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. The Magic Flute, Wolfgang Amadeus Mozart, Grand opera in two acts , Cast: Pamina: Kim-Lillian Strebel, Tamino: Joel Prieto, Queen of the Night. His new perspective on the work brings to life a Magic Flute that is both refined and elegant: a sober jewel in which appearances often prove misleading.
The Magic FluteExplore this one of a kind opera adventure - The Land of the Magic Flute - A Motion Graphic Novel - Mozart reimagined. From a production of The Magic Flute at Texas A&M University–Commerce: the Queen of the Night menaces the terrified Pamina. "Der Hölle Rache kocht in. 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.
The Magic Flute Background and context VideoTHE MAGIC FLUTE 🎶 MOZART 🎞 BERGMAN [Italiano, English, Français, Español, Português (Br), Subtls] On one level, The Magic Flute is a simple fairy tale concerning a damsel in distress and the handsome prince who rescues her. Beneath the surface, however, the piece is much more complex. It is an allegory of the quest for wisdom and enlightenment as presented through symbols of Freemasonry; Mozart and Schikaneder were both Freemasons. The Magic Flute is arguably the most well-known and loved opera in the history of music, probably because it has a simple fairy-tale type of plot and because the music is easy to listen to and to “understand”. Creators The Met’s abridged, English-language version of Mozart’s magical fairy tale is a classic holiday treat for audiences of all ages. A cast of standouts comes together to bring the charming story and enchanting music to life, led by tenor Matthew Polenzani as the courageous Tamino and soprano Hera Hysesang Park as the virtuous Pamina. //Song: The Magic Flute: Overture//Composer: Wolfgang Amadeus Mozart. “Die Zauberflöte”, “The Magic Flute”, was to become one of the most popular and most performed operas in history. Even today the audience is not averse to being spirited away into a fairy-tale realm of magic, love and humour – typically Mozart!. Monostatos and Papageno are terrified by each other and flee. Mozart entered the work in his personal catalog as a "German opera", and the first printed libretto called it Hartz 4 Geldgeschenke Singspiel. Papageno The Magic Flute Pamina hear the sound of Sarastro's retinue approaching. Tamino, and the audience, discover that Sarastro is no evil-doer at all, Köln Vs Paderborn a Priest of the Sun, a Holy Man, and that the Queen of the Night is a false and treacherous woman who has plotted against him. In fact, Pamina is his contrasexual image — or to use a Jungian term, his anima. How old are you, my dear? Added to Watchlist. Still others will see it as a love story. He promises that Tamino's confusion will be lifted when Tamino approaches the temple in a spirit of friendship. The first studio recording of the work, with Sir Thomas Beecham conducting the Berlin Philharmonicwas completed in Download as PDF Printable version. While the female roles in Elias Ymer opera are assigned to different voice typesthe playbill for the premiere performance referred to all of the female singers as "sopranos".
Den Boni von The Magic Flute Online Spielbank Nummer 1. - InformationAlbina Shagimuratova.
Seeking power that can be hers only if Sarastro dies, the Queen awakens Pamina and gives her a dagger, ordering her to kill Sarastro.
After the Queen leaves, Monostatos tries to blackmail Pamina by threatening to reveal the murder plot, but Sarastro drives him off and reassures Pamina.
Tamino and Papageno are undergoing a second trial of silence. An old woman enters, carrying water. She says that she is 18 years and 2 minutes old.
Papageno at first believes she means 80, but the old woman insists she is Papageno inquires if she has a sweetheart.
She replies that she does, and that his name is Papageno. She then disappears. 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. 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. Tamino vows to rescue Pamina.
The Queen leaves and the ladies remove the padlock from Papageno's mouth with a warning not to lie any more. They give Tamino a magic flute which has the power to change sorrow into joy.
They give Papageno magic bells for protection, telling him to go with Tamino. The ladies introduce three child-spirits, who will guide Tamino and Papageno to Sarastro's temple.
Together Tamino and Papageno set forth Quintet: "Hm! Pamina is dragged in by Sarastro's slaves, apparently having tried to escape. Monostatos, a blackamoor and chief of the slaves, orders the slaves to chain her and leave him alone with her.
Monostatos and Papageno are each terrified by the other's strange appearance and both flee. Papageno returns and announces to Pamina that her mother has sent Tamino to save her.
Pamina rejoices to hear that Tamino is in love with her. She offers sympathy and hope to Papageno, who longs for a wife.
Together they reflect on the joys and sacred duties of marital love duet: " Bei Männern welche Liebe fühlen ".
The three child-spirits lead Tamino to Sarastro's temple, promising that if he remains patient, wise and steadfast, he will succeed in rescuing Pamina Quartet: " Zum Ziele führt dich diese Bahn ".
Tamino approaches the left-hand entrance and is denied access by voices from within. The same happens when he goes to the entrance on the right.
But from the entrance in the middle, an old priest appears and lets Tamino in. The old priest is referred to as "The Speaker" in the libretto, but his role is a singing role.
He tells Tamino that Sarastro is benevolent, not evil, and that he should not trust the Queen of the Night. He promises that Tamino's confusion will be lifted when Tamino approaches the temple in a spirit of friendship.
Tamino plays his magic flute. Animals appear and dance, enraptured, to his music. Tamino hears Papageno's pipes sounding offstage, and hurries off to find him aria: " Wie stark ist nicht dein Zauberton ".
They are recaptured by Monostatos and his slaves. Papageno plays his magic bells, and Monostatos and his slaves begin to dance, and exit the stage, still dancing, mesmerised by the beauty of the music chorus: " Das klinget so herrlich ".
Papageno and Pamina hear the sound of Sarastro's retinue approaching. Pamina Ben Davis Sarastro Lyubov Petrova Queen of the Night Tom Randle Monostatos Liz Smith First Lady Louise Callinan Second Lady Kim-Marie Woodhouse Third Lady William Dutton First Boy Luke Lampard Second Boy Jamie Manton Third Boy Rodney Clarke Edit Storyline During World War I, in an unnamed country, a soldier named Tamino is sent by the Queen of the Night to rescue her daughter Pamina from the clutches of the supposedly evil Sarastro.
Edit Did You Know? Trivia Shot entirely in a studio. 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! The Magic Flute, L.
Contact Us. At La Flauta Magica we believe in:. About Us. Indeed, throughout the score of The Magic Flute, attention is constantly drawn to the number three in various ways.
In the overture, Mozart also draws special attention to the trombones. They urge the protagonists on, they make things happen.
Trombones are extremely ancient instruments. Traditionally, trombones and their ancestors were mainly used in religious ceremony.
They represented the majesty and divinity of the King; compared to the trumpets, their sound is heavier, calmer, more dignified and expansive: all qualities of Jupiter.
So we might say that trumpets belong to the Sphere of Gevurah on the Tree of Life, and trombones belong to the Sphere of Chesed.
However, we might also put the trombones in Tifaret, the Royal Sephira above all others, the Sphere of the King. Tifaret is also the Sphere of Sacrifice and of Higher Initiation, and since The Magic Flute is an opera about initiation and the trombones are given the task of summoning the characters to their initiation, we can regard the trombones as symbols of Tifaret, the Sphere of the Sun and of the Higher Self.
When the First Act begins, we find ourselves in the wilderness, in a large forest. At the back is a circular or roundish temple though I very much suspect it is nine-sided, but more of that later on.
Tamino enters, pursued by a large serpent which is threatening to kill him. He faints, but as he does so, the doors of the temple open and three veiled ladies rush out to kill the beast with spears of silver.
A forest — a classic symbol of the unconscious; also a symbol of life itself, the tangled circumstances we frequently find ourselves in. Another forest which immediately comes to mind is the one in which Dante finds himself at the beginning of his Divine Comedy: he was also threatened by various wild animals.
In fact this forest, this wilderness, is nothing other than Yesod, the Sphere of the Moon and of the unconscious, which is further borne out by the fact that the three veiled Ladies are servants of the Queen of the Night: they are Priestesses of the Moon, as witness their silver spears.
Three, of course, being the number of the Great Mother, Binah: the black veils refer to the Veiled Isis. 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.