Brother Mozart Visits Washington, D.C. BY MARK DREISONSTOK, PM, EDITOR
Alexandria Shiner (1st Lady), Deborah Nansteel (2nd Lady), Meredith Arwady (3rd Lady), Michael Adams (Papageno), David Portillo (Tamino) in the Washington National Opera’s The Magic Flute
Brother Wolfgang Amadeus Mozart has made a “November Surprise” visit to Washington, D.C., in the form of two productions replete with visual images and references to Freemasonry on key stages in our city! The first of these is the Washington National Opera’s production of The Magic Flute at the Kennedy Center. The production took an unusual tack in that the scenes representing man’s benighted condition were represented by a Maurice Sendak staging reminiscent of his children’s book “Where the Wild Things Are,” with comically dark scenes of the forest. On the other hand, enlightenment was represented by symbols of Freemasonry. This superb production, directed by Christopher Mattaliano, presented hourglass, trowel, the sun and moon, as well as square and compasses as symbols of light. Acolytes and devotees at Sarastro’s temple even wore Masonic aprons. All of this, of course, is in homage to the Masonic content of this last opera of Bro. Mozart. The new initiates, Tamino and Papageno, made their way through trials on a long, rough, and rugged road, during which they were sworn to practice the Masonic virtue of silence. Most Worshipful Bro. Charbel T. Fahed, our esteemed Grand Master, saw this production and commented: “The mystical scenes in the Magic Flute were quite a sublime experience compared to what our eyes are accustomed to see in the everyday world. The production evoked esoteric symbols to illustrate special messages to the Masonically-trained mind. Tools of Masonry were displayed on the stage in images to awaken the mind’s dormant faculties, reminding us we need to take up these implements symbolically in order to construct a better way of life in body and soul. The role of silence was strongly emphasized by Mozart as well as in this production to demonstrate what the spirit may offer to control the outer body and ensure its inner safety.”
24 The Voice of Freemasonry ISSUE 4, 2019
Sydney Mancasola (Pamina), David Portillo (Tamino) in the Washington National Opera’s The Magic Flute
Appearing simultaneous with this excellent Magic Flute production was a staging of Peter Shaffer’s Amadeus at Washington’s Folger Theatre. Those who know this work from its Oscar-winning film version may be surprised that the play version offers something which the 1984 movie does not: detailed conversations and references to Freemasonry in Mozart’s life! For those new to Amadeus: The Austrian Court Kapellmeister Antonio Salieri, a talented but not particularly gifted rival to Mozart, destroys the latter’s career out of envy of his genius. This work portrays Mozart as a naturally gifted prodigy composing great works effortlessly, but in terms of his personality exhibiting a silly and careless attitude towards the social norms around him. Salieri, on the other hand, is a hardworking, respected composer who fears being overshadowed by Mozart. All this strikes Salieri as unjust, so he takes matters into his own hands and meticulously plots against Mozart’s health and ultimately his life, resulting in Mozart’s death as a tragically young age. Ian Merrill Peakes, who plays Antonio Salieri, is nothing short of outstanding in a challenging role as the character dominates the play, both in middle age and his advanced years. Samuel Adams is equally deft in his portrayal of Mozart, at the carefree and callow version of Mozart delineated by playwright Shaffer. Our interest here is not to challenge the historical veracity of the play, although the depiction of a murderous Salieri and a frivolous Mozart has often come under challenge. Instead, we will examine the Masonic content of this fascinating play. Unlike the Washington National Opera’s Magic Flute, the Folger production makes no use of visible Masonic symbolism, though the written play includes stage directions that one scene is set in a Masonic Lodge with highly visible Masonic symbols. The choice not to present Masonic trappings on stage is likely owing to the austere yet elegant staging at the Folger, in which a set of large strings
Courtesy of the Kennedy Center and the Washington National Opera. Photo by Scott Suchman.
Courtesy of the Kennedy Center and the Washington National Opera. Photo by Scott Suchman.
Courtesy of the Kennedy Center and the Washington National Opera. Photo by Scott Suchman.
Kathryn Lewek (Queen of the Night), David Portillo (Tamino) in the Washington National Opera’s The Magic Flute
