The Magic Flute

Composition

The opera was the culmination of Mozart's increasing involvement with Emanuel Schikaneder's theatrical troupe, which since 1789 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 1790 collaborative opera Der Stein der Weisen (The Philosopher's Stone), including the duet ("Nun liebes Weibchen", K. 625/592a) among other passages. 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.

Schikaneder's libretto for The Magic Flute is thought by scholars to be based on many sources. Some works of literature that may have served as sources include the medieval romance Yvain by Chrétien de Troyes, the novel Life of Sethos by Jean Terrasson, and the essay "On the mysteries of the Egyptians" by Ignaz von Born. 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. Especially for the role of Papageno, the libretto draws on the Hanswurst tradition of the Viennese popular theatre. Many scholars also acknowledge an influence of Freemasonry.

The Magic Flute appears to have two references to the music of Antonio Salieri. The first is that the Papageno–Papagena duet is similar to the Cucuzze cavatina in Salieri's Prima la musica e poi le parole. Both are centered around musical-textual playfulness with humorous bird-like utterances of pseudo-Italian words. The Magic Flute also echoes Salieri's music in that Papageno's whistle is based on a motif borrowed from Salieri's Concerto for Clavicembalo in B♭ major.

Roles

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." = Herr, Mr.; "Mme." = Madame, Mrs.; "Mlle." = Mademoiselle, Miss.

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.

Orchestration

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 1 for clarinets and pizzicato strings—a single dramatic stroke."

Synopsis

Overture

The overture, composed after the other parts of the opera were complete, begins with a solemn three-chord sequence from the brass, associated with the Priests of the Temple of Wisdom. (The number three is highly significant in Freemasonry and recurs as the number of ladies, boys and temples.) It transitions in an adagio to a lively fugue in E♭ major.

Halfway through, there is a false ending. After another three-chord brass sequence, the fugue resumes in E♭ minor, returning to E♭ major.

Act 1

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!" / Help! Help!, segued into trio "Stirb, Ungeheuer, durch uns're Macht!" / Die, monster, by our might!). 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 persuade the other two to leave her alone with him. After arguing, they reluctantly decide to leave together.

Tamino wakes up and is surprised to find himself still alive and the serpent dead. 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" / The birdcatcher am I indeed). 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 and a stone, and padlock his mouth closed as a warning not to lie. They give Tamino a portrait of the Queen of the Night's daughter Pamina, with whom Tamino falls instantly in love (aria: "Dies Bildnis ist bezaubernd schön" / This portrait is enchantingly beautiful).

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 of the Night appears and promises Tamino that Pamina will be his wife if he rescues her from Sarastro (Recitative: "O zittre nicht, mein lieber Sohn" / Oh, tremble not, my dear son! – and aria: "Du, Du, Du wirst sie zu befreien gehen / You will go to free her). The Queen and the ladies leave and Papageno can only hum to bemoan the padlock on his mouth. (Quintet: "Hm! Hm! Hm! Hm!"). The ladies return and remove the padlock with a warning not to lie any more. They give Tamino a magic flute which has the power to change sorrow into joy, and Papageno magic bells for protection, telling him to go with Tamino. The ladies tell of three boys who will guide Tamino and Papageno to Sarastro's temple. Together Tamino and Papageno set forth.

Pamina is dragged in by Sarastro's slaves, having tried to escape. Monostatos, a blackamoor and chief of the slaves, orders them to chain her and leave her alone with him. Papageno, sent ahead by Tamino to help find Pamina, enters (Trio: "Du feines Täubchen, nur herein!" / Just come in, you fine little dove!). Monostatos and Papageno are each terrified by the other's strange appearance and both flee, each thinking the other is the devil. 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 value of marital love (duet: "Bei Männern welche Liebe fühlen" / In men, who feel love).

Act 2

The council of priests of Isis and Osiris, headed by Sarastro, enters to the sound of a solemn march. Sarastro tells the priests that Tamino is ready to undergo the ordeals that will lead to enlightenment. He invokes the gods Isis and Osiris, asking them to protect Tamino and Pamina (Aria and chorus: "O Isis und Osiris / O Isis and Osiris").

Tamino and Papageno are led in by two priests for the first trial. The two priests advise Tamino and Papageno of the dangers ahead of them, warn them of women's wiles and swear them to silence (Duet: "Bewahret euch von Weibertücken" / Keep yourselves from women's tricks). The three ladies appear and remind Tamino and Papageno of what the Queen has said about Sarastro, trying to tempt them into speaking. (Quintet: "Wie, wie, wie" / How, how, how) Papageno cannot resist answering the ladies, but Tamino remains aloof, angrily instructing Papageno not to listen to the ladies' threats and to keep quiet. Seeing that Tamino will not speak to them, the ladies withdraw in confusion. The Speaker and a priest return and lead Tamino and Papageno away.

Pamina is asleep. Monostatos creeps in and ogles her. (Aria: "Alles fühlt der Liebe Freuden" / All feel the joys of love) He is about to kiss her, when the Queen of the Night appears. Monostatos hides. Waking, Pamina tells her that Tamino is joining Sarastro's brotherhood and that she is thinking of accompanying him. The Queen is not pleased. She explains that her husband, the previous owner of the temple, on his deathbed gave the ownership to Sarastro instead of to her, rendering the Queen powerless (this is in the original libretto, but is usually omitted from modern productions). She gives Pamina a dagger, ordering her to kill Sarastro with it and threatening to disown her if she does not. (Aria: "Der Hölle Rache kocht in meinem Herzen" / Hell's vengeance boils in my heart). She leaves. Monostatos returns and tries to force Pamina's love by threatening to reveal the Queen's plot, but Sarastro enters and drives him off. Pamina begs Sarastro to forgive her mother and he reassures her that revenge and cruelty have no place in his domain (Aria: "In diesen heil'gen Hallen" / Within these sacred halls).

Tamino and Papageno are led in by priests, who remind them that they must remain silent. Papageno complains of thirst. An old woman enters and offers Papageno a cup of water. He drinks and teasingly asks whether she has a boyfriend. She replies that she does and that his name is Papageno. She disappears as Papageno asks for her name, and the three boys bring in food, the magic flute, and the bells, sent from Sarastro (Trio: "Seid uns zum zweiten Mal willkommen" / We welcome you a second time). Tamino begins to play the flute, which summons Pamina. She tries to speak with him, but Tamino, bound by his vow of silence, cannot answer her, and Pamina begins to believe that he no longer loves her. (Aria: "Ach, ich fühl's, es ist verschwunden" / Oh, I feel it, it is gone) She leaves in despair.

Premiere and reception

The opera premiered in Vienna on 30 September 1791 at the suburban Freihaus-Theater auf der Wieden. Mozart conducted the orchestra and Schikaneder himself played Papageno, while the role of the Queen of the Night was sung by Mozart's sister-in-law Josepha Hofer.

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 1790s.

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. "I have this moment returned from the opera, which was as full as ever", he wrote on 7 October, listing the numbers that had to be encored. "But what always gives me the most pleasure is the silent approval! 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 100th performance in November 1792, though Mozart did not have the pleasure of witnessing this milestone, as he had died on 5 December 1791. The opera was first performed outside Vienna (21 September 1792) 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 Peter 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.

First publication

On 28 December 1791, 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, 1814), claiming that it was "in accordance with Mozart's own wishes" (Allgemeine musikalische Zeitung, 13 September 1815).

Themes

The Magic Flute is noted for its prominent Masonic elements, although some scholars hold that the Masonic influence is exaggerated. Schikaneder and Mozart were Freemasons, as was Ignaz Alberti, engraver and printer of the first libretto. The opera is also influenced by Enlightenment philosophy and can be regarded as advocating enlightened absolutism. 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. Still others see the Roman Catholic Church itself, which was and still is strongly anti-Masonic. Likewise, the literature repeatedly addresses the fact that the central theme of the work is not only "love", but also becoming a better person by overcoming trials (similar to Wagner's Parsifal later on).

Recordings

The first known recording of The Magic Flute's overture was issued around 1903, by the Victor Talking Machine Company and played by the Victor Grand Concert Band.

The first complete recording of The Magic Flute was of a live performance at the 1937 Salzburg Festival, with Arturo Toscanini conducting the Vienna Philharmonic and Vienna State Opera, though the recording was not officially issued until many years later. The first studio recording of the work, with Sir Thomas Beecham conducting the Berlin Philharmonic, was completed in 1938. Both of these historic recordings have been reissued on LP and compact disc. Since then there have been many recordings, in both audio and video formats.