The Magic Flute (German: Die Zauberfl�te), K.

620, is an opera in two acts by

Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in
the form of a Singspiel, a popular form that included both singing and spoken
dialogue.[a] The work premiered on 30 September 1791 at Schikaneder's theatre, the
Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's
premature death.

In the opera the Queen of the Night persuades Prince Tamino to rescue her daughter
Pamina from captivity under the high priest Sarastro; instead, he learns the high
ideals of Sarastro's community and seeks to join it. Separately, then together,
Tamino and Pamina undergo severe trials of initiation, which end in triumph, with
the Queen and her cohorts vanquished. The earthy Papageno, who accompanies Tamino
on his quest, fails the trials completely but is rewarded anyway with the hand of
his ideal female companion Papagena.

Contents

1 Composition
2 Premiere and reception
3 First publication
4 Themes
5 Roles
6 Instrumentation
7 Synopsis
7.1 Act 1
7.2 Act 2
8 Some musical numbers
9 Recordings
10 Works inspired by The Magic Flute
11 See also
12 Notes
13 References
14 Bibliography
14.1 Books and articles
14.2 Other
15 External links

Composition

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Emanuel Schikaneder, librettist of Die Zauberfl�te, shown performing in the role of
Papageno. The object on his back is a birdcage; see below.

The opera was the culmination of a period of increasing involvement by Mozart with
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.[2]

The libretto for The Magic Flute, written by Schikaneder, is thought by scholars to
be based on many sources. Some works of literature current in Vienna in
Schikaneder's day that may have served as sources include the medieval romance
Yvain by Chr�tien de Troyes, the novel 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.[3] 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. For detailed discussion of sources see Branscombe
(1991), as well as Libretto of The Magic Flute.

In composing the opera, Mozart evidently kept in mind the skills of the singers
intended for the premiere, which included both virtuosi and ordinary comic actors
asked to sing for the occasion. Thus, the vocal lines for Papageno�sung by
Schikaneder himself�and Monostatos (Johann Joseph Nouseul) are often stated first
in the strings so the singer can find his pitch, and are frequently doubled by
instruments. In contrast, Mozart's sister-in-law Josepha Hofer, who premiered the
role of the Queen of the Night, evidently needed little such help: this role is
famous for its difficulty. In ensembles, Mozart skillfully combined voices of
different ability levels.

The vocal ranges of two of the original singers for whom Mozart tailored his music
have posed challenges for many singers who have since recreated their roles. Both
arias of the Queen of the Night, "O zittre nicht, mein lieber Sohn" and "Der H�lle
Rache kocht in meinem Herzen" require high F6, rare in opera. At the low end, the
part of Sarastro, premiered by Franz Xaver Gerl, includes a conspicuous F2 in a few
locations.
Premiere and reception

The opera was premiered in Vienna on 30 September 1791 at the suburban Freihaus-
Theater auf der Wieden.[4] Mozart conducted the orchestra,[b] 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,[6] 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.[7]

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.[7]

The opera celebrated its 100th performance in November 1792, though Mozart did not
have the pleasure of witnessing this milestone, as he had died 5 December 1791. The
opera was first performed outside Vienna (21 September 1792) in Lemberg,[8] then in
Prague. It then made (Branscombe) "triumphal progress through Germany's opera
houses great and small",[9] and with the early 19th century spread to essentially
all the countries of Europe�and eventually, everywhere in the world�where opera is
cultivated.[10]

As 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.[11]

The Magic Flute is presently among the most frequently performed of all operas;
statistics collected for the 2015-2016 season indicate over 500 productions
worldwide, totaling more than 3000 performances.[12]
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).[13][14]
Themes
Main article: Libretto of The Magic Flute
See also: Mozart and Freemasonry

The Magic Flute is noted for its prominent Masonic elements,[15] although some
scholars hold that the Masonic influence is exaggerated.[16][17][18] Schikaneder
and Mozart were Freemasons, as was Ignaz Alberti, engraver and printer of the first
libretto.[19] The opera is also influenced by Enlightenment philosophy, and can be
regarded as an allegory advocating enlightened absolutism. The Queen of the Night
represents a dangerous form of obscurantism or, according to some, the anti-Masonic
Roman Catholic Empress Maria Theresa,[20] or, according to others, the contemporary
Roman Catholic Church itself, which was also strongly anti-Masonic.[21] Her
antagonist Sarastro symbolises the enlightened sovereign who rules according to
principles based on reason, wisdom, and nature. The story itself portrays the
education of mankind, progressing from chaos (the serpent) through religious
superstition (the Queen and Ladies) to rationalistic enlightenment (Sarastro and
Priests), by means of trial (Tamino) and error (Papageno), ultimately to make "the
Earth a heavenly kingdom, and mortals like the gods" ("Dann ist die Erd' ein
Himmelreich, und Sterbliche den G�ttern gleich"); this couplet is sung in the
finales to both acts.

Modern audiences often find the prominent strains of misogyny and the casual racism
in The Magic Flute problematic.[22] Sarastro describes the Queen of the Night as
usurping the rightful power of men ("[She is] a proud woman! A man must guide your
hearts, for without him all women tend to step outside their own sphere of
activity"), and her supposed 'feminine' vindictive hysteria serves as a foil for
Sarastro's 'masculine' dignified reason. The perfidious villain Monostatos,
meanwhile, is written as a Moor (African).
Roles
Playbill for the premiere, 30 September 1791.[c]
Role Voice type Premiere cast, 30 September 1791
(conductor: Wolfgang Amadeus Mozart)
Tamino tenor Benedikt Schack
Papageno baritone Emanuel Schikaneder
Pamina soprano Anna Gottlieb
The Queen of the Night[d] soprano Josepha Hofer
Sarastro bass Franz Xaver Gerl
Three ladies 3 sopranos Mlle Kl�pfer, Mlle Hofmann, Elisabeth[23] Schack
Monostatos tenor Johann Joseph Nouseul
Three child-spirits treble, alto, mezzo-soprano[e] Anna Schikaneder; Anselm
Handelgruber; Franz Anton Maurer
Speaker of the temple bass-baritone Herr Winter
Three priests bass, tenor, speaking role Johann Michael Kistler, Urban
Schikaneder
Papagena soprano Barbara Gerl
Two armoured men tenor, bass Johann Michael Kistler, Herr Moll
Three slaves 2 tenors, bass Karl Ludwig Giesecke, Herr Frasel, Herr Starke
Priests, women, people, slaves, chorus

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.[24][25]

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.
[26]
Instrumentation

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; an instrument which has since been lost to history, though modern day
scholars believe it to be a keyed glockenspiel, which is usually substituted with a
celesta in modern-day performances.[27]

Charles Rosen has remarked on the character of Mozart's orchestration:

Die Zauberfl�te 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."[28]

Synopsis

Overture
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Performed by Musopen Symphony Orchestra (6:39)
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The opera begins with the overture, which Mozart composed last.[29]
Act 1

Scene 1: A rough, rocky landscape

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!" segued into trio: "Stirb,
Ungeheuer, durch uns�re Macht!"). 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.
Baritone Markus Werba appearing as Papageno. He wears his pipes and carries his
magic bells; both instruments are essential to the plot.

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 Vogelf�nger bin ich ja"). Tamino introduces himself
to Papageno, thinking Papageno
credit � claiming he strangled
reappear and instead of giving
stone and place a padlock over
a portrait of the Queen of the
instantly in love (aria: "Dies
enchantingly beautiful).
killed the serpent. Papageno happily takes the
it with his bare hands. The three ladies suddenly
him wine, cake and figs, they give him water, a
his mouth as a warning not to lie. They give Tamino
Night's daughter Pamina, with whom Tamino falls
Bildnis ist bezaubernd sch�n" / This image is

The ladies return and tell Tamino that Pamina has been captured by Sarastro, a
supposedly evil sorcerer. Tamino vows to rescue Pamina. The Queen of the Night
appears and promises Tamino that Pamina will be his if he rescues her from Sarastro
(Recitative and aria: "O zittre nicht, mein lieber Sohn" / Oh, tremble not, my dear
son!). 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 tell Papageno to go with Tamino, and give him
(Papageno) magic bells for protection. The ladies introduce three child-spirits,
who will guide Tamino and Papageno to Sarastro's temple. Together Tamino and
Papageno set forth (Quintet: "Hm! Hm! Hm! Hm!").

Scene 2: A room in Sarastro's palace

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. Papageno, sent ahead by Tamino to help find Pamina,
enters (Trio: "Du feines T�ubchen, nur herein!"). 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 M�nnern welche Liebe f�hlen").

Finale. Scene 3: A grove in front of a temple

The arrival of Sarastro on a chariot pulled by lions, from a 1793 production in
Brno. Pamina appears at left, Papageno at right. In the background are the temples
of Wisdom, Reason, and Nature.

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 f�hrt 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 as a friend. 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").

Papageno and Pamina enter, searching for Tamino (trio: "Schnelle F��e, rascher
Mut"). 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. Papageno is
frightened and asks Pamina what they should say. She answers that they must tell
the truth. Sarastro enters, with a crowd of followers. (chorus: "Es lebe
Sarastro!")

Pamina falls at Sarastro's feet and confesses that she tried to escape because
Monostatos had forced his attentions on her. Sarastro receives her kindly and
assures her that he wishes only for her happiness. But he refuses to return her to
her mother, whom he describes as a proud, headstrong woman, and a bad influence on
those around her. Pamina, he says, must be guided by a man.

Monostatos brings in Tamino. The two lovers see one another for the first time and
embrace, causing indignation among Sarastro's followers. Monostatos tells Sarastro
that he caught Papageno and Pamina trying to escape, and demands a reward.
Sarastro, however, punishes Monostatos for his lustful behaviour toward Pamina, and
sends him away. He announces that Tamino must undergo trials of wisdom in order to
become worthy as Pamina's husband. The priests declare that virtue and
righteousness will sanctify life and make mortals like gods ("Wenn Tugend und
Gerechtigkeit").
Act 2

Scene 1: A grove of palms

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").

Scene 2: The courtyard of the Temple of Ordeal

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 Weibert�cken"). The three
ladies appear and try to frighten Tamino and Papageno into speaking. (Quintet:
"Wie, wie, wie") 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.

Scene 3: A garden

Pamina is asleep. Monostatos approaches and gazes upon her with rapture. (Aria:
"Alles f�hlt der Liebe Freuden") He is about to kiss the sleeping Pamina, when the
Queen of the Night appears. Monostatos hides. In response to the Queen's
questioning, Pamina explains that he is joining Sarastro's brotherhood and she is
thinking of accompanying him too. The Queen is not pleased. She explains that her
husband was the previous owner of the temple and on his deathbed, he gives the
ownership to Sarastro instead of her, rendering the Queen powerless (This is in the
original libretto, but in modern productions, it is usually omitted, making the
scene with Pamina and her mother shorter). She gives Pamina a dagger, ordering her
to kill Sarastro with it and threatening to disown her if she does not. (Aria: "Der
H�lle Rache kocht in meinem Herzen"). 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").

Scene 4: A hall in the Temple of Ordeal

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 child-spirits bring in food, the magic flute, and the
bells, sent from Sarastro (Trio: "Seid uns zum zweiten Mal willkommen"). 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 f�hl's, es ist verschwunden")
She leaves in despair.

Scene 5: The pyramids

The priests celebrate Tamino's successes so far, and pray that he will succeed and
become worthy of their order (Chorus: "O Isis und Osiris"). Pamina is brought in
and Sarastro instructs Pamina and Tamino to bid each other farewell before the
greater trials ahead, alarming them by describing it as their "final farewell."
(Trio: Sarastro, Pamina, Tamino � "Soll ich dich, Teurer, nicht mehr sehn?" Note:
In order to preserve the continuity of Pamina's suicidal feelings, this trio is
sometimes performed earlier in act 2, preceding or immediately following Sarastro's
aria "O Isis und Osiris".[f][30]) They exit and Papageno enters. The priests grant
his request for a glass of wine and he expresses his desire for a wife. (Aria: "Ein
M�dchen oder Weibchen"). The elderly woman reappears and warns him that unless he
immediately promises to marry her, he will be imprisoned forever. When Papageno
promises to love her faithfully (muttering that he will only do this until
something better comes along), she is transformed into the young and pretty
Papagena. Papageno rushes to embrace her, but the priests drive him back, telling
him that he is not yet worthy of her.

Finale. Scene 6: A garden

Tamino and Pamina undergo their final trial; watercolor by Max Slevogt (1868�1932)

The three child-spirits hail the dawn. They observe Pamina, who is contemplating
suicide because she believes Tamino has abandoned her. The child-spirits restrain
her and reassure her of Tamino's love. (Quartet: "Bald prangt, den Morgen zu
verk�nden").

Scene change without interrupting the music, to Scene 7: Outside the Temple of
Ordeal

Two men in armor lead in Tamino. They recite one of the formal creeds of Isis and
Osiris, promising enlightenment to those who successfully overcome the fear of
death ("Der, welcher wandert diese Strasse voll Beschwerden"). This recitation
takes the musical form of a Baroque chorale prelude, to the tune of Martin Luther's
hymn "Ach Gott, vom Himmel sieh darein" (Oh God, look down from heaven).[g] Tamino
declares that he is ready to be tested. Pamina calls to him from offstage. The men
in armour assure him that the trial by silence is over and he is free to speak with
her. Pamina enters and declares her intention to undergo the remaining trials with
him. She hands him the magic flute to help them through the trials ("Tamino mein, o
welch ein Gl�ck!"). Protected by the music of the magic flute, they pass unscathed
through chambers of fire and water. Offstage, the priests hail their triumph and
invite the couple to enter the temple.

Scene change without interrupting the music, to Scene 8: A garden with a tree
Papageno and Papagena. From a production at Texas A&M University-Commerce.

Papageno despairs at having lost Papagena and decides to hang himself

(Aria/Quartet: "Papagena! Papagena! Papagena! Weibchen, T�ubchen, meine Sch�ne")
The three child-spirits appear and stop him. They advise him to play his magic
bells to summon Papagena. She appears and, united, the happy couple stutter in
astonishment and make bird-like courting sounds at each other. They plan their
future and dream of the many children they will have together (Duet: "Pa � pa �
pa ...").[h]

Scene change without interrupting the music, to Scene 9: A rocky landscape outside
the temple; night

The traitorous Monostatos appears with the Queen of the Night and her three ladies.
They plot to destroy the temple ("Nur stille, stille") and the Queen confirms that
she has promised her daughter Pamina to Monostatos. But before the conspirators can
enter the temple, they are magically cast out into eternal night.

Scene change without interrupting the music, to Scene 10: The Temple of the Sun

Sarastro announces the sun's triumph over the night, and hails the dawn of a new
era of wisdom and brotherhood.[32]
Some musical numbers

"March of the Priests" (beginning of act 2)

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Queen of the Night's second aria, "Der H�lle Rache"
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Both pieces performed in 2006 by Siam Philharmonic Orchestra conducted by Trisdee
na Patalung
"Ach, ich f�hl's", Pamina, act 2
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Aulikki Rautawaara (soprano), Orchester des Deutschen Opernhauses, Berlin,
conducted in 1938 by Hans Schmidt-Isserstedt
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Act 1

"Der Vogelf�nger bin ich ja" (The birdcatcher am I) � Papageno, scene 1

"Dies Bildnis ist bezaubernd sch�n" (This image is enchantingly beautiful) �
Tamino, scene 1
"O zittre nicht, mein lieber Sohn" (Oh, tremble not, my beloved son) � The
Queen of the Night, scene 1
"Bei M�nnern, welche Liebe f�hlen" (In men, who feel love) � Pamina and
Papageno (duet), scene 2
"Wie stark ist nicht dein Zauberton" (How strong is thy magic tone) � Tamino,
finale

Act 2

"O Isis und Osiris" (O Isis and Osiris) � Sarastro, scene 1

"Alles f�hlt der Liebe Freuden" (All feel the joys of love) � Monostatos, scene
3
"Der H�lle Rache kocht in meinem Herzen" (Hell's vengeance boils in my heart) �
The Queen of the Night, scene 3
"In diesen heil'gen Hallen" (Within these sacred halls) � Sarastro, scene 3
"Ach, ich f�hl's, es ist verschwunden" (Ah, I feel it, it is vanished) �
Pamina, scene 4
"Ein M�dchen oder Weibchen" (A girl or a woman) � Papageno, scene 5
"Pa�, pa�, pa�" � Papageno and Papagena, scene 10

Recordings
Main article: The Magic Flute discography

The first recording of the Magic Flute Overture was issued around 1901�1903, at the
dawn of the recording era, by the Victor Recording Company and played by the Victor
Grand Concert Band.[33]
The first 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. 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 modern recording media. Since then there have been
many recordings, in both audio and video formats.[34][35]
Works inspired by The Magic Flute
The opera has inspired a great number of sequels, adaptations, novels, films, and
other works of art. For a listing, see Works inspired by The Magic Flute.