relate content, concepts, and processes of fine arts and music subjects. D.
Music, Level I
(5) Define the relationships between the content, the concepts, and the processes of the other fine arts, other
subjects, and those of music. D.
Music, Level II
(5) Define the relationships between the content, the concepts, and the processes of the other fine arts, other
subjects, and those of music. D.
Music, Level III
(5) Define the relationships between the content, the concepts, and the processes of the other fine arts, other
subjects, and those of music. D.
Music, Level IV
(5) Define the relationships between the content, the concepts, and the processes of the other fine arts and
those of music. D.
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THE MAGIC FLUTE
Language Arts:
6th Grade
(12) Analyze characters, including their traits, motivations, conflicts, and relationships. F.
7th Grade
(12) Analyze characters, including their traits, motivations, conflicts and relationships. F.
8th Grade
(12) Analyze characters, including their traits, motivations, conflicts and relationships. F.
English Language Arts and Reading, English I
(5) Analyze how authors develop complex yet believable characters in works of
fiction through a range of literary devices, including character foils. B.
English Language Arts and Reading, English II
(5) Analyze differences in the characters’ moral dilemmas in works of fiction
across different countries or cultures. B.
English Language Arts and Reading, English III
(5) Analyze the internal and external development of characters through a range
of literary devices. B.
English Language Arts and Reading, English IV
(5) Analyze the moral dilemmas and quandaries presented in works of fiction as
revealed by the underlying motivations and behaviors of the characters. B.
CORRELATES
Language Arts
Drama
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THE MAGIC FLUTE
GARDNER’S INTELLIGENCES
Verbal-Linguistic
Musical
Interpersonal
BLOOM’S TAXONOMY
Knowledge
Comprehension
Application
Analysis
Evaluation
Synthesis
BIBLIOGRAPHY
The Magic Flute Libretto
Warrack, John and West, Ewan, The Oxford Dictionary of Opera, Oxford University Press, 1992.
Freeman, John W., The Metropolitan Opera Stories of the Great Operas, W. W. Norton and Company, 1984.
Goulding, Phil G., Ticket to the Opera, Fawcett Columbine/Ballantine, 1996.
ONLINE RESOURCES
www.oxfordmusiconline.com
www.wikipedia.com
www.opusarte.com
DISCOGRAPHY
Label: Opus Arte
Mozart: The Magic Flute
Conductor: Colin Davis
Orchestra: The Orchetra of the Royal Opera House
Chous: The Royal Opera Chorus
Artist(s): Hartmann, Will; Röschmann, Dorothea; Damrau, Diana; Selig, Franz-Josef; Keenlyside, Simon;
Tynan, Ailish; Gatell, Thompson, Adrian; Webster, Gillian; Rice, Christine; Howard, Yvonne; Allen,
Thomas; Beale, Matthew; Van Allen, Richard; Oke, Alan; Brodbent, Graeme; Shaker, Zico; Chapman, Tom;
Holland-Avery, John.
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THE MAGIC FLUTE
“THE STORY OF THE OPERA”
The opera is a fantasy, originally set in ancient, mythical Egypt. The action takes place in various settings:
in the wilderness, the palace of Sarastro, and the temple of wisdom. Although it is said to take place in Egypt,
various productions portray the story in Europe at the time of Mozart’s life, or in modern day settings. The
story is not limited to a single time or place.
ACT ONE
Prince Tamino is being chased by a serpent. He falls, exhausted. Just as the serpent is poised to kill him, the
Three Ladies, attendants to the Queen of Night, intervene and slay the serpent. The Three Ladies leave to tell
their mistress of finding Tamino.
Tamino awakens to find the serpent dead. Papageno, a bird catcher who works for the Queen, comes across
Tamino and takes credit for saving him. The Three Ladies return and place a lock on Papageno’s mouth as
punishment for his lie. They present Tamino with a portrait of Pamina, daughter of the Queen of the Night.
The Queen arrives to ask Tamino to rescue Pamina. She has been kidnapped by Sarastro, an evil sorcerer. The
Queen promises Pamina’s hand in marriage to Tamino if he saves her. Tamino has fallen in love with Pamina
just by looking at her portrait, and is determined to save her and make her his wife.
The Three Ladies remove the lock from Papageno’s mouth, telling him that he must now accompany Tamino
in his quest. They give Papageno some magic bells and Tamino a magic flute to help protect them in their task.
They also introduce Three Boys, who will guide the men on their adventure.
Monostatos, Sarastro’s servant, is also trying to make Pamina his own. She is horrified. Papageno stumbles
upon the pair in Sarastro’s palace. Monostatos runs away. Papageno explains to Pamina that Tamino is on his
way to save her.
Tamino is led by the Three Boys to three temples representing Reason, Nature, and Wisdom. Tamino is unable
to enter the temples, but meets a wise Speaker, who emerges from the Temple of Wisdom. The Speaker
challenges the notion that Sarastro is evil. He warns Tamino not to trust the Queen of the Night before
returning to the temple.
Tamino hears voices that confirm that Pamina is still alive. He plays his magic flute and Papageno plays his
pan pipe to communicate to each other. Tamino sets out to find them in the palace, but Papageno and Pamina
are captured by Monostatos. Papageno plays his magic bells, which put Monostatos and his slaves into a
trance and makes them dance.
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THE MAGIC FLUTE
“THE STORY OF THE OPERA” CONT’D.
Sarastro arrives, and a terrified Pamina explains that she was only trying to escape Monostatos’ unwanted
romantic advances. Monostatos enters with a captive Tamino. Pamina and Tamino see each other for the
first time and fall madly in love. Sarastro orders seventy-seven lashes for Monostatos and gives his blessing
to the young couple. He asks that Tamino and Papageno be initiated into the brotherhood in order to find
enlightenment and real happiness in life.
ACT TWO
Sarastro informs a group of priests that Tamino wishes to join he brotherhood. He says that it was preordained
that Tamino would seek Pamina. This is the real reason behind Sarastro taking Pamina from her mother. Two
Priests prepare Tamino and Papageno for the trials of initiation. The two men are given a test of silence, and
confronted with many temptations. The Three Ladies appear, and try to lure them back into the influence of
the Queen of the Night. Voices from the temple cause the Three Ladies to flee.
Pamina continues sleeping, and Monostatos is one again tempted by her beauty. Before he can steal a kiss,
he is interrupted by the Queen of the Night. The Queen tells her daughter of how she has been betrayed. The
Queen’s only hope for regaining power is to have Pamina kill Sarastro and retrieve the golden orb that he
wears around his neck. She presents Pamina with a dagger and orders her to kill Sarastro. If Pamina refuses,
she will no longer remain the Queen’s daughter. When the Queen leaves, Monostatos takes the dagger from
Pamina and tries to blackmail her. Sarastro enters; observing Monostatos’ evil scheme against her. Pamina
begs for mercy for her mother, and a safeguarding from the evil Monostatos.
The Two Priests have left Tamino and Papageno in another part of the temple. Papageno is thirsty and wishes
for something to drink. An old woman arrives with a cup of water for him, and informs him that she is to be
his girlfriend. She is scared away by a clap of thunder. The Three Boys appear with food and drink for the two
men. Tamino plays his flute, which brings Pamina to him. Tamino is unable to speak to her because of the vow
of silence necessary for his initiation into the brotherhood. Pamina mistakenly thinks that he is no longer in
love with her, and leaves him, broken hearted.
The Priests thank the gods that Tamino has proven himself worthy of the brotherhood. They tell Tamino and
Pamina to say goodbye so that Tamino can continue in his initiation. Papageno is told that his trial is over. He
has failed the test of silence. Papageno is relieved, and only wishes for a glass of wine and the thought of a
good wife in his future. The old woman reappears and tells Papageno that she is to be his wife. He accepts her
willingly, as he sees no other prospects. She immediately turns into a beautiful young girl, only to be chased
away by the priests.
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THE MAGIC FLUTE
“THE STORY OF THE OPERA” CONT’D.
Pamina is heartbroken at the thought that Tamino does not love her anymore. She takes the dagger given to
her by her mother and contemplates taking her own life. The Three Boys stop her, assuring her that Tamino
does indeed love her.
Tamino is prepared for his final step of initiation. He hears Pamina’s voice. Sarastro has decided that she will
join him in his quest. They endure the trials of fire and water together, with Tamino’s magic flute to comfort
them.
Meanwhile, Papageno is miserable at the thought that his last chance for happiness has been lost. He is about
to hang himself when the Three Boys remind him that the magic bells will summon his beloved. He plays
them, and Papagena finds appears at his side. They meet and anticipate a long, happy life together.
The Queen of the Night, the Three Ladies, and Monostatos have united to attack the temple. Their combined
power is not enough to overtake the temple, and they are defeated by a vicious storm. From the temple,
Sarastro hails the victory of light over darkness. He blesses Pamina and Tamino’s marriage as his followers
offer a hymn in praise of the wisdom and kindness of the gods.
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THE MAGIC FLUTE
“THE CHARACTERS”
Papageno: (baritone) He is an average, good hearted man who works catching birds. Papageno is lonely,
and longs for a good woman to be his girlfriend or wife. He is sent with Tamino on a fantastic journey to
rescue Pamina, daughter of the Queen of the Night. He is given magical bells to help him in his quest. View
“Der Vogelfänger bin ich ja” (“The birdcatcher am I”) http://www.youtube.com/watch?v=5-Qq-DeEXhw
Tamino: (tenor) Tamino is a prince who has become lost in the wilderness. He has been rescued by the
Three Ladies who attend the Queen of the Night. They ask him to rescue the Queen’s daughter, Pamina.
Tamino falls instantly in love after seeing a portrait of Pamina. View “Dies Bildnis ist bezaubernd
schön” (“This image is enchantingly lovely”). The Queen arrives and begs for his help, promising
Pamina’s hand in marriage to him. Tamino is given a magic flute to help him in this adventure.
http://www.youtube.com/watch?v=pqUP2ApuhNE&feature=related
Pamina: (soprano) Pamina is the daughter of the Queen of the Night. She is found in Sarastro’s palace by
Papageno. Pamina is under the protection of Sarastro, but not totally safe. Pamina is afraid of Monostatos,
the servant of Sarastro, who wants her for himself. She is glad to have Papageno tell her that Tamino is on
his way to rescue her. Pamina in turn assures Papageno that he will find love. View their duet “Bei Männern
welche Liebe fühlen” (“The man who loves has a kindly heart”) http://www.youtube.com/watch?v=NQeXD
saiTJE&feature=related. When Pamina meets Tamino, she falls instantly in love with him. Tamino is in love
with Pamina, but when he is tested with being silent, Pamina does not understand. She is heartbroken by his
silence, after he has so readily fallen in love. View “Ach, ich fühl’s, es ist entschwunden” (“Ah, I feel it, it is
vanished”) http://www.youtube.com/watch?v=53RwokMkgqk&feature=related
Sarastro: (bass) Sarastro is a priest of the Temple of Wisdom. He knows that the Queen of the Night has
misled Tamino into believing that he and the brotherhood are evil. He sees in Tamino an honorable young
man, and hopes that Tamino will come to understand the truth on his own. Sarastro invites Tamino to
become part of the brotherhood. View “O Isis und Osiris” as Sarastro asks for strength for Tamino and
Pamina to find the light of wisdom. http://www.youtube.com/watch?v=WvejdHpyofw
Monostatos: (tenor) Monostatos is the servant of Sarastro. He wishes to make Pamina his own. He is a
servant, and not deemed worthy of Pamina, nor does she have any feelings for him. View “Alles fühlt
der Liebe Freuden” (“All feel the joys of love”) as Monostatos happens upon Pamina asleep, and laments
that love does not seem to be meant for him.
http://www.youtube.com/watch?v=6DHpK8ZPEFw&feature=related
The Queen of the Night: (soprano) The Queen is Pamina’s mother. She has lost much of her power, which
was given over to Sarastro by Pamina’s father, in the form of a golden orb. More than getting her daughter
back, she wishes to get the orb from Sarastro and regain all her powers. Once Tamino is warned about the
Queen’s true intentions, she finds Pamina in Sarastro’s palace. View “Der Hölle Rache kocht in meinem
Herzen” (“Hell’s vengeance boileth in mine heart”) The Queen demands that Pamina kill Sarastro or no
longer be her daughter. http://www.youtube.com/watch?v=C2ODfuMMyss
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THE MAGIC FLUTE
THE MAGIC FLUTE - “THE CHARACTERS”
CONT ’ D .
Papagena: (mezzo-soprano) First disguised as an old woman, Papagena is the young beauty who is destined
to become Papageno’s wife. After a few thwarted encounters, she is finally revealed to Papageno. View
“Papagena! Papagena!” as the pair sing of their love for each other and their plans for a joyous future
together. http://www.youtube.com/watch?v=NQeXDsaiTJE&feature=related
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Name______________________________________________________Date________________________
MUSIC ACTIVITY WORKSHEET - “THE CHARACTERS”
Part I:
1.
Who does Tamino first believe to be the villain in The Magic Flute? Why?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
2.
Why do you think that Tamino is so trusting of the Queen of the Night and her Three Ladies?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
3.
Which of the characters is more like the people in your life?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
4.
Which of the characters do you consider to be hero(s) of the story? Why?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
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Name______________________________________________________Date________________________
MUSIC ACTIVITY WORKSHEET - “THE CHARACTERS”
Part II:
5.
Do you think The Queen of the Night will try to defeat Sarastro and the Brotherhood again? Why or
why not?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
6.
If you were one of the characters in the opera, could you have figured out who the real villain was
before doing something drastic like killing someone? Why or why not?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
7.
Do you think Sarastro was wise to let Tamino figure things out for himself? Why or why not?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
8.
Do you think that careful consideration and getting to know someone is important to figuring out
whether they are a good or bad influence? Why or why not?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
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Name______________________________________________________Date________________________
MUSIC ACTIVITY WORKSHEET - “THE CHARACTERS”
Part III
9.
What do you think is the important lesson that Mozart wanted people to get from this story and how the
characters conducted themselves?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
The Magic Flute is often treated as a concept opera, one that can take place in any time or location. It was
originally intended to be set in ancient Egypt, but is often portrayed in the Europe of Mozart’s time. It has
also been staged in a modern setting. The story might even be staged as something from the future. Please
use separate paper if needed to answer the following questions.
10. Would a different time or place in which the story is portrayed change the story in any real way? Why
or why not?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
11.
If you were to put on this opera, what location and time period would you like to use?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
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ANSWER KEY
MUSIC ACTIVITY WORKSHEET - “THE CHARACTERS”
Part I:
1.
Who does Tamino first believe to be the villain in The Magic Flute? Why?
Sarastro, because that’s what the Three Ladies who saved him and the Queen of the Night told him.
2.
Why do you think that Tamino is so trusting of the Queen of the Night and her Three Ladies?
Answers will differ. Example: They saved his life, then told a very convincing story. Promising him
Pamina’s hand in marriage also got him excited about helping without thinking about why they
really needed or wanted his help.
3.
Which of the characters is more like the people in your life? Why?
Answers will differ. Example: The Queen of the Night is much like the different authority figures
that I listen to every day, without really questioning their motives. I try to follow the directions of
people in authority so that I won’t get into trouble.
4.
Which of the characters do you consider to be hero(s) of the story? Why?
Answers will vary. Example: Tamino. He finally figures out who to trust and who is really only
manipulating him for their own purposes. He learns to look for peaceful solutions and wants to build
a positive future for himself and Pamina.
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ANSWER KEY
MUSIC ACTIVITY WORKSHEET - “THE CHARACTERS”
Part II:
5.
Do you think The Queen of the Night will try to defeat Sarastro and the Brotherhood again? Why or
why not?
Answers will vary. Example: I think the Queen of the Night will try again. She may try to convince
someone else to assist her. As long as Sarastro has the orb, she will want it back and will continue
trying until she gets it.
6.
If you were one of the characters in the opera, could you have figured out who the real villain was
before doing something drastic like killing someone? Why or why not?
Answers will vary. Example: I think I would stop at killing anyone, no matter who it was, unless they
were trying to kill me. Sarastro did not pose any real threat to anyone. The situation would give me
time to carefully consider what I was doing and why.
7.
Do you think Sarastro was wise to let Tamino figure things out for himself? Why or why not?
Answers will vary. Example: Yes, I think it was wise. He let Tamino see for himself what Sarastro
and the rest of the brotherhood were really about. That way Tamino could really believe in them and
understand how evil the Queen of the Night really was.
8.
Do you think that careful consideration and getting to know someone is important to figuring out
whether they are a good or bad influence? Why or why not?
Answers will vary. Example: Yes. People take a lot of time to get to know. By the time you understand
who they really are, they can either really impress you or really disappoint you. Some people are
only out to get what they want from you, so you should always be your own person and do your own
thinking.
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ANSWER KEY
MUSIC ACTIVITY WORKSHEET - “THE CHARACTERS”
Part III:
9.
What do you think is the important lesson that Mozart wanted people to get from this story and how
the characters conducted themselves?
Answers will vary. Example: I think Mozart hoped that people would think for themselves instead of
blindly following authority figures. We each have our own best interests at heart, and can make our
own informed judgements and decisions.
The Magic Flute is often treated as a concept opera, one that can take place in any time or location. It was
originally intended to be set in ancient Egypt, but is often portrayed in the Europe of Mozart’s time. It has
also been staged in a modern setting. The story might even be staged as something from the future. Please
use separate paper if needed to answer the following questions.
10. Would a different time or place in which the story is portrayed change the story in any real way? Why
or why not?
Answers will vary. Example: No, I don’t think the story would change. The story does not rely on
where the characters are or what time period they are from. They would still be the people they are,
reacting to the other characters and the situations they were in.
11.
If you were to put on this opera, what location and time period would you like to use?
Answers will vary. Example: I would like to try out some different ideas, but would probably make it
a contemporary story. I would like to make the Queen of the Night a member of the real nobility of a
fictitious country and Sarastro a person holding public office who opposes her policies and decisions.
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THE MAGIC FLUTE
BITING
THE
HAND THAT FEEDS YOU
Wolfgang Amadeus Mozart spent much of his adult life breaking away from the control of his
domineering father, as well as many common practices of the time for musicians. As a child prodigy, much
of Mozart’s early career was naturally controlled by his father Leopold; a well known composer in his own
right. Leopold made sure that Wolfgang was exposed, and became known all over Europe, while making
a living for the family at the same time. As an adult, Wolfgang’s relationship with his father was strained
because Leopold was reluctant to relinquish control over Wolfgang’s life and career. Wolfgang, equally
stubborn, was determined to live his own life, regardless of his father’s disapproval.
Wolfgang married his wife Constanze, despite the objection of his father. Wolfgang also took on projects for
his own pleasure, regardless of the possible financial loss or gain. His father strongly believed in working
within the customary system for composers of the time: the patronage system. This was the standard system
of employment throughout the Baroque era, where composers were employed by the church and wealthy
ruling class. The patrons would pay the composers for each work and would decide what kind of piece the
composer should write. Mozart did not like this system because it limited his creative freedom. However,
Leopold, having established a career and made a good living in Baroque music, with a strong system of
patronage, did not understand why his son Wolfgang would seemingly snub the same system.
Nonetheless, Wolfgang found the patronage system to be too restrictive artistically. He left his post working
for the Archbishop of Salzburg and moved to Vienna where he hoped to improve upon his current living
situation and focus on his music. Again, his father did not approve of this change. Leaving a position that
was so highly prized by other composers was frowned upon and astonished the musical establishment of the
time. He risked potential employers not taking him seriously when he applied for other positions. Mozart had
been miserable, though, and craved more artistic freedom, and was willing to do whatever he had to in order
to obtain it.
Working without an established patron was very difficult, even for a man of Wolfgang’s intelligence. He was
perfectly capable of getting able commissions from wealthy patrons, but no matter how hard he tried, he was
not able to maintain a regular position that would give him the prestige or financial stability and security that
he desired.
The Magic Flute, or Die Zauberflöte, was a rare exception to the unwritten rules of this particular musical
era. It was not commissioned by, or written for the aristocracy. It was intended for the enjoyment of a much
more broad audience, and achieved the kind of popular success that eluded Mozart for much of his career.
Working with Emanuel Schikaneder, Mozart’s collaborator and librettist, and his troupe gave Mozart a
platform to show his true genius to a wider variety of people. Unfortunately, this success, and huge surge in
popularity came only a couple of months before his death. As with many composers who were true geniuses,
Mozart was not fully understood or appreciated until long after his death.
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THE MAGIC FLUTE
“I GET BY WITH A LITTLE HELP FROM MY FRIENDS”
The Magic Flute, or Die Zauberflöte, was written in collaboration with Emanuel Schikaneder, the leader of the
Freihaus-Theater auf der Wieden in the suburbs of Vienna. This is the theater where The Magic Flute premiered
on September 30, 1791. Schikaneder was not only a good friend to Mozart, but also his fellow collaborator,
librettist, star, and producer of the opera. Mozart had been collaborating musically with Schikaneder’s acting
troupe for some time, and had helped write the opera The Philosopher’s Stone the year before.
Schikaneder’s acting troupe included many mutual friends and family of both Mozart and Schikaneder. Mozart
wrote the roles in The Magic Flute specifically for this particular group of actors. He took into account each
members particular strengths and weaknesses, and wrote roles to highlight and showcase them. Writing for
individual singers was a common practice of the time, but to write for a group with such a wide variety of
musical abilities was quite unique and challenging.
The part of Papageno was written for Schikaneder, who was somewhat limited in his singing ability, but
allowed him to show off his talent for comedic acting. Urban Schikaneder, Emanuel’s older brother, played
the role of the First Priest, while Schikaneder’s daughter Anna sang the role of the First Boy.
From Mozart’s own family, the part of The Queen of the Night was written for and premiered by Josepha
Hofer, the elder sister of his wife Constanze and a member of Schikaneder’s acting troupe. Hofer was the most
musically talented and experienced member of the troupe. The two main arias for the character are extremely
difficult for any coloratura soprano.
Other members of the acting troupe were also close friends of Mozart. Benedikt Schack, a composer who
had previously collaborated with Mozart, premiered the role of Tamino. Schack and Schikaneder were also
Masons and lodge brothers of Mozart. Schacks wife, Elisabeth Weinhold, played the role of the Third Lady.
Franz Xaver Gerl created the role of Sarastro for himself, while his wife, Barbara Reisinger, was the original
Papagena.
Working with a group of people with such strong bonds was unique and different for Mozart. The situation,
along with the history he had with this group, made The Magic Flute not only possible, but ensured its success.
However, the opera broke with many conventions of the day: there was not a wealthy patron to fund the
endeavor, in addition to a lack of a noble or wealthy and established audience to ensure financial success. It
was not performed in conjunction with an established opera company, and was produced in German for an
average German audience, in a style far from the mainstream of opera. It was premiered by a company of
performers whose business was to bring entertainment to average German speaking people. This particular
opera was one of Mozart’s biggest successes. It achieved more performances than any of his other operas. The
Magic Flute today remains one of the truly greatest and beloved operas of all time.
2011-2012 Educational Series presented by
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scholars
theopera
THE MAGIC FLUTE
“I SAW
THE
LIGHT”
Mozart was a believer in the Age of Enlightenment, when reason became the primary source for legitimacy
and authority. Developments in science caused people of the time to think of man in more democratic terms,
gradually breaking away from the ideas of the absolute God-given authority to the nobility, as well as the
mysticism and control of the church. Scholars were studying and embracing democratic ideals as developed
in ancient Greece.
Mozart would learn to live his personal life by these beliefs; a gutsy move when the two main patrons of
composers at the time were the nobility and the church. Mozart might easily have been regarded as radical by
both, regardless of his great musical talent.
The Freemasons, especially the division known as the Illuminati, were a natural fit for Mozart. They believed
in liberty, fraternity, and equality. Keep in mind this is the same general time period as the battle cries of
“Liberty, equality, fraternity” of the French Revolution. The Empress Maria Theresa of Austria had suppressed
the order in 1764, viewing it as radical and opposed to the monarchy. The democratic movement had also
outgrown royal power on our continent, resulting in the American Revolution. George Washington and many
of his generation were Freemasons.
The Freemasons in most of Europe, however, were more about making business and social contacts with like
minded people who would respect each other as individuals. While the Freemasons were not yet a driving
force behind the democratic movement in Europe, their beliefs were basically the same as those of the
revolutionaries who had violently rejected the ruling class in France. The Freemasons would become more
powerful and controversial in the 19th century.
The Magic Flute was Mozart’s opera for his people. Italian opera was still the standard of the time. Mozart
wanted to write an opera in German, which he strongly believed was just as beautiful of a language as Italian.
The Magic Flute was not commissioned by, or written for any wealthy patron, or the upper class of people
who normally frequented a Mozart opera. It was intended for an audience comprised of the common people
of society. Its story presented some of the ideals of democracy with men basing important decisions on reason
and wisdom rather than the will of a ruling class or of an organization like the church.
The Magic Flute was also produced outside the normal channels of the opera world. One writer compares
it to an off-off Broadway production. The librettist and producer, Emanuel Schikaneder, and others in the
original cast were also Freemasons and lodge brothers of Mozart. It was first performed in a theater by a
theatre troupe that was not accustomed to opera. Because of Mozart’s great skill of writing for varying levels
of musical talent, it was successful and achieved more success and popularity than his other operas. Free of
the constraints of the old patronage system, Mozart found his own unique voice in The Magic Flute, a voice
that still resounds today.
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