The Magic Flute Study Guide

Opera

A Family Guide to

The Opera Philadelphia believes the family is the most important foundation to learning. Let your kitchen table become a classroom where your children can build their knowledge of opera and the humanities. As you join in the teaching and learning process with your children, watch their eyes sparkle.

Opera is a communal celebration, so too should be your children’s education.

Pennsylvania’s standards in education call for students to demonstrate what they know and are able to do and children need to share what they have discovered or learned. Thus, the title of our program is Sounds of Learning™. It reflects our belief that children must actively be engaged in sharing ideas.

The Sounds of Learning™ workbook and teacher guide will integrate with the local core literacy curriculum in many ways. Just as opera is a uniquely integrated art, combining orchestra, voice, literature, drama, and dance, Sounds of Learning™ is an interdisciplinary, student-centered program. The goal of the Active Learning sections is to have your children engaged in the process of selfteaching. They will be able to show how they have gained insights into their learning by drawing, writing, and discussing the issues most relevant to them. In this way, students demonstrate what they can do with what they know.

In reading the libretto, or script, we suggest that you and your family members take turns reading particular roles. Dr. Ellen Winner of Harvard’s Project Zero found that “drama helps to build verbal skills that transfer to new materials,” and helps improve not only students’ reading skills but also “oral and written language development.” (Journal of Aesthetic Education, v34, #3/4, Fall/Winter, 2000.)

In preparing for the opera, we suggest you purchase one of EMI Classics’s excellent audio or video recordings of this opera. We are grateful to EMI Classics for offering us their libretti for use in our program. Together, we hope to build future audiences for, and performers of, the arts. Visit EMI on the web at www.emiclassics.com.

Goals and Objectives of Sounds of Learning™ • Improve literacy achievement by using the opera’s libretto to teach lessons across the curriculum • Understand the plot, characters, and their motivations of the opera • Learn something about the composer and others involved in writing the opera • Make a connection to the historic and social context of the story • Know some key musical elements, recognize certain melodies, differentiate between voices • Understand the role music plays in expressing emotions and heightening the dramatic experience • Understand the various elements of producing opera and the functions of those involved; e.g. conductor, director, set designer, technical crew, etc.

• Develop the ability to make inferences about the opera, production, and performance.

• Relate incidents in the opera to those of the present day

Best Practices in Arts Education is sponsored

by Pennsylvania Alliance for Arts Education, Pennsylvania Council on the Arts and the Pennsylvania Department of Education.

Table of

Contents Opera 101: Getting Ready for the Opera 2 3 4 6 7

Tips for Your Trip Philadelphia’s Academy of Music The Then and Now of Opera The Language of Opera Connect the Opera Terms

Relating Opera to History: The Culture Connection 8 9 10 11 12

The Man Behind the Music: W. A. Mozart What in the World? A Timeline of Important Events The Mozarts during the Age of Enlightenment Ludwig Von Köchel: The “K” in Mozart Freemasonry, the Founding Fathers, and The Magic Flute

Libretto and Production Information 13 14 15 17

Bringing Flute to the Stage Schikaneder: The Bird Catcher The Magic Flute: Synopsis The Magic Flute: Libretto

36 37

Opera-Online!

The Danger and Drama of Bullfighing

Additional Lessons Glossary

39

Check out our website for additional content! Here you’ll find more information on the opera, its themes, lessons, and links to even more fascinating material.

See page 5 for more details.

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Tips for Your Trip There’s nothing as exciting as attending an opera in the Academy of Music. You’ll be a guest at the final dress rehearsal of Mozart’s The Magic Flute. Here’s what you’ll need to know about attending the opera!

You may notice several computer monitors and a large table spread out over the seats in the center of the first floor of the auditorium. Seated in this area is the production team: Director, Assistant Director, Costume Designer, Lighting Designer, and Set Designer, among others. They’ll be taking notes and communicating via headsets with the many people backstage who help make all of the operatic magic happen. They’ll be able to talk to the crew so changes can be made right away. Should things goes wrong, the rehearsal might be stopped or a part repeated to make sure that it is perfect.

SHOW SOME R.E.S.P.E.C.T. Unlike actors on television or in the movies, performers onstage are very aware of the audience.

They want to share their love of performing with you. Everything you do in the audience affects what happens on stage. You can show them how much you appreciate their work and the opportunity to come to the rehearsal by being as quiet as possible.

Show your respect for the cast, musicians, the production team, and everyone in the theater by not talking. Give the artists and the production your full attention!

ACTIVE LEARNING The picture on this page shows several patrons and famous opera characters on their way to attend an opera at the theater.

Now picture yourself in their shoes. On a separate piece of paper, write a story as if you are one of these people. Think about your trip to the performance. What will the opera be like? You may want to mention going to the Academy of Music or attending the opera. What will you wear? How will you and your classmates act? At what time will you meet your classmates? How many classmates will attend? Will you have a special dinner before the opera? If so, where? Will the opera be exciting and entertaining? Share your thoughts here and compare your stories with your classmates.

Here’s a list of DOs and DON’Ts so that everyone in the theater can enjoy the opera:

Please Do...

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Use the bathrooms before the rehearsal begins or at intermission.

Enter and exit the theater in an orderly fashion.

Turn off your cell phones and all electronic devices.

Applaud after the arias; you can shout “Bravo!” for the men and “Brava!” for the women.

Enjoy the rehearsal. You’ve worked too hard preparing for the rehearsal not to!

Don’t Forget...

No food, gum or beverages are allowed inside the theater.

Photographs or video footage may not be taken during the performance.

No talking or whispering during the performance.

No shoving, jumping, running, or spitting in the theater.

Please obey the theater ushers and staff.

Keep all objects to yourself. If you throw something, you might hurt someone and cause a disruption in the rehearsal. It is grounds for removal from the auditorium.

MAKE YOUR SCHOOL PROUD!

Philadelphia’s

Academy of Music You will attend the opera at Philadelphia’s Academy of President Franklin Pierce Music, which is the country’s 1804-1869 oldest grand opera house still used for its original purpose - performing opera! It is a very grand opera house with a huge chandelier hanging from the ceiling. Its four-level design was based on the famous La Scala opera house in Milan, Italy.

Finding the money to build an opera house in Philadelphia was difficult, but enough money was raised by 1854. On October 13th a plot of land was bought on the corner of Broad and Locust Streets to build the opera house.

In the fall of 1854 fifteen architects entered a competition to see who would design the Academy.

On February 12, 1855, the team of Gustav Rungé and Napoleon le Brun won the contest, which included a $400 prize, or about $150,000 today!

Within four months, the ground-breaking took place.

The project was so important that President Franklin Pierce, along with the governor and mayor, laid the cornerstone on July 26, 1855.

The Academy opened on January 26, 1857 with a Grand Ball and Promenade Concert. The first opera presented in the brand new opera house was Giuseppe Verdi’s Il trovatore on February 25, 1857.

Two of many operatic highlights throughout the theater’s history include the American premiere of Charles Gounod’s opera Faust on November 18, 1863 and a performance of Giacomo Puccini’s Madama Butterfly on February 14, 1907, with the composer in attendance.

Numerous presidents have visited the Academy, including Ulysses S. Grant, Theodore Roosevelt, and Richard Nixon. Prince Charles of Wales visited the Academy in 2007. Thousands of world-famous performers have also appeared on its stage, like Peter Tchaikovsky, Sergei Rachmaninoff, George Gershwin, Igor Stravinsky, Arturo Toscanini, Marian Anderson, Maria Callas, and Luciano Pavarotti.

The Academy was made a Registered National Historic Landmark in 1963. Since that time, a few improvements have been made to its structure. The “Twenty-First Century Project”, begun in 1996, replaced the stage floor, rigging system, and restored the historic ceiling. During 2008,

The Academy of Music’s restored chandelier.

Photo by Michael Bolton

the famous chandelier was rebuilt to how it looked in 1857. All of these renovations have helped the Academy remain as grand as ever. We hope you find it grand as well!

Academy of Music Facts ›

The auditorium seats 2,897; 14 columns support the Academy’s tiers; the auditorium is encased within a three foot thick solid brick wall.

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The Academy Chandelier is 25 feet high, 50 feet in circumference, almost 17 feet in diameter, and 3,500 pounds in weight. It has 23,000 crystals on it, which, if laid out, could reach from Broad Street to Rittenhouse Square and back.

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The red and gold pattern on the Academy’s stage curtain simulates that of a pineapple, a Victorian-era symbol for “welcome.”

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The first-ever indoor football game was held on the Academy’s Parquet level on March 7, 1889 between the University of Pennsylvania and Riverton Club of Princeton. At halftime, tug-of-war matches were held as entertainment.

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1,600 people attended the first-ever motion picture screening on February 5, 1870. The audience saw a couple dancing, a gymnastics routine and more during the silent film.

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Air conditioning was installed in 1959.

There was no elevator for the general public in the Academy until 1990!

For more information on the Academy of Music, go to the library and take out Within These Walls, by John Francis Marion or go online to www.academyofmusic.org.

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The Then and Now of

Opera

4

Theatrical performances that use music, song and dance to tell a story can be found in many cultures. Opera is just one example of music drama.

Have you ever wondered where opera got its start? Back in the late 1500s during the height of the Renaissance, a group of men called the Florentine Camerata got together to create a new and moving theatrical experience. They wanted to recreate what the ancient Greeks did during their legendary dramas.

The result was something entirely new – opera!

Most of the early operas were based on Greek myths. The first opera that we know of was called Dafne by Jacopo Peri in 1598, but the most famous opera of this early period that is still performed today is Claudio Monteverdi’s Orfeo (1607). Certain basic ingredients were included in opera: songs, instrumental accompaniments, costumes, dance, and scenery. We still use all of these ingredients today!

The early operas were first performed in the grand courts of Italian nobility, but soon opera became popular with the public, too. As it became all the rage, productions became more lavish! Soon, theaters began to be built just to mount operas.

Top: mezzo-soprano Ruxandra Donose as the hero in Gluck’s Orphée et Eurydice; Above: Prisoners in their cells in Jun Kaneko’s production of Beethoven’s Fidelio.

These theaters had elaborate stage machinery to create special effects like flying actors Claudio Monteverdi or crumbling buildings. Not 1567-1643 everyone embraced the new form of theater. Some critics thought that all of the stage antics in opera detracted from the music and drama. Some people even believed that seeing too much comedy in opera could make you immoral!

During the Baroque period (about 1600 to 1750), Italian opera spread all over Europe. The Italian style of opera was so popular that even nonItalians wrote in this style. For example George Frederic Handel (1685–1759) was a German-born composer who lived and worked in England. His operas, like Julius Caesar (1724), were written in the Italian language and used an Italian style of music. The only nation to create its’ own national operatic style was France. Ballet played a large role in the French culture, and operas often included ballets in the middle of the opera. The most famous French Baroque opera composers were Jean-Baptiste Lully (16321687) and Jean-Philippe Rameau (1683-1764).

The eighteenth century was full of change for both Europe and opera. This time period was known as the Age of Enlightenment. People were starting to talk about new forms of government and organization in society, especially the ever-growing middle class.

Music displayed this new thinking as composers dropped the Baroque era’s complicated musical style for simpler, more emotional music. In less-flashy music, characters could express their thoughts and feelings more believably. One of the first operas to use this new style was Christoph Willibald Gluck’s Orfeo ed Euridice (1762).

In 1776 the American Revolution changed the world. A few years later the French had their own revolution (1789) and the first modern democracies were born. To match the times in which they were created, audiences wanted to see characters like themselves on stage, not gods and goddesses. They also wanted to see issues that were important to them. Wolfgang Amadeus Mozart’s The Marriage of Figaro (1786) featured a timely story of aristocratic class struggles that had both servants and nobility in lead roles. The ideals of the Enlightenment also came to the stage in Ludwig van Beethoven‘s only opera, Fidelio, a story about equality and freedom.

In the 1800s opera continued to grow. The Italian tradition continued in the bel canto movement, which literally translates to “beautiful singing”. These operas asked performers to sing complicated groups of fast notes in the melodies. The most famous bel canto composers were Gioachino Rossini (1792–1868), Gaetano Donizetti (1797– 1848), and Vincenzo Bellini (1801–1835). Their operas, like Rossini’s popular comedies The Barber of Seville (1816) and Cinderella (1817), are still some of the most popular operas performed today.

By the middle of the century, the Romantic Movement led many composers to champion their own national identities. As a result, operas in languages other than Italian became more common; new works often reflected pride in a country’s people, history, and folklore. German operas like Carl Maria von Weber’s Der Freischütz (1821), Russian operas like Mikhail Glinka’s A Life for the Tsar (1836) and French operas like Giacomo Meyerbeer’s Les Huguenots (1836) started to be performed across Europe. By using nationalism in his operas like Nabucco (1842), Italian Giuseppe Verdi became a national hero. In Germany Richard Wagner took Romanticism to the extreme in a fourpart operatic miniseries based on Norse mythology, The Ring of the Nibelung (1876), which takes over 15 hours to perform! The operatic stereotype of the singer in the Viking helmet comes from these operas.

Opera in twentieth century became even more experimental. Composers like Giacomo Puccini (La bohème, 1896), Claude Debussy (Pelléas et Mélisande, 1902), Richard Strauss (Salome, 1905), and Benjamin Britten (Peter Grimes, 1945) evolved their national styles. Others, horrified by the destruction of World War I (1914-1919) and other aspects of modern life, created music that was new and

drastically dissonant. These operas often explored either dark psychological topics (Wozzeck by Alban Berg, 1925), or simple and absurd (The Rake’s Progress by Igor Stravinsky, 1951). American opera had a huge hit with George and Ira Gershwin’s Porgy and Bess (1935) which included jazz and blues musical styles. Not only did American composers embrace popular music in opera but also a repetitive, hypnotic style called minimalism. American composer Philip Glass’s Einstein on the Beach (1976) is the popular example of minimalism in opera.

Today, opera is still growing and expanding.

Opera Philadelphia helps to shape the future of opera by producing important new works as part of its American Repertoire Program, an initiative to produce one new American work every season for ten years. The program launched in 2012 with Nico Muhly’s Dark Sisters, which explored the lives of a group of women who live in a polygamist community, and continued in February 2013 with Kevin Puts and Mark Campbell’s Silent Night, which recounted the famous story of the 1914 Christmas truce.

Although opera is one of the oldest musical art forms, it still remains and expands today. From the old favorites to the new experimental works opera continues to be a moving art form of the people.

ACTIVE LEARNING 1. Chose a composer noted above and research two other operas by that composer.

2.

3.

4.

Can you find the story of the Greek myth Daphne?

How did Lully die?

What does the acronym Verdi stand for in the phrase Viva Verdi?

5 Right: Act II finale if Puccini’s La bohème photo, Kelly & Massa

Below: A battle sequence from Puts and Campbell’s Silent Night photo, Dominic Mercier

The Man Behind the Music:

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Maria Anna Mozart 1720 – 1778

Empress Maria Theresa 1717 – 1780

Franz Joseph Haydn 1732 – 1809

The Mozart family: Wolfgang Amadeus Mozart (seated at piano) with his sister Maria Anna (left) and his parents, Leopold and Anna Maria; oil on canvas by Johann Nepomuk della Croce, c. 1780–81

W. A. Mozart Wolfgang Amadeus Mozart was born on January 27, 1756 in Vienna, Austria. He was the youngest of seven children born to Leopold and Maria Anna Mozart, though only he and the fourth child, also named Maria Anna (“Nannerl”) survived into adulthood. Mozart’s family was not very wealthy, and they lived on the third floor of a building owned by the grocery store owner. Leopold had originally pursued a theological education, but gave that up in favor of the violin. Leopold taught his children on his own, in math, reading, writing, literature, language, dance, and of course, music. Wolfgang’s musical talent was quickly apparent, as his father noted that he had learned a number of musical pieces by the age of 4, and by 5 had already composed a few minuets.

Both Wolfgang and his sister Nannerl traveled at a young age, displaying their musical talents for royalty and other important people. After performing before the Hapsburg Empress Maria Theresa in September 1762, the royal family gave the Mozarts a substantial sum of money. They were invited to play at Versailles and to extend their stay at court. This was how Wolfgang spent the bulk of his childhood; touring Europe and giving private concerts with his father and sister for wealthy patrons. During the tours, Wolfgang met some of the greatest musicians of the time, including Franz Joseph Haydn, who was so impressed with the young Mozart that he said, “By God, your son is the most gifted composer living.”

The Mozarts returned to Salzburg, Austria in 1771. Wolfgang was 15 and could no longer be billed as a “child prodigy”. A change in local government led to cut-backs in court-sponsored music and shorter church masses, for which Wolfgang would write music. During this period, Wolfgang continued to

compose and managed to earn enough money so the family could move out of their third floor apartment into a much larger place.

Wolfgang Amadeus Mozart 1756 – 1791

In 1778, Mozart and his mother were in Paris, where Mozart had employment. His mother fell ill and died that summer, while Leopold was still in Salzburg. The tragedy strained his relationship with his father, and Wolfgang made a slow trip home to Austria. By 1780, Wolfgang had established himself in Vienna, where some of his greatest compositions were completed.

His first important mature opera still widely performed today was The Abduction from the Seraglio in 1781. It was well received in Vienna and remained his most popular opera throughout his lifetime.

Shortly after, in 1782, Wolfgang married Constanze Weber. The couple had six children, four of whom died in infancy.

In 1785, Wolfgang began work on The Marriage of Figaro with librettist Lorenzo Da Ponte, who would become one of his greatest collaborators. Figaro was popular across Europe, and Wolfgang traveled frequently to conduct the piece for nobility. In 1787, Wolfgang’s opera Don Giovanni premiered, and a new phase in his life as a musician began. He toured less, gave fewer performances, and moved on to larger symphonic works. This year also marked the death of Wolfgang’s father Leopold, and the end of the Mozart family’s place in high society.

After a few more years of traveling, Mozart worked with Da Ponte again on Così fan tutte (Thus Do All Women, 1790), a comic opera. While a success today, the opera was considered amoral at the time, for its depiction of women as being fickle and flighty cheaters. His next major opera La clemenza di Tito (The Clemency of Titus, 1791) was commissioned for the coronation of King Leopold II. The Magic Flute (1791) was completed later that year.

It appears that while Mozart had made an impressive sum through commissions and by giving concerts, he was very free in his spending. In the last years of his life, Mozart suffered much financial hardship, and often relied on giving music lessons to make money. Mozart is buried in an unmarked pauper’s grave.

What in the World??

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Personal and Historic Events during Mozart’s Life Listed below are some historic and cultural events that took place during Mozart’s life. Events in boldface type are things that happened to Mozart; an asterisk (*) indicates events of local interest. What might it have been like to be alive at this time?

1756 1759 1760 1761 1764 1767 1768 1769 1770

Born on January 27 in Salzburg, Austria, son of Leopold and Maria Anna Pertle.

George Washington married Martha Custis and they honeymooned at their home, which was known as "The White House."

Industrial Revolution began in England. The country rapidly changed from mostly agricultural to mostly manufacturing.

Mozart at age 6

Mozart’s first known public appearance was at Salzburg University in September in a theatrical performance with music.

Mozart wrote his first symphony at age eight.

Dominion of Canada formed from the union of British North American colonies.

British troops began occupation of Boston.

Mozart’s first opera buffa La finta semplice premiered at the archbishop’s palace in Salzburg and appointed honorary Konzertmeister.

Mozart’s first opera seria, Mitridate premiered in Milan with great success.

Boston Massacre took place, as reported in the Boston Gazette and Country Journal.

German composer Ludwig van Beethoven was born in Bonn.

1771 1772 1773 1774 1775

Mozart and his father traveled to Italy after a five month stay in Salzburg. Ascanio in Alba was produced in Milan in October.

During a period of 10 months, Mozart wrote 8 symphonies, 4 divertimentos and sacred works, and received a salary as Konzertmeister.

Boston Tea Party; 342 chests of tea go into Boston Harbor on December 16.

* First Continental Congress convened in Philadelphia on September 5. * American Revolution began with battles at Lexington and Concord in Massachusetts and lasted until 1783.

Sir James Jay invented invisible ink.

1776 1777

* Thomas Jefferson composed the Declaration of Independence from Britain * The first United States flag on record was made in Philadelphia on Arch Street by Elizabeth (Betsy) Ross.

The first American Thanksgiving Day was celebrated.

1779 1781

Traveled to Paris with his mother, who fell ill and died.

1782 1783 1784

The Abduction from the Seraglio premiered in Vienna. On August 4, he married Constanze Weber, sister of his former lover, Aloysia.

1786 1787 1788 1789

On May 1, The Marriage of Figaro premiered in Vienna with great success.

1790

1791

Appointed as court organist in Salzburg which included playing in the cathedral, at court, and in the chapel. The opera seria Idomeneo premiered in Munich. He was released from service in Salzburg and moved to Vienna.

The Supreme Court of Massachusetts abolished slavery in that state.

Became a member of the Freemasons, a society of liberal intellectuals concerned with the philosophical ideals of the Enlightenment including nature, reason and the brotherhood of man.

His father died on May 28. Mozart wrote Don Giovanni which premiered in Prague.

*

United States Constitution was ratified in Philadelphia.

Constanze Mozart 1762 – 1842

In July a mob assaulted the Bastille prison in France, causing French royalists to flee Paris.

* First United States Congress met in Philadelphia.

Così fan tutte, commissioned by Joseph II, premiered. Joseph II died shortly after and was succeeded by his brother, Leopold II.

* America’s oldest law school, The Law School of the University of Pennsylvania, was founded. * First session of the United States Supreme Court was held in Philadelphia.

Mozart began writing a Requiem Mass which was left unfinished and eventually completed by his student Franz Xaver Süssmayr.

La clemenza di Tito premiered in Prague. On September 30, The Magic Flute debuted in Vienna to great audience acclaim. After a brief illness, Mozart died on December 5 in Vienna at the age of 35. He was quietly buried in an unmarked mass pauper’s grave on December 6.

The Mozarts during the :

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Leopold Mozart 1719-1787

Age of Enlightenment Wolfgang Mozart was born into a family deeply involved with music and philosophical scholarship.

His father, Leopold realized the musical genius of his son, and he felt that Wolfgang's musical brilliance had to be balanced with a strong education. So he saw that his son studied languages, the classics, and sciences.

The Mozart family boasted the possession of a collection of microscopes which young Mozart used in his scientific studies. Wolfgang had a classical education in grammar and rhetoric and was constantly implored by his father to read good books that would stretch his mind.

Leopold was not a wealthy man and he felt that providence had entrusted him to protect and cultivate his son's intelligence. To do this, he took young Wolfgang on many trips. The young boy's musical talents were displayed to Europe's royalty in the hopes of attracting a benefactor who would financially ensure that his son had every opportunity to develop his talents.

Johann Christian Bach 1735-1782

Catherine the Great, Empress of Russia 1729-1796

During the family's travels, Wolfgang was exposed to the music and the masters of his era. He came to know J.C. Bach in London. Franz Joseph Haydn was so awed by Mozart that he once turned to Wolfgang's father and said, "Before God, your son is the most gifted composer living." Wolfgang studied the compositional style of these men and drew inspiration from their wisdom.

his son's education. Having been exposed throughout his life to enlightenment ideas, Wolfgang believed in the idea that a man's respect was equated with the value placed on his work. Wolfgang did not consider himself any man's servant. He was an educated German artist who was due respect and honor.

Mozart's other enlightened political beliefs were expressed in many of his operas. In The Marriage of Figaro (1785), the peasants had full run of the palace and, in effect, had the aristocrats dance to their tune.

Paradoxically, the peasants sang several of their arias to minuet music which was always reserved for the nobility. This comedy was a parody of the fact that the aristocrats did not rule, but responded to the pressures placed upon their lives by the demands of the lower classes.

In Mozart's Don Giovanni (1787), he highlighted the punishment that awaited those in the aristocracy who abused their social position and did injury to women and the lower classes. Mozart believed that seduction and rape damaged the social order and undermined the Enlightenment's goals of individual freedom, legal equality, and toleration.

During the end of the first act, the quartet sings an enlightened and revolutionary "Viva la libertĂ " ("Long live liberty"). Giovanni then breaks the rules of society and tries to dance a lower class piece of music with Zerlina in an attempt to seduce her. After this, he is unmasked as the villain. In the second act, Don Ottavio goes off calmly to inform the "right authorities." This behavior reflected the enlightenment idea that men did not act out of passion.

During a family visit to Paris, Wolfgang played for Baron Melchior Grimm who was in the inner circle of the philosophes, or Enlightenment thinkers. Grimm was fascinated by Wolfgang's musical gifts and understood his father's reasons for touring with the young boy. As a result, Grimm allowed Leopold to receive a paper he edited known as the Correspondance littĂŠraire. Grimm's offer was amazing because the paper was published only for the German-born heads of state to keep them abreast of the philosophical debates occurring at the time. On the subscription list was Catherine the Great of Russia, Leopold II who succeeded his brother Joseph II on the Viennese throne at the end of Wolfgang's life, the Queen of Sweden, and many princes of the smaller German states.

Political change in France in the form of the revolution of 1789 brought, by way of the Viennese press, the enlightenment ideals of liberty and equality for all into Vienna. The Storming of the Bastille in Paris caught the attention of many people in Vienna, especially Viennese intellectuals. Even Mozart was concerned how the political revolutions would affect society. Was virtue going to be achieved through mob rule? His future operas reflected his concerns over the political structures that were developing as the emotional and political forces unleashed by the Enlightenment began to overtake all of Europe.

The fact that Leopold was among those who received this paper indicated the high esteem he received from those who understood his dedication to

Mozart's last opera, The Magic Flute, would show how he believed men and women could attain enlightened relationships. This opera highlighted his

understanding of how social Enlightenment could be achieved. In The Magic Flute, men and women are forced by trials to advance to wisdom. The social structures are clear and the goals are easily understood. Personal virtue through vigorous discipline is the goal. This opera reflected Mozart's hope that the Enlightenment could free men from the restricting class barriers of the era.

The text of the libretto of Mozart’s The Magic Flute was written by Emanuel Schikaneder. He was an actor who ran the theater in which it was premiered.

The opera is based upon a fairy tale titled Lulu or the Magic Flute by Christoph Martin Wieland. Added to this fantasy of magical objects, supernatural characters and a huge serpent were the aspects of a legend. A hero and heroine are caught up in a conflict between the forces of dark ignorance and light-filled wisdom. The leader of the forces of darkness is the evil Queen of the Night. The wise leader of the forces of the light is Sarastro, the Priest of the Sun. Mozart believed that the structure of the Masonic Order was a good example of secular discipline. He believed the Masonic way of life could assist mankind in reaching an enlightened state because it taught about the brotherhood of all men.

He was an active member in this movement at the same time as our first president, George Washington.

The relationships of the members as equals enabled them to see each other as brothers and, as a result, attain the enlightenment’s goal of human fraternity, However, because Europe was still divided by religious boundaries, the idea of having people join a social organization which allowed members to be from various churches and classes was disturbing to some rulers.

In Austria, Queen Maria Theresa was against the Freemasonry movement because the Roman Catholic Church had condemned it. However, her Catholic son, Joseph II, was a Freemason and, as emperor, he refused to impose the church's ban. This led some to see Queen Maria Theresa as the opera's Queen of the Night and her son as the enlightened hero, Tamino. The same people saw Ignaz von Born, the head of the Masonic movement in Vienna, as the opera's Priest of the Sun, Sarastro.

During his life, Mozart integrated his education in the Enlightenmert with his artistic creations. His contributions to opera have made a lasting impact upon this field of art. It is hard to know how much of an impact his political beliefs had upon society.

However, understanding them enables us to further appreciate his work as an opera composer of the enlightenment era.

Ludwig Von Köchel The “K” in Mozart Wolfgang Amadeus Mozart composed between 600 and 700 different pieces of music during his short lifetime. The exact number will probably never be known.

Mozart began listing his finished works only during the last seven years of his life. Even then, he grouped them into overall themes rather than assign a chronological number to each composition.

Prior to the time of Ludwig von Beethoven (1770-1827), few composers bothered to organize their music based on a numbering system. Classifications and listings were made (if they were made at all) by music publishers, but only of pieces that had been printed and not necessarily performed.

One man was determined to classify and catalog a chronological sequential listing of Mozart’s music. His research resulted in a total of 626 compositions which is now recognized as the Mozart catalog. This man was Ludwig Alois Friedrich Ritter von Köchel, an Austrian musicographer. He is immortalized as the K which precedes every recognized Mozart composition. (Our opera, The Magic Flute, is K620 in the Mozart catalog) Köchel was born in Stein, Austria on January 14, 1800. He was educated at the University of Vienna, where he studied natural sciences and law. He attained distinction in the fields of botany and mineralogy, earned a doctorate, and became tutor to the sons of the Archduke Karl. His work at the Hapsburg Court also earned him a knighthood prior to his 1842 retirement from his teaching post.

Music was Köchel’s hobby. He loved Mozart’s music. In 1850, he moved to Salzburg, Mozart’s birthplace, and was saddened to find the composer’s compositions neither dated nor organized in any sort of sequence. Köchel resolved to make an orderly listing of the hundreds of compositions Mozart had completed even prior to starting his own mini-catalog.

Journeying widely, Köchel retraced Mozart’s travels, gathering and inspecting every available scrap of material which might provide information. He examined Mozart’s correspondence, and even verified the paper and ink which the composer used for his music. In 1862, Kochel published a 551-page manuscript, Chronological Thematic Catalogue of the Works of W. A. Mozart. The Köchel-Mozart catalog has been revised several times since its first publication. Musicologist Alfred Einstein performed the most extensive overhaul in 1937, supplementing the K numbers with secondary numbers intended to clarify the periods and styles of Mozart’s compositions. Nevertheless, the name Köchel remains the prime identifying clue to a work

by Mozart.

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Freemasonry, the Founding Fathers, & 1

George Washington 1789-1797

The Magic Flute

Freemasonry is an ancient secret order devoted to the moral development of individuals who enter it.

It is based on Jewish and Christian traditions and its symbols come from the building, destruction, and rebuilding of the Temple of Jerusalem. Historians can’t agree on the date or location of the start of modern Freemasonry. Some scholars think it grew out of medieval stonemason guilds in the 1200s; others think the first important modern Freemasonry event was the formation of the first Grand Lodge in London, England in 1717.

Freemasonry is not religion but works hand-inhand with religion and helps religious people become better members of their churches. Yet, at various times in the past, Freemasons have been persecuted by formal religions. By the 18th century, especially in Catholic countries like Italy and Austria, Freemasonry and the church were on a collision course.

Andrew Jackson 1829-1837

Some ideas of Freemasonry were taken up by the political leaders. “Liberty – Equality – Fraternity," the rallying cry of the French Revolution, came from Freemasonry.

Freemasonry played an important part in the founding of the United States of America. Most of the Declaration of Independence’s signers, most of the Revolution’s generals and, except for the two Adamses, all of our Presidents through Andrew Jackson, were Masons.

Both Mozart and his librettist, the famous actor Emanuel Schikaneder, were Masons, and had Masonic rules in mind while writing The Magic Flute. One very important Masonic rule was that all men were equal when they gathered in the lodge no matter what they did for a living or their social status. They were on the same level if they were a member of nobility or delivered a newspaper. Mozart and Schikaneder drew from other sources as well, like exotic fantasies that were popular around at the time and were part of popular theatrical pieces for the people. It was probably Mozart’s own nobleness of character, as much as Freemasonry itself, that took over as the moral principle of the opera.

Nevertheless, most

productions of The Magic Flute between 1800 and 1950 were overwhelmingly Masonic in their décor, costumes, and symbolism.

Mozart hated the patronage system, under which musicians worked for a powerful nobleman.

Mozart labored this way for most of his career. As a musician, he was treated very much as a servant: when the aristocratic rulers who hired him (the Archbishop of Salzburg, Emperor Joseph II, various counts and dukes) said “Jump,” Mozart could usually only ask “How high?” Prior to the early 19th century, the age of Beethoven and Rossini, musicians were craftsmen, or servants, much like a cook or a tailor. The Magic Flute was Mozart’s first opera to be written for a popular theatre and not under the patronage of the royalty or nobility. Sadly, it was his last opera, for he died a few months after its completion. It is fitting, therefore, that the themes in The Magic Flute reflect Mozart’s visions for a society in which all persons are created equal, and truth and goodness always triumph over deception and evil.

Some Masonic Symbols & Terms The basic concept of “masonry” is to use the building of a temple, stone on stone, as an symbol of the building of one’s moral character, step by step.

1. Masonic Symbols: Plumb (pointed piece of lead hanging on a string to give you true vertical- “the symbol of absolute integrity); Level (carpenter’s tool to establish true horizontal- “the symbol of equality); Square (carpenter’s tool to find a right angle- “the symbol of morality and righteousness”); Pickax (the tool that loosens soil – “symbol of breaking bad habits”).

2. Audi, Vide, Tace: Listen, observe, and be quiet. (In The Magic Flute we see how badly Papageno fails on this score.)

3. Number Three: The number three, which keeps recurring throughout the opera, is significant to the teachings of the Masons. Look for the symbolism of three in the opera. There are many examples: three ladies, three geniis, the three temples, the three trials, etc. In the music, listen for the three heavy chords that open the overture and that are again repeated in the temple scene when Tamino begins his trials. The symbolism of three has been accredited to representing the three knocks on the door by the brotherhood to enter the Masonic lodge.

4.

Egypt: The setting of the opera is in Egypt, which was thought to be where the rites of freemasonry originated.

Bringing Flute

to the Stage Mozart’s Die Zauberflöte (The Magic Flute) is considered by many to be his finest opera. He combines simple German folk tunes and classic operatic music with equally brilliant effect. The plot is a mixture of political satire, the symbolism of Freemasonry, and naïve humor.

The opera is considered to be the first “grand” opera in German because of its spectacular stage and musical effects. Elements of sorcery and fantasy mix with politics and social commentary. The opera appeals to all ages with its blend of mystery, romance, and comedy.

The opera is also a prime example of singspiel, a form of operetta derived from French origins.

Essentially, it is a mixture of romantic arias, popular songs, and spoken dialogue.

The plot is taken from a fairy tale known as Lulu or the Magic Flute, written by August Jakob Liebskind and published in a collection of oriental folk tales. The opera’s libretto is by Johann Emanuel Schikaneder, with an assist by a chorister. Schikaneder, like Mozart, was a Freemason. They included many Freemasonry rituals and symbols into the opera. The original Egyptian setting stemmed from their joint belief that the rites of Freemasonry originated there.

The opera plays out on three levels of meaning.

First we have the fantastic tale itself, with a child-like aura of wonder and witchcraft. Second, we have the Masonic symbolism, in which the powers of darkness, fear, and confusion struggle against the powers of enlightenment, strength and love. The third level is that of a morality play, portraying the struggles of humanity to achieve true wisdom and nobility through adversity, self-sacrifice, and love. Many love to point out the extraordinary occurrence of the number three in this opera, in both its musical and narrative uses.

This leads to the number 5 as a complete Masonic number.

Die Zauberflöte was one of Mozart’s final three music compositions. While working on the opera in bits and pieces, he accepted a commission to compose a Requiem Mass which, although he ultimately left unfinished, still stands as one of the finest examples of Mozart’s skills with liturgical music. The third work, La clemenza di Tito (The Clemency of Titus), an Italianstyle serious opera, is perhaps less popular than Mozart’s mature operas.

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Die Zauberflote was first performed at the Theater auf der Wieden in Vienna on September 30, 1791. It was somewhat of a family affair. Mozart conducted, his sister-in-law sang the Queen of the Night, and Schikaneder was Papageno. During the first month, the opera achieved twenty performances and had one hundred performances by the end of its first year. The first production in America took place in New York in April 1833 in English. Philadelphia first heard the opera at the Academy of Music on December 2, 1859.

Schikaneder: The Bird Catcher Johann Josef (Emanuel) Schikaneder is known today as the librettist of Mozart's The Magic Flute. He starred in the first production of The Magic Flute as Papageno, the bird catcher. (The name Papageno is derived from papgei, the German word for parrot, which is a tropical bird) He was also the most important theater director of his time, as well as an actor, singer, producer, and a prolific dramatist.

Schikaneder was born September 1, 1751 at Straubing, Austria. He first earned his living as street musician and found a job as an actor in Augsburg in 1773. Later, he wrote and produced plays and was a member of several acting troupes in southern Germany.

As an actor, he was the most famous Hamlet and King Lear in his day, and became a court favorite of the Austrian Emperor Joseph II. He managed the Kartnertor Theater in Vienna, where his first production was Mozart’s opera The Abduction of Seraglio. His productions were highly-praised for their attention to detail and their spectacular grandeur.

In 1789 he returned to Vienna, where he managed the newlybuilt Theater auf der Wieden, a small theater on the outside the city. Here, he began producing stage shows known in the trade as "magic operas" due to their razzle-dazzle special effects and multiple scene changes. The Magic Flute was first performed on September 30, 1791 at Schikaneder’s theater.

Having been granted a license to build his own theater, he opened the new Theater an der Wien in June 1801. It was one of the largest and most lavish theaters of its age and is still in use today.

He continued to supply various composers with librettos for operas. Financial ruin and failing mental health darkened the last few years of his life. Schikaneder died in Vienna on September 21, I 812.

A wood cut of Schikaneder dressed as The Magic Flute’s Papageno.

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The Language of Opera Act - main sections of a play or opera Aria - a solo song sung in an opera

Audience - people who watch a performance and sit in the “house� or auditorium Ballet - dance set to music within in an opera

Blocking - action on stage Character - person who is part of the opera’s story Chorus - music composed for a group of singers or the name of a group of singers in an opera Conductor - person who rehearses and leads the orchestra Duet - a song performed by 2 singers Orchestra - a group of musicians who play together on various musical instruments Overture - a piece of instrumental music played at the beginning of an opera Program - booklet that contains information about the opera, composer, performers, the opera company, and includes advertisements Recitative - words that are sung in the rhythm of natural speech - a bit like the 18th century version of rap

Rehearsal - time when singers/actors practice with or without the orchestra; time when musicians practice together with the conductor Scene - segments of action within the acts of an opera Types of Singers: Soprano - highest pitched female voice Mezzo-soprano - lower pitched female voice Tenor - highest pitched male voice

Baritone - male voice between tenor and bass Bass - lowest pitched male voice

The Story Behind the Opera

The Sevenfold Sun

Once upon a time, there lived in the East a wise King, whose good deeds were prized far and wide. In his possession was the Sevenfold Sun Circle, which could reveal the secrets of Nature and thus give great power to its possessor. The King knew that the Sun Circle’s power could be misused, but he guarded it carefully and used it only for the benefit of mankind.

The Queen, his wife, was very beautiful. She was also hungry for more power. With great deliberation the King withstood her entreaties to create with the Sun Circle more power and splendor for themselves.

Their only child was a daughter, named Pamina. She was very attached to her father. She often accompanied him on journeys through his kingdom, to see to the lot of his subjects, punish wrong, and reward the good. On one such journey, the King, traveling alone, lost his way in the high mountains, where a powerful storm overtook him.

He found shelter under a mighty and ancient oak tree. The storm lasted three days. And while he waited he carved from the tree’s wood a flute. As he blew upon it, it led him home, for it was a magic flute. The King put it carefully away.

On the border of the kingdom, in the trackless Fire Mountains, lay the grounds of a sacred temple, the seat of an ancient Order of people who had set upon themselves the duty to learn wisdom, to free mankind from the darkness of superstition and hate, and to preach brotherly love. Only the wisest persons of each age could become full members of this order, after they had undergone hard tests, in which they must show constancy, courage, and discretion. The temple and its grounds became a shining example of human activity, and the members served mankind in many lands.

From time to time the forces of evil overran the temple grounds and tried to destroy the Order, but always it regrouped and rebuilt, and became stronger.

During the reign of the wise king and the beautiful queen, the leader of this Order was named Sarastro, an exceptionally wise man. A deep friendship arose between the King and Sarastro. The two met often and Sarastro would counsel the King in his affairs of state. With the two men working closely together, the kingdom flourished.

In a neighboring kingdom a prince had been born, who was now fast becoming a man – so skillful, brave, and prudent that even Sarastro and the wise King began to hear of him. It became the King’s innermost wish that this young prince Tamino might someday reign together with Pamina over his kingdom.

Then it came to pass, that the wise King sickened and began to die. As he felt death approach, he called Sarastro to him. All his treasures, his crown, and his Magic Flute he left to his wife the Queen, but the Sevenfold Sun Circle he gave over to Sarastro for safe-keeping, for he feared the Queen would misuse it in her quest for power.

Also, the King was afraid that Pamina would come to harm with the confusion that would spread throughout the country after his death. So he bade Sarastro to take his daughter, educate her in the precepts of the Order, and one day see her betrothed to the young prince Tamino. As the king breathed his last, the Queen cursed him for taking away her daughter.

Pamina grew into a beautiful maiden. She was well protected in Sarastro’s temple grounds, but was constantly pestered by the man Monostatos, whom Sarastro had appointed to watch over her. In her distress and loneliness, she became more and more homesick for her mother. But it had come to pass just as her father had foreseen: the land lay under the harsh and unjust rule of the selfish Queen. With great skill she spread the rumor that she had been betrayed by her husband and robbed by Sarastro.

Her only goal was to possess the Sun Circle. To obtain this prized possession, she allied herself with the powers of evil and became known as the Queen of the Night. So reigned strife, confusion, and falsehood throughout the land, and even in the neighboring kingdom of Tamino’s father the Queen’s lies were believed.

This article courtesy Boston Lyric Opera/Opera New England’s Education and Community Programs Department

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The Magic Flute

Synopsis

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Scene 3: The Spirits guide Tamino to Sarastro’s temple,

ACT I, Scene 1: Tamino, a prince, is pursued by a monster. The Three Ladies, who serve the Queen of the Night, come to his rescue and kill the monster. They stand over the unconscious Tamino, discussing which of them should guard the prince and which should go and tell the queen, finally deciding that all three of them will go.

Tamino awakes as the bird catcher Papageno arrives and introduces himself to the prince, saying that he was the one to slay the monster. The Ladies return and punish Papageno’s lie by placing a padlock on his mouth. They give Tamino a portrait of the Queen’s daughter Pamina, who, they tell him, is being held by the evil Sarastro. He instantly falls in love with Pamina’s portrait. The Queen of the Night appears and charges Tamino with rescuing her daughter. The Ladies give Tamino and Papageno magic instruments to protect them on their journey. The prince is given a flute while the bird catcher receives a set of bells.

Joining them are three Spirits who guide their way.

Scene 2:

In a room in Sarastro’s palace, his slave Monostatos pursues Pamina. Papageno, sent ahead by Tamino, enters and the slave and the bird catcher frighten each other away. Papageno soon returns however, and tells Pamina that her mother has sent Tamino to rescue her and that he is in love with her. She is overjoyed to hear the news and, upon learning of Papageno’s desire to find a wife, the two sing of their hopeful love.

telling him that if he is steadfast, patient, and silent he will defeat Sarastro. Tamino is denied entrance at two of the three temple doors. At the third door, a high priest appears and tells Tamino that it is the Queen, not Sarastro, who is evil. Assured that Pamina is alive, Tamino plays his flute to summon Papageno. As wild animals are charmed by its sounds, he hears Papageno’s pipe in response and runs toward the sound. While trying to escape, Papageno and Pamina are captured by Monostatos. But Papageno plays his magic bells and Monostatos is left helpless. Sarastro enters to great fanfare. Papageno trembles in fear but Pamina tells him that they must speak the truth. She tells Sarastro that she was trying to escape because of Monostatos’s unwanted advances. Sarastro says that he cannot return her to her mother, but promises her eventual freedom after she has learned the ways of virtue. He punishes Monostatos, and orders Pamina and Tamino to be veiled and led into the temple for purification.

ACT II, Scene 1: Sarastro tells the priests that Tamino will undergo the initiation rites and that Pamina and Tamino will be married.

Scene 2:

Tamino and Pamina are led into the temple.

The Priest tells Tamino that he can still turn back, but Tamino says that he is determined to do anything necessary to win Pamina. Papageno at first refuses to undergo the trials, but when the Priest tells him that, if he does, Sarastro will give him a wife named Papagena, he agrees.

Tamino and Papageno are told that to pass the test they should not trust women and that they must not speak to them. The Three Ladies appear asking what they are doing there saying that the Queen is on her way. Papageno is scared but Tamino tells him to be quiet and refuses to speak to them.

Papageno, in despair at his loss of Papagena, attempts to commit suicide. The Spirits arrive and tell him he should play his magic bells to call her. Once he does, she instantly appears and the two sing a stammering duet of their wedded bliss soon to come.

Monostatos appears with the Queen and her Ladies, as they plot to destroy the temple, but Sarastro appears with Tamino and Pamina at his side, and the evil ones are cast into eternal darkness. Sarastro unites the young lovers and everyone gives thanks to the gods.

Scene 3:

Pamina is asleep in a garden. Monostatos approaches her, full of lust. The Queen of the Night arrives and scares him away. She gives Pamina a dagger and tells her she must kill Sarastro. After she leaves, Monostatos returns and threatens to reveal the plot. Sarastro enters and drives him away and comforts Pamina.

Scene 4: Tamino and Papageno are still in the midst of their trial. Papageno is tempted by an old woman who offers him water. She disappears when the Spirits arrive to bring them acutal refreshments and guide Tamino through the rest of the trials. Pamina enters and tries to speak with Tamino. When he only responds in silence she believes that he no longer loves her and she leaves in despair.

Scene 5:

The priests predict Tamino’s successful completion of the trials. Sarastro separates Tamino and Pamina, saying that they must remain apart while he undergoes the final two trials. After they leave, Papageno enters and plays his bells, singing that all he wants is a wife. The old woman reappears and, claiming to be just 18 years and two minutes old, tells him that if he doesn’t marry her he will remain alone forever. After Papageno reluctantly agrees, she magically becomes the young and beautiful Papagena. But before he can embrace her, she disappears again.

The Magic Flute Pronunciation Guide Unfamiliar names can be really difficult to pronounce especially if they’re in another language like German! Here’s a quick guide on how to pronounce the names of the characters in the opera.

Die Zauberflote: dee tsow-ber-fler-tuh Tamino (tah-mee-noh) Pamina (pah-mee-nah) Papageno (pah-pah-gey-noh) Papagena (pah-pah-gey-nah)

Scene 6: The Spirits find Pamina attempting to commit suicide with her mother’s dagger, thinking that Tamino has abandoned her. They take the dagger from her and assure Pamina that she will see Tamino soon.

Sarastro (sah-rah-stroh)

Scene 7: Two men in armor sing of the triumph of the

Monostatos (moh-noh-stah-tohs)

brave. Tamino says that he is ready to be tested. When he hears Pamina’s call, the men assure Tamino that the test of silence is over. Pamina and Tamino rush toward each other and she shares loving words. United, they pass through the final two trials unscathed.

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The Magic Flute

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Libretto Final Dress Rehearsal — Wednesday, April 15, 2012 at 6:15 p.m. at the Academy of Music English Translation courtesy EMI Classics. www.emiclassics.com Tamino, a prince from a neighboring kingdom...............................................................................Antonio Lozano, tenor Pamina, daughter of the Queen of the Night.............................................................................Elizabeth Zharoff, soprano Queen of the Night, Pamina’s evil mother.................................................................................Rachele Gilmore, soprano Papageno, bird catcher to the Queen.................................................................................................Mark Stone, baritone Sarastro, High Priest of Isis........................................................................................................Jordan Bisch, bass Monostatos, Pamina’s guard…………........................................................................................……Joseph Gaines, tenor Papagena, a bird-like young woman……..................................................................................……Sarah Shafer, soprano First Lady, Lady in Waiting to the Queen..................................................................................…Devon Guthrie, soprano Second Lady, Lady in Waiting to the Queen.....................................................……Tammy Coil, mezzo-soprano Third Lady, Lady in Waiting to the Queen..................................................................….Katherine Pracht, mezzo-soprano Speaker of the Temple…........................................................................................................................Ben Wager, bass First Priest and Second Armed Man…..............................................................................................Andrew Bogard, bass Second Priest…..........................................................................................................................Christopher Tiesi, tenor First Armored Man….................................................................................................................…Adam Frandsen, tenor First Genii….........................................................................................................................…Taylor Bernstein, soprano Second Genii…............................................................................................................................…Liana Spiro, soprano Third Genii…..................................................................................................................................…Rosalie Good, alto Conductor.............................................................................................................................................Corrado Rovaris Production.................................................................................................................................................Diane Paulus Director.................................................................................................................................................Ashlie Corcoran Set and Costume Design.........................................................................................................................Myung Hee Cho Lighting Design...........................................................................................................................................Drew Billiau Chorus Master......................................................................................................................................Elizabeth Braden

This section is Track 1 on the music CD. "Overture"

ACT ONE Scene One The scene is a rocky area, here and there overgrown with trees, on both sides are smallish hills; there is also a round temple. Tamino descends from a rock to the right, in splendid Japanese hunting-costume, carrying a bow but no arrows; a serpent pursues him.

TAMINO Help me! oh, help me! or I am lost, condemned as sacrifice to the cunning serpent – Merciful gods! It’s coming closer! Ah! save me, ah! defend me!

(He faints; immediately the door to the temple opens; three veiled ladies come out, each carrying a silver spear.)

THE THREE LADIES Die, monster, by our power! Victory! Victory!

Accomplished is the heroic deed! He is free, thanks to our bravery.

FIRST LADY (observing him) A pleasing youth, gentle and fair!

SECOND LADY The fairest I have ever seen.

THIRD LADY Yes, that’s true, pretty as a picture.

ALL THREE If I ever gave my heart away, it could be to this youth only.

Let us hasten to our Queen and report this news to her.

Perhaps this handsome man can restore her peace of mind.

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FIRST LADY You go and tell her, then; meanwhile, I’ll stay here.

SECOND LADY No, no, you go ahead; I’ll keep watch over him!

The three ladies of the Queen of the Night rescue Tamino from the monster.

THIRD LADY No, no, that may not be; I’ll protect him!

FIRST LADY Meanwhile, I’ll stay here...

SECOND LADY I’ll keep watch over him...

THIRD LADY I’ll protect him myself...

FIRST LADY ...I’ll stay...

SECOND LADY ...I’ll keep watch...

THIRD LADY ...I’ll protect him...

FIRST LADY ...I!

SECOND LADY ...I! THIRD LADY ...I! ALL THREE (each to herself) Then I must go! Aha, very nice! They want to be alone with him. No, no, that’s out of the question! What would I not give to live with this youth! If only I had him to myself! Still no one goes; it is not to be. I had better go.

O youth so fair and loveable, O faithful youth, farewell until I see thee again. (The Ladies depart. Tamino comes to, and sees the dead serpent at his feet; but hearing someone else approach, he hides. Enter Papageno, dressed in a coat of feathers, bearing a large bird cage on his back and carrying a panpipe.)

This section is Track 2 on the music CD. Papageno’s aria "Der Vogelfänger bin ich ja " PAPAGENO The birdcatcher am I - and always merry, tra la la! As the birdcatcher I am known by old and young throughout the land. I know how to set decoys and whistle just like my prey! So merry and carefree can I be, knowing all the birds belong to me.

The birdcatcher am I – and always merry, tra la la! As the birdcatcher I am known by old and young throughout the land. I wish I had a trap for girls, I’d catch them by the dozen then. I’d keep them in a cage at home, and all the girls would be mine alone.

If all the girls were mine alone, some I’d trade for highgrade sugar, then to the one I liked the best I’d give all the sugar she wanted. And if she then kissed me tenderly, she’d be my wife and I her husband. She would sleep beside me and I would rock her like a child.

Baritone Mark Stone returns to Philadelphia to play Papageno, the funny and oveable bird catcher in The Magic Flute. You may have also seen Mark in 2009 in the title role of Gianni Schicci, as the father Germont in La traviata (2010) or as Ford in Verdi’s Falstaff (2007).

Mark was born and raised in England and studied music at King’s College, Cambridge and at the Guildhall School of Music and Drama in London. In 2009, Mark released his first CD, “English Love”, on his own record label, Stone Records. He currently lives in Sussex, England with his wife Michelle and their son Thomas, and is an avid runner.

Find out more about Mark at his website www.stone.info

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TAMINO Hey there!

PAPAGENO What's that?

TAMINO Tell me, my cheerful friend, who you are.

PAPAGENO Who I am? Silly question! A man like you. And who are you?

TAMINO I am a Prince.

PAPAGENO That's all above my head. You'll have to explain yourself more clearly if I'm to understand!

TAMINO My father is a sovereign who rules over many lands and peoples. That's why I am called "Prince".

PAPAGENO Lands? Peoples? I might try the market for my birds there.

TAMINO Now you tell me what the place is actually called. Who rules here?

PAPAGENO I cannot answer you that, any more than I know how I came into the world. All I know is that not far from here stands my straw hut, which protects me from rain and cold.

TAMINO But how do you live?

PAPAGENO By eating and drinking, like everyone does.

TAMINO How do you obtain that?

PAPAGENO By barter. I catch various birds for the star-blazing Queen and her ladies; every day in return I receive food and drink from her.

TAMINO (The star-blazing Queen?) Tell me, good friend, have you ever been so fortunate as to see her?

PAPAGENO See her? See the star-blazing Queen? What mortal can claim to have ever seen her? But - why are you looking at me so suspiciously?

TAMINO Because - because I doubt if you are human. By the feathers you are covered in I think you are a ...

PAPAGENO Surely not a bird? - Stand back, for I have the strength of giants!

TAMINO Then you must be my rescuer, who killed the evil serpent?

PAPAGENO Serpent?

TAMINO ... and how did you fight this monster? You have no weapon!

PAPAGENO Don't need any! With me a good squeeze of the hand is better than weapons.

TAMINO So you throttled it?

PAPAGENO Throttled!

Enter the three ladies.

THE THREE LADIES Papageno!

PAPAGENO That means me!

TAMINO Who are these ladies?

PAPAGENO Who they really are I don't know myself. As I already told you, all I know is that they collect my birds from me daily and in return bring me wine, cake and sweet figs.

THE THREE LADIES Papageno!

PAPAGENO (What have I done today to make them so angry at me?)

Here, my beauties, I'll hand over my birds to you.

FIRST LADY (passes him a beautiful flask of water) In return our sovereign is today sending you pure, clear water instead of wine.

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SECOND LADY And she has commanded me to bring you this stone instead of cake.

PAPAGENO What? You want me to feed on stones?

THIRD LADY And instead of sweet figs I am hanging this golden lock in front of your mouth.

The three ladies make put a cage over Papageno’s head for telling lies.

PAPAGENO Hm! FIRST LADY I expect you would like to know why our sovereign lady is punishing you so strangely today?

PAPAGENO Hm! SECOND LADY So that in future you will not tell lies to strangers any more!

THIRD LADY And never again boast of heroic deeds performed by others.

FIRST LADY Speak! Did you fight this serpent?

PAPAGENO Hm! TAMINO Who did then?

THIRD LADY It was we, young man, who saved you. Here, our great sovereign sends you this; it is a portrait of her daughter Pamina. "If you find you are not indifferent to these features", she says, "then happiness, honour and fame are your lot!" - Goodbye! (The three ladies exit. )

This section is Track 3 on the music CD. "Dies Bildnis ist bezaubernd schön" TAMINO This portrait is bewitching, no eye has ever seen its like before. I feel as if this angelic picture were filling my heart with a new emotion.

This something I cannot name, but I feel it burning here.

Can this sensation be love?

Yes, yes! This can only be love. Oh, if only I might find her! If only she stood before me! I would – would warmly – chastely – what would I do? I would, in ecstasy, press her to my ardent heart, and she would be mine forever!

Making his OCP debut, Spanish tenor Antonio Lozano has been heralded as a ”delicate lyric voice, but with power, beauty of timbre and superb elegance”. A versitile artist, Mr. Lozano studied at the Conservatorio Superior de Música de Valencia and has since performed in operas, oratorios, and the tradicional spanish music theater, zarzuela. As an opera singer he performed the roles of Elvino (La Sonnambula), Tamino (The Magic Flute), Rinuccio and Gerardo (Gianni Schicchi), and Pittichinaccio (The Tales of Hoffmann).

(Tamino is about to go. Enter the three ladies.)

18

FIRST LADY Steel yourself with courage and constancy, Tamino!

SECOND LADY The Queen of the Night, our sovereign, has heard every word you have said. If this young man", she said, "is as bold and valiant as he is tender, then my daughter Pamina is saved!"

TAMINO Saved?

THIRD LADY A powerful, evil demon named Sarastro has stolen her away.

TAMINO Stolen? Where is Sarastro's domain?

FIRST LADY Very close to our mountains. His castle is imposing and carefully guarded.

A mountanous he mountains part. A resplendent room.

The Queen of the Night sits on a throne decorated with stars.

QUEEN O tremble not, beloved son, you are guiltless, wise and good – A youth such as you can best console this overburdened maternal heart. – I am condemned to grief, for my daughter has been taken from me. With her, all my happiness was lost; a villain abducted her. I can see her trembling with fearful agitation, shaking with fear, feebly struggling. I saw her taken from me. “Ah, help me!” was all she could say – but her appeals were in vain, for my aid was not strong enough. You shall go to set her free, you shall be my daughter’s saviour. And if you succeed, she shall be yours forever. (She disappears amid more rolls of thunder, with her Ladies. The light is restored.

Tamino is about to depart when Papageno stops him, pointing sadly to the padlock on his mouth.)

PAPAGENO (pointing sadly to the padlock on his mouth) Hm! hm! hm! hm!

TAMINO The poor fellow can well speak of punishment when it has robbed him of the power of speech!

(ominous thunder) TAMINO What is that?

SECOND LADY Our Queen comes!

PAPAGENO Hm! hm! hm! hm!

TAMINO I can do nothing but sympathize, for I am powerless to help!

FIRST LADY The Queen has had mercy on you, and she sent me to release you. (She takes the padlock from Papageno’s mouth.)

PAPAGENO Now Papageno can chatter again!

SECOND LADY Chatter yes – but never lie again!

PAPAGENO I will never tell another lie, no, never!

The Queen of the Night begs Tamino to save her daughter Pamina from Sarastro’s evil clutches.

LADIES Let this lock be a warning to you!

PAPAGENO Let that lock be a warning to me!

ALL If only every liar had a lock like this upon his mouth: then would hate, calumny and rancor be replaced by love and brotherhood!

FIRST LADY O Prince, accept this gift sent to you by our Queen. (gives Tamino a golden flute) This magic flute will protect you even in the gravest misfortune.

LADIES This flute will confer great power upon you, to transform the sorrows of mankind; the mourner will become merry, the bachelor a lover.

ALL A flute like this is worth more than gold or crowns, for by its power will human joy and contentment be increased.

PAPAGENO Now, fair ladies, will you excuse me? If so, I take my leave.

LADIES You may certainly depart, but our lady has chosen you to accompany the prince immediately to Sarastro’s castle.

PAPAGENO No! I thank you very much. You yourselves have told me that he is as fierce as a tiger. Sarastro, I’m sure, would not hesitate to have me plucked and roasted and thrown to the dogs.

LADIES The Prince will protect you, trust him, so then you will be his servant.

LADIES Oh, certainly! yes, certainly!

ALL Silver bells and magic flute are needed for your/our protection! Farewell! We must leave now! Farewell! – till we meet again. (All turn to go.)

TAMINO But tell me, fair ladies...

PAPAGENO ...how shall we find the citadel?

TAMINO and PAPAGENO ...how shall we find the citadel?

LADIES Three boys, young, fair, gentle and wise, will appear to you on your journey. They will be your guides; follow their counsel and theirs alone.

TAMINO and PAPAGENO Three boys, young, fair, gentle and wise, will appear to us on our journey?

LADIES They will be your guides; follow their advice only.

TAMINO and PAPAGENO So farewell! We must leave now; farewell, farewell, until we meet again!

ALL So farewell! We must leave now; farewell, farewell, until we meet again!

Scene Two

PAPAGENO (aside) The Prince can go to the devil. I value my life, and now, by my honour, it’s likely he will steal away from me like a thief. –

a splendid chamber in the Egyptian style. Two slaves carry in beautiful cushions and an elaborate Turkish table and spread carpets upon the floor. Monostatos enters, followed by Pamina who is led by slaves.

FIRST LADY (gives Papageno a chest of bells) Here, take this treasure, it is yours.

MONOSTATOS My fine little dove, step inside.

PAPAGENO Aha! What can it be? –

PAMINA Oh, what suffering! What pain!

LADIES There are bells inside it!

MONOSTATOS You are doomed to die.

PAPAGENO And shall I be able to play them?

PAMINA Death does not frighten me, I only worry about my mother; she will surely die of grief.

19

20

MONOSTATOS Hey, slaves, bind her in chains; my hate will be your ruination! (Pamina is put in chains.)

PAMINA O let me rather die, for nothing will move you, you barbarian. (She falls unconscious on the sofa.)

MONOSTATOS Get out, now, get out! Leave me alone with her. (The slaves hurry away. Papageno outside at the window, without at first being seen.)

PAPAGENO Where am I? Wherever am I? Aha! someone’s there.

Courage! I’ll go in. (He enters.) Pretty maiden, young and fair, whiter than chalk... (Papageno and Monostatos see one another – each frightens the other.)

PAPAGENO and MONOSTATOS Oo! – – that must be – the devil himself! Have pity – spare me – Oo – Oo – (They flee in opposite directions.)

PAPAGENO Am I not a fool to have been so frightened? There are certainly all kinds of birds in the world, so why not all kinds of men as well? - Ah look! This must be Pamina!

You Queen of the Night's daughter!

PAMINA Who are you?

PAPAGENO A messenger from the star-blazing Queen.

PAMINA My mother? Your name?

PAPAGENO Papageno.

PAMINA Papageno? - Why did you come?

PAPAGENO Early today I came to your mother's palace to hand over my birds as usual. There suddenly I saw before me a man who calls himself a Prince. - This Prince so impressed your mother that she presented him with your portrait and commanded him to rescue you. From that moment he has loved you.

PAMINA He loves me? - But then tell me, why doesn't he come?

PAPAGENO To be safe, the Prince sent me on ahead to announce his arrival.

PAMINA You have taken a great risk. If Sarastro were to see you here...

PAPAGENO ...that would save me the trip back!

PAMINA And your sweetheart would wait for you in vain.

PAPAGENO No-one is waiting for me.

PAMINA Poor man! So you haven't a wife then?

PAPAGENO Not so much as a girl friend, let alone a wife!

Papageno tells Pamina how much he would like a girlfriend of his own.

PAMINA Have patience, my friend. Heaven will provide for you too and send you a girl friend before you know it!

This section is Track 4 on the music CD. Duet: "Bei Mannern, welche Liebe fuhlen" PAMINA A man who can feel love must have a good heart.

PAPAGENO To share the sweet emotion is woman’s foremost duty.

BOTH Gladly we rejoice in love and live by love alone.

PAMINA Love sweetens every trouble; all creatures sacrifice to her.

Scene Three The scene changes to a grove. Right at the back of the stage is a beautiful temple, upon which are inscribed these words: “Temple of Wisdom”; this temple leads via pillars to two other temples, the one on the right bearing the inscription “Temple of Reason”, the one on the left “Temple of Nature”. Three boys lead in Tamino, each bearing a silver palm frond.

THE THREE BOYS This path will lead you to your goal, but, youth, you must strive like a man. So give heed to our teaching: be steadfast, patient and discreet!

TAMINO Gracious boys, tell me first: shall I be able to rescue Pamina?

THE BOYS That we may not divulge. Be steadfast, patient, and discreet; remember this; in short, be a man. Then, youth, you will strive manfully. (They leave.)

TAMINO May the wise teaching of these boys be engraved forever upon my heart. Where am I now? – What will happen to me? Is this the domain of the gods? – These portals, these columns prove that skill, industry and art reside here. Where action rules and idleness is banned, vice cannot easily retain control. I will pass boldly through that portal; my task is noble, straightforward and pure.

Tremble, cowardly villain! My duty is to save Pamina!

(He goes to the door on the right and opens it; as he is about to enter, a distant voice is heard.)

FIRST VOICE Go back!

TAMINO Go back? go back? Then I will try my luck here. (He goes to the door on the left.)

PAPAGENO She seasons our daily lives and helps Nature’s wheels go round.

BOTH Her higher purpose is our guide, and nothing is nobler than Wife and Man. Man and Wife, and Wife and Man, attain divinity. (They both leave.)

SECOND VOICE (from within) Go back!

TAMINO Here too they say “go back”? (He looks around.) One door still remains. Perhaps I may enter there. (He knocks; an old priest appears.)

SPEAKER Where would you enter, bold stranger? What do you seek in this holy place?

TAMINO Whatever belongs to Love and Virtue.

SPEAKER Your words are lofty – but how do you expect to find these? You are not guided by Love and Virtue but goaded

by Death and Vengeance.

TAMINO Vengeance only against the villain.

SPEAKER You will find no such person among us.

TAMINO Does Sarastro rule here?

SPEAKER Yes, indeed, Sarastro rules here.

TAMINO But not in the Temple of Wisdom?

SPEAKER He rules in the Temple of Wisdom!

21

TAMINO Then all this is hypocrisy!

24 SPEAKER Do you wish to go on your way?

SPEAKER Has a woman so deceived you? A woman does little, gossips much; you, youth, believe in wagging tongues? If only Sarastro could reveal to you the purpose of his stratagem.

TAMINO Yes, I shall go, happy and free – never to see your temple!

TAMINO His purpose is all too clear! Did not the robber snatch Pamina pitilessly from her mother’s arms?

SPEAKER Explain yourself further; some deceit has misled you!

SPEAKER Yes, young man, what you say is true!

TAMINO Sarastro resides here, that is quite enough for me!

TAMINO Where is she whom he stole from us? Perhaps she has been already sacrificed?

SPEAKER If you value your life, say so and stay! – Do you hate Sarastro?

SPEAKER To tell you this, dear son, is not for me to say at present.

TAMINO I shall hate him forever!

TAMINO Explain your riddle, don’t deceive me!

SPEAKER Give me your reasons then!

SPEAKER Oath and duty bind my tongue!

TAMINO He is inhuman, a tyrant!

TAMINO When will this darkness be cast aside?

SPEAKER Has what you say been proved?

SPEAKER As soon as friendship’s hand has led you into the shrine for everlasting union. (He leaves.)

TAMINO By an unhappy woman, oppressed by sorrow and pain!

TAMINO O endless night! When will you vanish? When shall my eyes see light?

VOICES (from within) Soon, youth, or never!

TAMINO Soon, you say, or never? You unseen voices, tell me: is Pamina still alive?

VOICES Pamina is still alive!

Overjoyed at the news that Pamina still lives, Tamino begins to play his magic flute and enchants the wild animals.

TAMINO Alive! She is alive! Thank you for that news. (He takes out his flute.) Oh, would that I could thank you for that news. Almighty One, honour thee and show how every note stems (pointing to his heart) from the gratitude in my heart. (He plays. Wild beasts of all kinds come forth and listen to him. He ceases, and they depart. Birds sing to his playing.) How powerful is your magic music, sweet flute, for when you sound even wild beasts feel joy. Yet Pamina stays away. Pamina! Pamina! Hear me!

– In vain, in vain! – Where, ah, where shall I find you? –

(Papageno answers with his pipes.) Ha! That was Papageno’s call! – Perhaps he has already seen Pamina!

– Perhaps she is hastening here with him! – Perhaps the sound will lead me to her! (He leaves.)

25

PAMINA and PAPAGENO Swift feet and ready courage protect us from the craft and rage of enemies. If only we could find Tamino, or else we may be captured yet!

PAMINA Gentle youth!

PAPAGENO Hush, hush, I have a better way! (Papageno plays on his pipes; Tamino answers from within on his flute.)

PAMINA and PAPAGENO What joy could be greater than this? Friend Tamino has already heard us; we heard his flute reply. What happiness to find him. We must hurry, hurry! (are about to enter) MONOSTATOS (mocking them) You must hurry, hurry... Ha! I’ve caught you now! Bring me swords and fetters; just wait, I’ll teach you manners!

I’ll teach you to trick Monostatos! – Bring me chains and ropes, hey, you slaves, come here!

PAMINA and PAPAGENO Ah, now we’re done for!

MONOSTATOS Hey, you slaves, come here! (Slaves enter with chains.)

PAPAGENO He who dares much has much to gain! Come, my pretty set of chimes, let your bells ring out, ring out, so that their ears sing. (He plays upon his instrument.)

MONOSTATOS and SLAVES That sounds so pretty, that sounds so fine! La ra la la la la la ra la la la la ra la. Never did I hear and see anything like it! La ra la la la la la ra la la la la ra la. (They exit, marching.)

PAMINA and PAPAGENO (laughing) If every good man could find such bells, he could easily dispose of his enemies, and, without them, lead a peaceful life. Only friendship’s harmony eases all hardships, and without this sympathy there is no joy on earth.

ATTENDANTS (from within) Long live Sarastro! Sarastro, all hail!

PAPAGENO What can that mean? I’m shivering and shaking!

PAMINA Oh, my friend, now we’re finished! This announces Sarastro’s approach!

PAPAGENO If only I were a mouse, how I’d hide myself – if only I were tiny as a snail, I’d creep into my house! – My child, what shall we say?

PAMINA The truth – the truth, even though it be a crime! – (A procession of attendants; Sarastro enters last in a triumphal chariot drawn by six lions.)

ATTENDANTS Long live Sarastro, Sarastro all hail! To him we consecrate ourselves with joy! May he always enjoy his sage’s life! He is the master to whom we are dedicated!

PAMINA (kneeling) My lord! I have transgressed! – I wished to escape from your power. – Yet the guilt is not mine! The wicked Moor demanded love, and therefore, my lord, I ran away!

SARASTRO Arise, be of good cheer, beloved one, for even without questioning you I know more from your very own heart: you love another deeply. I will not force your affection, yet I will not grant you freedom either.

PAMINA I am bound by filial duty, because my mother...

Pamina and Papageno use the magic bells to charm Monastatos and his evil crew.

26 24

SARASTRO ...lies in my power. Your happiness would be destroyed forever if I delivered you into her hands.

PAMINA How sweet the name of mother sounds. She is – she is – SARASTRO she is an arrogant woman. – A man must guide your heart, for without that, every woman tends to overstep her natural sphere.

MONOSTATOS Now, proud youth, come here! Here is Sarastro, our master!

PAMINA It is he, TAMINO It is she, PAMINA I can hardly believe it,

TAMINO it is she, PAMINA it is he.

TAMINO I’m not dreaming.

PAMINA and TAMINO I shall embrace him/her, even if it means my death!

ATTENDANTS What are they thinking of?

MONOSTATOS What impertinence! Keep quite apart, you go too far! (He separates them and then kneels.) Your slave lies at your feet: let the rash wanton be punished! Think how bold the boy is! With the help of this strange bird’s cunning, he meant to steal Pamina away, and I alone succeeded in tracking him. You know me! – my vigilance – SARASTRO merits that laurel-leaves be strewn before you! Ho! Give unto the worthy man at once...

MONOSTATOS Your favour already makes me rich! – SARASTRO ...only seventy-seven strokes on his feet.

MONOSTATOS Ah, sir! I wasn’t expecting a reward.

SARASTRO Do not thank me! It is my duty! (Monostatos is led away.)

ATTENDANTS Long live Sarastro, the divinely wise, he rewards and punishes in equal degree.

Pamina and Tamino meet for the first time as Sarastro looks on.

SARASTRO Take these two strangers into our temple of trial; cover their heads – for first they must be purified. (Two priests bring in a kind of sack and cover the heads of the two strangers.)

ATTENDANTS If virtue and righteousness pave the Great Path with honor, then earth will be a paradise and mortals resemble gods.

ACT TWO Scene One The stage is a palm-grove; all the trees are silvery, the leaves of gold. 18 seats of leaves; on each seat there stands a pyramid and a large black horn set with gold. The largest pyramid and the largest trees are in the middle.

SARASTRO You, servants consecrated in the temple of wisdom of the great gods Osiris and Isis, with a clear conscience I declare to you that our gathering today is one of the most important of our time. Tamino, the son of a king, has journeyed to the north gate of our temple. He wishes to tear off his veil of night and look into the sanctuary of great light. To offer him the hand of friendship should be our duty today!

SPEAKER Does he possess virtue?

SARASTRO Virtue!

SECOND PRIEST Discretion too?

SARASTRO Discretion!

SPEAKER Is he charitable?

SARASTRO Charitable! If you think him worthy, follow my example.

I thank you for your assent. The virtuous Pamina has been destined by the gods for Tamino; it was for this reason that I seized her from her mother.

SPEAKER Great Sarastro, will Tamino also withstand the harsh trials? Remember: he is a prince.

SARASTRO He is a human being! Lead Tamino and his companion into the forecourt of the temple to the priests And teach them to recognize the power of the gods!

This section is Track 5 on the music CD. Aria: "O Isis und Osiris" SARASTRO O Isis and Osiris, grant the spirit of wisdom to the newformed couple! Direct the Wanderer’s steps to them, strengthen them with patience when in peril.

PRIESTS Strengthen them with patience when in peril.

SARASTRO Let them see the benefits of their trial; but if they should succumb, reward their courageous course and admit them to thy dwelling!

PRIESTS Admit them to thy dwelling.

Scene Two Forecourt of the temple. Night. Tamino and Papageno are led in by three priests. The priests untie their sacks and withdraw.

Bass Jordan Bisch makes his debuts this season as the wise and noble priest Sarastro in The Magic Flute with Opera Philadelphia. He returned to the Metropolitan Opera as Don Basilio in the new English language production of The Barber of Seville and to the Théâtre du Capitol in Toulouse for Don Carlos. A native of Vancouver, Washington, Mr. Bisch was a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Mr. Bisch made his main stage debut there as the Second Knight in Parsifal, and has since appeared in productions of Aida, Idomeneo, Romeo et Juliette, and on tour in Japan in Don Carlos. More information can be found at http://www.opus3artists.com/artists/jordan-bisch.

TAMINO Where do you think we are?

TAMINO A terrible night! Papageno, are you still with me?

PAPAGENO Where? Well, if it were not so dark, I'd gladly tell you, but as it is ... (thunderclap) Help!

PAPAGENO Certainly!

TAMINO What is it?

27

PAPAGENO I'm beginning to feel bad about this business!

PAPAGENO It's all the same to me! Like me? Is she young?

TAMINO You sound afraid.

SECOND PRIEST Young and beautiful!

PAPAGENO Not afraid exactly, just ice cold from the shivers running down my spine. (loud thunderclap) Help! (Enter the priests with torches.)

PAPAGENO And her name?

30 26

SECOND PRIEST Papagena.

SECOND PRIEST You strangers. What do you seek, what impels you to penetrate our walls?

PAPAGENO What? Pa - pa ... ?

TAMINO Friendship and love.

SECOND PRIEST Papagena.

SPEAKER Are you ready to risk your life fighting for them?

PAPAGENO Papagena? - I'd like to see her, just out of curiosity.

TAMINO Yes!

SECOND PRIEST You may see her!

SPEAKER You will submit to every trial?

PAPAGENO Yes?

TAMINO Every one!

SECOND PRIEST Yes ...

SPEAKER Give me your hand! (They clasp hands.) So be it!

PAPAGENO But when I've seen her, I must die? I'll stay single!

SECOND PRIEST Do you wish to fight for the love of wisdom, Papageno?

SECOND PRIEST There is a way to see her without having to die, Papageno: if you are sufficiently steadfast not to speak a word with her.

PAPAGENO Fighting isn't my thing. I don't basically want any wisdom either. I'm a kind of child of nature, taking pleasure in sleep, food and drink; and if it were even possible some time for me to capture a pretty little wife!

SECOND PRIEST You will never obtain her unless you submit to our trials.

PAPAGENO What are these trials?

SECOND PRIEST Comply with all our laws, even in face of death.

PAPAGENO I'll stay single!

SECOND PRIEST But what if Sarastro had set aside for you a girl who was just like you in colouring and dress?

SPEAKER The gods impose a salutary silence on you, too, Prince: without it you are both lost! You will see Pamina - but never be allowed to speak to her! This is the beginning of your trials.

TWO PRIESTS Guard yourself from women’s tricks; this is the first duty of our Order. Many a wise man has been deceived, has failed and never seen his error; finding himself at last abandoned, his loyalty repaid with scorn! – In vain were all his efforts: death and despair were his reward. (The Priests leave. All remain in darkness until the three Ladies of the Queen of the Night appear from below, carrying torches.)

LADIES What? What? Why are you in this frightful place? Never! never! never! will you escape from it alive! Tamino! your doom is sealed! Papageno, all hope for you is lost!

PAPAGENO No, no, that is too much.

31 27 TAMINO Papageno, be quiet! Will you break your vow never to speak with women here?

PAPAGENO You heard them; we are done for!

TAMINO Quiet, I say – be quiet!

The three ladies try to tempt Tamino into breaking his vow of silence.

PAPAGENO Always quiet! Always quiet!

LADIES The Queen is quite close to you, she has entered the temple secretly!

PAPAGENO What’s that? She’s in the Temple?

TAMINO Quiet, I say – be quiet! – Are you so presumptuous as to always forget your sworn duty?

LADIES Listen, Tamino, you are lost! Think of the Queen! There are many rumours concerning the wicked ways of these priests!

TAMINO (aside) A wise man seeks proof and disregards what the common rabble say.

LADIES There are many rumours concerning the wicked ways of these priests! They say that whoever joins their order goes straight to Hell, lock, stock and barrel.

PAPAGENO The devil they do! That’s outrageous! Tell me, Tamino, is it true?

TAMINO Only idle women’s talk, but invented by deceivers.

PAPAGENO Yet the Queen says the same!

TAMINO She is a woman, with a woman’s mind! Be quiet, let my word suffice; remember your duty and be prudent.

LADIES (to Tamino) Why are you so sharp with us? Papageno is silent too? – Speak!

PAPAGENO Gladly I would...indeed – – TAMINO Hush!

PAPAGENO As you see, I may not! – TAMINO Hush!

PAPAGENO I am really ashamed that I cannot give up chattering!

TAMINO You should be ashamed that you cannot stop chattering!

LADIES We must withdraw in shame, for no one will speak to us.

TAMINO and PAPAGENO You must withdraw in shame, for no one will speak to you.

ALL A man is strong in spirit; he considers what he may say!

INITIATES (from within) The sacred threshold is defiled! Away with the women, to Hell! (thunder, lightning; simultaneous mighty thunder) LADIES Alas! Alas!

PAPAGENO Alas! Alas! (He falls to the ground. Enter the Speaker and Second Priest with torches.)

SPEAKER Tamino! Your steadfastness has triumphed, but you will have a hard and dangerous path to tread! - Come then!

Scene Three A garden. Pamina lies sleeping on a couch, shaded by rose bushes.The moon shines on her face. Monostatos creeps in.

28

MONOSTATOS Every creature feels the joy of love, and bills and coos and hugs and kisses – but I must forego love because a black man is ugly! Have I not been given a heart? Am I not flesh and blood? To live forever without a wife would really be like hellfire. So, because I live, I will bill and coo, kiss, be tender! – Dear, good moon, forgive me: a white skin has seduced me! White is beautiful, I must kiss her: therefore, moon, hide your face from me! – If this upsets you too much, then close your eyes. (He creeps slowly and quietly towards Pamina. To thunder, the Queen of the Night appears unexpectedly.)

The Queen of the Night orders her daughter Pamina to kill Sarastro.

SECOND PRIEST Stand up, Papageno! - What are you doing there?

MONOSTATOS Help! It's the Queen of the Night; I must hear what she and Pamina say! (hides)

PAPAGENO Sh! I'm lying in a faint!

PAMINA (waking) Mother! Oh my mother ...

SECOND PRIEST Up! Pull yourself together, and we'll go on to further trials.

QUEEN OF THE NIGHT Where is the young man I sent you?

PAPAGENO But if the gods have ordained a Papagena for me, why do I have to go through so many dangers to win her?

PAMINA Tamino has withdrawn for ever from the world and people. He has gone over to Sarastro!

SECOND PRIEST Come! - My duty is only to lead you the way for you!

QUEEN OF THE NIGHT What do I hear? Sarastro has triumphed again. Do you see this blade? It has been sharpened for Sarastro, and you will kill him!

This section is Track 6 on the music CD. Aria: "Der Holle Rache kocht in meinem Herzen" QUEEN Hell’s vengeance seethes in my heart; the flames of death and despair engulf me!

If Sarastro dies not by your hand, you will be my daughter no more.

Forever repudiated, forever abandoned, forever destroyed be all the ties of nature if Sarastro’s blood is not shed by your hand!

Hear, hear, hear me, ye gods of vengeance... hear! – a mother’s vow!

(She gives Pamina the dagger and disappears.)

Rachele Gilmore makes her company debut as the cruel Queen of the Night in The Magic Flute. This season she also performs the role of Amina in La sonnambula with Florida Grand Opera. Other recent notable roles include Olympia (The Tales of Hoffmann ) with Teatro alla Scala, Blonde (The Abduction from the Seraglio) with Grand Théâtre Genève, Rosina (The Barber of Seville) with Opéra de Vichy, and Cunegonde (Candide) with Portland Opera. She made her Met debut as Olympia in The Tales of Hoffmann in 2009. To learn more abour Ms. Gilmore, visit her website at rachelegilmore.com!

PAMINA (holding the dagger) Am I to commit murder? - No, I cannot! - Gods, what am I to do?

33

MONOSTATOS (coming out of hiding) Put your trust in me! (takes the dagger from her) PAMINA You, Monostatos?

Sarastro tells Pamina that within these sacred halls, each man loves his neighbor.

MONOSTATOS What are you trembling about? Me... or the murder plan?

PAMINA You know then ...

MONOSTATOS Everything ... You have only one way then of saving yourself and your mother ...

PAMINA And what might that be?

Within these sacred halls revenge has no place! And if a man should fall, love leads him back to duty. Then, hand in hand with a friend, he goes, content and happy, to a better land. Within these sacred walls, where each man loves his neighbor – no traitor can lurk, for enemies are forgiven. If one delights not in this teaching, he is unworthy of the name of Man. (Sarastro and Pamina leave.)

MONOSTATOS To love me.

Scene Four

PAMINA No!

SPEAKER Here you are both left alone to yourselves. - As soon as you have received the order, continue on your way! Prince, do not forget this word: silence.

MONOSTATOS Yes or no?

A hall. Tamino and Papageno are led in by two priests.

PAMINA No!

SECOND PRIEST Papageno, whoever breaks silence in this place is punished by the gods with thunder and lightning.

(Enter Sarastro.)

(The priests leave.)

SARASTRO Go, Monostatos!

PAPAGENO (after a pause) Tamino!

MONOSTATOS My lord, I am innocent ...

TAMINO (angrily) Sh!

SARASTRO Go!

PAPAGENO This is a jolly life! If I were in my straw hut or in the woods, I could at least hear a bird chirping occasionally!

(Monostatos runs off.)

PAMINA My lord! Great Sarastro, do not punish my mother; the pain of losing me ...

SARASTRO I know everything. May the heavens grant Tamino courage and steadfastness; then you will be happy with him, and your mother will return to her castle.

TAMINO (still angry) Sh! PAPAGENO Surely I can talk to myself, and the two of us can talk to each other, too - we are men after all. (bored) There's not even a drop of water to be had from these people, let alone anything else...

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Tamino, look who's coming! (An ugly old woman comes out of the trapdoor holding a large cup of water.) Hey, old lady! Is that cup for me?

WOMAN Yes, my angel!

PAPAGENO (drinks) Water!

WOMAN Yes, my angel, water.

WOMAN Not quite, he is ten years older.

PAPAGENO What is your lover's name then?

WOMAN Papageno!

PAPAGENO Papageno! - I'm your sweetheart?

WOMAN Yes, my angel!

PAPAGENO Nothing more or less than water. Come on, old lady, sit here with me. I'm as bored as hell. How old are you then?

PAPAGENO (taking the water quickly and splashing it in her face) Tell me what your name is?

WOMAN Eighteen years and two minutes.

WOMAN My name is ...

PAPAGENO Eighteen years and two minutes?

(Loud thunder, the old woman limps quickly off.)

WOMAN Yes. PAPAGENO You look more like a hundred and eighteen. - And do you have a sweetheart as well?

WOMAN Of course!

PAPAGENO Is he as young as you?

PAPAGENO Thank the gods! The old woman has vanished. Now I shan't say another word!

(The three boys descend from above. One has the flute, another the glockenspiel. A well-stocked table appears.)

THE BOYS Welcome for the second time, you mortals, in Sarastro’s realm! – He sends you what was taken from you, your flute and your chime of bells. (A table with food and drink rises from the ground.) If you do not scorn food, then eat and drink of it with pleasure! – When we meet for the third time, joy will reward your courage! Tamino, take heart! – Your goal is near! You, Papageno, keep quiet! (They fly up.)

PAPAGENO Tamino, Tamino, aren't we going to eat? (Tamino plays on his flute) Just go on blowing your flute! I'll see if the cellar too is well appointed? (He drinks) PAMINA (joining them) I hear Tamino's flute! (The flute is silent.) You're here, Tamino? I heard your flute and ran towards the sound. But you are sad? Will you not say a word to your Pamina? (Tamino motions her to go away.) What? I am to keep away from you? Do you love me no more? Oh, this is worse than an offence - worse than death.

Disguised as an old woman, Papagena tells Papageno that she will be his sweetheart.

This section is Track 7 on the music CD. Aria: "Ach, ich fühl's" PAMINA Ah, I feel that the joy of love has gone for evermore!

Never will happiness return to my heart!

See, Tamino, see these tears that flow, beloved, for you alone.

If you do not feel love’s yearning – I must seek peace in the grave!

(She goes out slowly and sadly.)

Scene 5 The interior of a pyramid. The Priests march in, led by Sarastro.

CHORUS O Isis and Osiris! What delight! The dark night retreats from the light of the sun! – Soon will the noble youth experience a new life, soon will he be wholly dedicated to our Order. His spirit is bold, his heart is pure, soon will he be worthy of us.

(Tamino is led in by a priest) SARASTRO Tamino, your behaviour so far has been steadfast and manly. Now you have two more dangerous paths to travel. - Let Pamina be brought in, blindfold! (Pamina is led in, enveloped in a sack. Sarastro removes the covering from her) PAMINA Where am I? The stillness here is dreadful! Tell me, where is Tamino?

SARASTRO He is waiting for you in order to bid you a last farewell.

PAMINA A last farewell! Oh, where is he? Tamino!

SARASTRO He stands before you.

Elizabeth Zharoff returns to Opera Philadelphia as the beautiful young Pamina. She debuted with the company a year ago as Constanze in The Abduction of Seraglio, and has collaborated with the company while at the Curtis Institute of Music in The Cunning Little Vixen and Antony and Cleopatra. Ms. Zharoff is currently a member of the Junges Ensemble at the renowned Semperoper in Dresden, Germany where she has sung important roles like Pamina, Violetta (La traviata) and Zerlina (Don Giovanni). Visit the artist’s website at elizabethzharoff.com.

PAMINA Deadly dangers await you!

TAMINO The Gods will protect me!

PAMINA Deadly dangers await you! – TAMINO The Gods will protect me!

SARASTRO The Gods will protect him!

PAMINA You will not escape death, I have a premonition.

TAMINO The will of the Gods be done, their prompting shall be my law!

SARASTRO The will of the Gods be done their prompting shall be his law.

PAMINA Oh, if you loved as I love you, you would not be so calm.

TAMINO Believe me, I share your desire, and will be forever true.

PAMINA Shall I, beloved, never see you again? –

SARASTRO Believe me, he shares your desire, and will be forever true. The hour has come for you to part!

SARASTRO There will be a happy reunion! –

PAMINA and TAMINO How bitter separation is!

SARASTRO Tamino must go on his way! The hour has come for you to part, Tamino must go on his way! He must go on his way!

TAMINO Pamina, now I must be on my way! How bitter separation is!

PAMINA Tamino must really be on his way! Tamino! must you go?

TAMINO Pamina! farewell!

PAMINA Tamino! farewell!

them. Darkness. Papageno enters and finds himself locked in the chamber by walls of flame.)

PAPAGENO (from outside) Tamino! Tamino! Are you abandoning me completely? (comes in, searching) If I at least knew where I was! (He goes to the door through which Tamino has been led away. The Speaker confronts him.)

SPEAKER Papageno, you deserve to wander for ever in the dark chasms of the earth! The gracious gods release you from this punishment. However, you will never experience the heavenly delight of the consecrated band.

SARASTRO Hasten on, your vow summons you! The time has come; we shall meet again!

PAPAGENO Well now, there are certainly other people like me. - To me the greatest delight at this moment would be a good glass of wine. (A large goblet of red wine emerges from the ground.)

PAMINA and TAMINO Ah, sweet contentment, return! Farewell!

SPEAKER Is that all you want in this world?

(Two Priests lead Pamina away. Sarastro leads off Tamino in the opposite direction, and the other Priests follow

PAPAGENO Hmm - My heart feels quite strange! I should like ... I could wish ... Well, what is it I want then?

This section is Track 8 on the music CD. Aria: "Ein Mädchen oder Weibchen" PAPAGENO A sweet heart or a wife is what Papageno wants!

Oh, a soft little dove would be bliss!

Then food and drink would be pleasant, and I could match wits with a prince, enjoy life as much as a sage and think myself in Heaven!

A sweet heart or a wife is what Papageno wants!

Ah, can I not please even one of all the charming girls in the world?

One must come to my aid, or else I shall surely die of grief.

A sweet heart or a wife is what Papageno wants!

If none will offer to love me, the flames of desire will consume me; but if I am kissed by a woman – I shall be happy once more.

(Enter the old woman, dancing and leaning on her stick)

PAPAGENO Papagena, how you've changed. You really are eighteen, young, lovely - let me hold you!

(He tries to embrace her) SPEAKER Get back, Papageno! You are not yet worthy to take this young woman in your arms.

(He drags Papagena off. Papageno drops down)

Scene Six A small garden among palm trees, shortly before dawn. The three boys watch over Pamina from a distance.

WOMAN Here I am now, my angel!

PAPAGENO You have taken pity on me?

WOMAN Yes, Papageno, and if you promise always to stay faithful to me, then you shall see how tenderly your little wife will love you.

PAPAGENO Not so fast though, my old angel! An attachment like this needs some thinking about, after all.

WOMAN Papageno, I advise you not to hesitate! Your hand, or you will be imprisoned here for ever - with only bread and water.

PAPAGENO Drink water? Live alone? No, in that case I'd rather take you, old woman. Well now, there's my hand on it that I shall always remain true to you (so long as I don't find anyone prettier).

WOMAN You swear to it?

PAPAGENO Yes, I swear to it!

(The old woman changes into a young girl, dressed just like Papageno.)

PAPAGENA Papageno, look at me!

THE BOYS The sun, the splendid herald of the morn, will soon set off upon his golden course – soon will doubts disappear, soon the wise man will triumph! – O sweet contentment, descend upon us, return to human hearts; then earth shall be a paradise and mortals be like Gods.

FIRST BOY But see, Pamina is troubled by some doubt! – SECOND and THIRD BOYS Where is she now?

FIRST BOY She is bereft of reason! – THE BOYS The sorrow of rejected love torments her. Let’s try to comfort the poor girl! – Truly, her fate is close to our hearts! – Oh, if only her young man were here! – She’s coming; let’s hide and see what she intends to do.

(Pamina, half out of her senses, comes in with a dagger.)

PAMINA You will, then, be my bridegroom – With you I shall end my grief!

THE BOYS (aside) What did those sinister words portend? – The poor girl is close to madness!

PAMINA Patience, beloved, I am yours – and soon we shall be wed!

Papageno promises the old woman that he will be faithful to her for life and she turns back into a young Papagena.

THE BOYS (restraining her arm) Ha! Unhappy girl, forbear! Should your young man see this, he would die of grief, for he loves only you.

PAMINA (recovering) What? Did he return my love yet hide his feelings from me – and turn away his face? Why did he not speak to me?

THE BOYS We may not tell you, but we will show him to you, and you will see with wonder that his heart is wholly yours, and that he would risk death for you! Come, let’s go find him.

PAMINA Lead on, for I must see him.

ALL Two hearts aflame with love can never be parted by human weakness. – Their enemies strive in vain, for the Gods themselves protect them. (They all leave.)

Scene Seven The three spirits look on in horror as Pamina talks of death.

THE BOYS Madness rages in her brain – suicide is writ in her face – (to Pamina) Dear maiden, look at us!

PAMINA I mean to die – for the man, whom I could never, never hate, was able to leave his dear one! – (showing them the dagger) My mother gave me this – THE BOYS God will punish your suicide! – PAMINA Better to die by this dagger then be ruined by love’s sorrow. – Mother! because of you I suffer, and your curse pursues me!

THE BOYS Maiden, will you come with us?

PAMINA Ha! The measure of my pain is full! False youth, farewell! See, Pamina dies because of you! (attempting to stab herself) Let this dagger kill me!

The scene is transformed into two large mountains; one with a thundering waterfall, the other belching out fire; each mountain has an open grid, through which fire and water may be seen; where the fire burns the horizon is coloured brightly red, and where the water is there lies a black fog. The wings represent rocks, each with a closed, iron door. Tamino is lightly clad, without sandals. Two men in black amour lead Tamino in. Fire burns on their helmets; they read him the transparent words inscribed on one of the pyramids. This stands centre-stage, raised high, close to the grid.

ARMED MEN He who travels these laborious paths will be purified by fire, water, air and earth. If he overcomes his fear of death, he will raise himself from earth, soar heavenwards! In the light of this higher level he can dedicate himself wholly to Isis’s mysteries.

TAMINO I fear not to face death like a man, nor to tread the path of duty! – Unlock the gates of fear – I gladly dare the perilous road! – (He is about to leave.)

PAMINA (from within) Tamino, Stop! I must see you!

TAMINO What was that? Pamina’s voice?

ARMED MEN Yes, yes, that is Pamina’s voice!

TAMINO What happiness, now she can go with me! Now no fate can part us ever again even though death should be our lot.

ARMED MEN What happiness, now she can go with you! Now no fate can ever part you again, even though death should be your lot.

TAMINO Have I permission to speak to her?

ARMED MEN You have permission to speak to her!

TAMINO What joy to meet again and enter the temple happily, hand in hand. A woman who does not fear darkness and death is worthy and will be made initiate.

ARMED MEN What joy to meet again and enter the temple happily, hand in hand. A woman who does not fear darkness and death is worthy and will be made initiate. (The door is opened, Tamino and Pamina embrace.)

PAMINA My Tamino! Oh, what happiness!

TAMINO My Pamina! Oh, what happiness! Here are the gates of fear, that threaten me with danger and with death.

PAMINA Wherever you go, I shall be at your side. I myself shall lead you, love is my guide. (takes him by the hand) She will strew the way with roses, for roses are always found with thorns. Play on your magic flute; it will protect us on our way. In a magic hour, my father cut it from the deepest roots of a thousand-year-old oak amid thunder, lightning – storm and rain. – Come, now, and play the flute! It will guide us on the dread path.

PAMINA and TAMINO We walk, by the power of music, in joy through death’s dark night.

Pamina and Tamino face their fears as they walk through their trials.

Pamina and Tamino have emerged from the fire through the power of the magic flute.

ARMED MEN You walk, by the power of music, in joy through death’s dark night. (The doors are closed behind them; Tamino and Pamina are seen making their way. Tamino plays on his flute. As soon as they have emerged from the fire they embrace one another and remain at the centre of the stage.)

PAMINA and TAMINO We passed through the glowing fire and bravely faced the danger. May your music protect us in the flood as it did in the fire. (Tamino plays; they are seen making their way down and after a time coming up again; immediately a door opens; the entrance to a brightly lit temple is revealed.)

PAMINA and TAMINO Ye Gods, what a joyful moment! The joy of Isis is accorded to us! – ATTENDANTS and PRIESTS (from within) Victory, victory, victory, o noble pair, You have overcome the danger! Isis’s rites are now yours! Come, come, enter the Temple.

(The scene changes back to the previous garden.)

PAPAGENO Papagena! Papagena! Papagena! (playing his pipes) Little wife! My dove! My beauty! – In vain! Ah, she is lost! I was born to be unlucky! – I chattered, and that was naughty, so I got what I deserved! – Ever since I tasted that wine – ever since I saw that pretty girl, my heart has been burning and it pinches me here and there!

Papagena! Wife of my bosom! Papagena, dearest dove! It is in vain, all useless! I am weary of life! Death puts an end to love when it burns your heart like this. (Takes a rope from around his waist) I shall ornament this tree by hanging myself from it because my life has gone all wrong. Goodnight, deceiving world! – You treated me badly and denied me a pretty mate, so it is all over, so I

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shall die. Pretty maiden, think of me! – If someone takes pity on me, poor wretch, before I hang myself – I will let it go this time! Speak up: yes, or no! –No one hears me; all is silent! So this, then, is your decision! Papageno, get on with it and end your weary life. I’ll wait a little longer – while I count: one, two, three! (He pipes, looking around him.) one! two! three! Well, that’s it, then! As no one holds me back, good night, deceiving world! (He is about to hang himself.)

THE BOYS Then play your bells; they will bring your mate along.

THE BOYS (flying down) Stop, Papageno! Be wise! You only live once, let that suffice!

PAPAGENO What a fool I am I forgot the magic instrument! (takes out his instrument) Resound, magic bells, resound, I must see my darling girl! (The boys run to their flyinggondola and bring out the woman.) Ring, little bells, ring, send my sweetheart here to me! Ring, little bells, ring, bring my mate here! Ring, little bells, ring, bring my little wife here! Bring her here! my sweetheart, my little wife!

PAPAGENO Well may you counsel, well may you laugh; but if your hearts were burning like mine, you too would be looking for girls.

THE BOYS Hey! Papageno, look over here! (They fly up. Papageno looks around.)

This section is Track 9 on the music CD. Papageno-Papagena Duet PAPAGENO Pa-pa-ge-na!

PAPAGENA So, now you’re my heart’s little dove!

PAPAGENA Pa-pa-ge-no!

BOTH How happy we will be if the Gods are gracious and bless our love with children, with darling little children!

PAPAGENO Do you pledge yourself to me? –

PAPAGENO First a little Papageno!

PAPAGENA Yes, I pledge myself to you!

PAPAGENA Then a little Papagena!

PAPAGENO So, now you’re my little dear wife!

PAPAGENO Then another Papageno!

PAPAGENA Then another Papagena!

PAPAGENO Papageno!

PAPAGENA Papagena!

Papagena and Papageno are finally united sing of their love for each other and their desire to start a family.

BOTH The greatest joy of all will be when many Papagenas and Papagenos bless their parents!

(They leave. The Moor, and the Queen with her three Ladies enter from the two trap doors. They carry black torches in their hands.)

MONOSTATOS They are in the hall of the Temple.

MONOSTATOS, QUEEN and LADIES Now softly! softly! soon we will be within the Temple!

ALL We will attack them there, stamp out the bigots from the earth with fierce fire and mighty sword!

MONOSTATOS But Lady, keep your promise! that your child shall be my wife! –

MONOSTATOS and LADIES (kneeling) To see, great Queen of the Night, our revenge shall be brought as an offering! (thunder, lightning, storm)

QUEEN I shall keep my word, it is my will, my child shall be your wife!

ALL Our power is shattered, we are all cast down into eternal night! (They sink into the ground.)

LADIES Her child shall be your wife! (Muffled thunder and the sound of rushing water are heard.)

The entire stage is immediately transformed into a sun.

Sarastro stands elevated; Tamino and Pamina are both in priestly raiment. The Egyptian priests stand either side of them. The three boys are holding flowers.

MONOSTATOS But hush, I hear a fearful rushing noise, like rolling thunder and cascading water. –

SARASTRO The rays of the sun chase night away; the hypocrite’s surreptitious power is utterly destroyed!

QUEEN and LADIES Yes, that rushing noise is terrifying, like the distant echo of thunder! –

This section is Track 9 on the music CD. Chorus: :Die Strahlen der Sonne” CHORUS Hail to the initiates!

You have penetrated the darkness!

Thanks be to thee, Osiris!

Thanks to thee, Isis!

Fortitude is victorious, and, in reward, crowns Beauty and Wisdom with its eternal diadem!

END Translation C Peter Branscombe, 1966 English Translation courtesy EMI Classics. www.emiclassics.com

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Connect the

Opera Terms

5

1.

Opera Seria

A.

Dance spectacle set to music.

2.

Baritone

B.

Highest pitched woman’s voice.

3.

Opera

C.

Dramatic text adapted for opera.

4.

Ballet

D.

Low female voice.

5.

Orchestra

E.

Comic opera.

6.

Libretto

F.

7.

A drama or comedy in which music is the essential factor; very little is spoken.

Duet

8.

G.

Opera with dramatic and intense plots.

Aria

9.

H.

Music composed for a singing group.

Soprano

I.

A composition written for two performers.

J.

A group of musicians who play together on various musical instruments.

12. Contralto

K.

Highest pitched man’s voice.

13. Tenor

L.

A musical style used in opera and oratorio, in which the text is declaimed in the rhythm of natural speech with slight melodic variation.

10. Chorus 11. Act

14. Opera Buffa 15. Recitative

M. Male voice between bass and tenor.

16. Bass

N.

A piece of music originally designed to be played before an opera or musical play.

O.

The term describing the realistic or naturalistic school of opera that flourished briefly in the late 19th and early 20th centuries; libretti were chosen to depict a ‘slice of life’.

P.

Deepest male voice.

Q.

Elaborate solo in an opera or oratorio.

R.

Main division of a play or opera.

17. Overture 18. Verismo

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Glossary act (akt) n. one of the main divisions of a play or opera. allegro (uh-leg-roh) adv. musical term for fast and lively. alto (al-toh) n. the range of the female voice between mezzo-soprano and contralto. andante (ahn-dahn-tey) adv. a musical term meaning in moderately slow time. antagonist (an-tag-o-nist) n. an adversary or opponent of the main character or protagonist in an opera, play, or other drama. ardent (ahr-dnt) adj. having, expressive of, or characterized by intense feeling; passionate; fervent. aria (ahr-ee-uh) n. an operatic song for one voice. bar (bahr) n. a division of music containing a set number of beats. baritone (bar-i-tohn) n. the range of the male voice between tenor and bass. bass (beys) n. the lowest male singing voice. beat (beet) n. the basic pulse of a piece of music. bereft (bih-reft) adj. deprived. bills and coos (bil koos) n. to kiss or fondle and whisper endearments, as lovers. bridegroom (brahyd-groom) n. a newly married man or a man about to be married. calumny (kal-uhm-nee) n. a false and malicious statement designed to injure the reputation of someone or something. chord (kord) n. a group of notes played at the same time in harmony. chorus (kawr-uhs) n. 1. a group of singers. 2. a piece of music for these. chronological (kron-l-oj-i-kuhl) adj. a method of arrangement that puts events in order of occurrence. citadel (sit-uh-dl) n. a fortress that commands a city and is used in the control of the inhabitants and in defense during attack or siege charitable (char-i-tuh-buhl) adj. kindly or lenient in judging people, acts chord (kord) n. a group of notes played at the same time in harmony. chorus (kawr-uhs) n. 1. a group of singers. 2. a piece of music for these. chronological (kron-l-oj-i-kuhl) adj. a method of arrangement that puts events in order of occurrence. comply (kuhm-plahy) v. to act or be in accordance with wishes, requests, demands, requirements, conditions, etc.; agree. consecrated (kon-si-kreytd) v. to make or declare sacred; set apart or dedicate to the service of a deity constancy (kon-stuhn-see) n. the quality of being unchanging or unwavering, as in purpose, love, or loyalty; firmness of mind; faithfulness. contralto (cuhn-tral-toh) n. the lowest female singing voice. cunning (kuhn-ing) adj. skill employed in a shrewd or sly manner, as in deceiving; craftiness; guile. decoy (dee-koi) n. anything used as a lure. diadem (dahy-uh-dem) n. a crown. discretion (dih-skresh-uhn) n. the power or right to decide or act according to one's own judgment; freedom of choice. fetters (fet-ers) n. a chain or shackle placed on the feet. filial (fil-ee-uhl) adj. of, pertaining to, or befitting a son or daughter. flat (b) (flat) adj. a half-step lower than the corresponding note or key of natural pitch. forecourt (fohr-kohrt) n. a courtyard before the entrance to a building or group of buildings. forte (f) (for-tay) adv. loudly. fortissimo (ff) (for-tee-see-moh) adv. a musical term for very loud. goaded (gohded) v. to prick or drive with, or as if with, a goad; prod; incite. hellfire (hel-fahyuhr) n. punishment in hell. hypocrisy (hi-pok-ruh-see) n. a pretense of having a virtuous character, moral or religious beliefs or principles, etc., that one does not really possess. hypocrite (hip-uh-krit) n. a person who pretends to have virtues, moral or religious beliefs, principles, etc., that he or she does not actually possess, especially a person whose actions belie stated beliefs. idle (ahyd-l) adj. of no real worth, importance, or significance.

idleness (ahyd-l-nes) n. not working or active; unemployed; doing nothing. impels (im-pel) v. to drive or urge forward; press on; incite or constrain to action. impertinence (im-pur-tn-uhns) n. unmannerly intrusion or presumption; insolence. initiates (ih-nish-ee-it) n. a person who has been admitted or accepted with formal rites into an organization or group, secret knowledge, adult society.

Isis (ahy-sis) n. a goddess of fertility in Egyptian mythology, the sister and wife of Osiris and mother of Horus, and usually represented as a woman with a cow's horns with the solar disk between them: later worshiped in the Greek and Roman empires. key (kee) n. the basic note of the main scale used in a piece of music. In the key of G, for example, G is the fundamental note; the music often returns to it and comes to rest on it. largo (lahr-goh) adv. a musical term meaning in slow time and dignified style. laurel-leaves (lawr-uhl - leevz) n. Also called bay, sweet bay. A small European evergreen tree, Laurus nobilis, of the laurel family, having dark, glossy green leaves. leitmotiv (lahyt-mo-teev) n. a melodic passage or phrase associated with a specific character, situation, or element. libretto (li-bret-oh) n. the words of an opera or other long musical. lock, stock and barrel (lok, stok, bar-uhl) n. all, total, everything. major (mahy-zer) adj. music in a major key uses a major scale, in which the first three notes are the key note followed by intervals of a tone and then another tone (for example, C, D, E). It often has a cheerful, strong sound. minor (my-ner) adj. music in a minor key uses a minor scale, in which the first three notes are the key note followed by intervals of a tone and then a semitone ( for example A, B, C). It often has a sad, melancholic sound.

Moor (moor) n. a Muslim of the mixed Berber and Arab people inhabiting NW Africa. natural (nach-er-uhl) adj. a note that is neither flattened nor sharpened. octave (ok-tiv) n. a note that sounds twice as high in pitch as another, is an octave above the other note, and has the same letter naming it. opera (op-er-uh) n. a play in which the words are sung to musical accompaniment. orchestra (awr-keh-struh) n. a large body of people playing various musical instruments, including stringed and wind instruments.

Osiris (oh-sahy-ris) n. the king and judge of the dead, the husband and brother of Isis, and father (or brother) of Horus, killed by set but later resurrected (after Horus killed Set): usually depicted as a man, partly wrapped as a mummy, having a beard and wearing the atef-crown. overture (oh-ver-cher) n. an orchestral composition forming a prelude to an opera or ballet. palm fronds (pahm frond) n. A palm branch (or palm frond or palm stem), usually refers to the leaves of the palm tree. palm-grove (pahm grohv) n. a group of palm trees growing close together. penetrate (pen-i-treyt) v. to enter the interior of. peril (per-uhl) n. exposure to injury, loss, or destruction; grave risk; jeopardy; danger. perilous (per-uh-luhs) adj. involving or full of grave risk or peril; hazardous; dangerous pianissimo (pp) (pee-ah-nees-ee-moh) adv. a musical term meaning very softly. piano (p) (pi-an-oh) 1. adv. a musical term meaning softly. 2. n. keyed percussion instrument first named pianoforte because it could play both softly and loudly. portend (pawr-tend) v. to indicate in advance; to foreshadow or presage, as an omen does premonition (pree-muh-nish-uha) n. feeling of anticipation of or anxiety over a future event; presentiment. presto (pres-toh) adv. a musical term meaning very fast. presumptuous (pri-zuhmp-choo-uhs) adj. unwarrantedly or impertinently bold; forward. prompting (prompt-ing) tr.v. to move to act; spur; incite. rabble (rab-uhl) n. a disorderly crowd; mob. rancor (rang-ker)n. bitter, rankling resentment or ill will; hatred; malice. rash (rash) adj. acting or tending to act too hastily or without due consideration. repudiated (ri-pyoo-dee-eyt) v. to reject with disapproval or condemnation. resplendent (ri-splen-duhnt) adj. shining brilliantly; gleaming; splendid. sanctuary (sangk-choo-er-ee) n. a sacred or holy place. salutary (sal-yuh-ter-ee) adj. promoting or conducive to some beneficial purpose.

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scale (skayl) n. a series of notes arranged in descending or ascending order of pitch. seethes (seeth) v. to be in a state of agitation or excitement. semitone (sem-i-tohn) n. a half step or half tone, an interval midway between two whole tones. sharp (#) (shahrp) n. any note a semitone higher than another note. Also, slightly too high in pitch. singspiel (zing-shpeel) n. a form of German-language music drama, now regarded as a genre of opera. It is characterized by spoken dialogue, which is alternated with ensembles, songs, ballads, and arias which were often strophic, or folk-like. sinister (sin-uh-ster) adj. threatening or portending evil, harm, or trouble; ominous soprano (so-prah-noh) n. the highest female or boy's singing voice. stage (stayj) n. a platform on which a public performance is given before an audience. staging (stay-jing) n. the presentation or production on the stage. steadfast (sted-fast) adj. fixed in direction; steadily directed. steadfastness (sted-fast-nes) n. firm in purpose, resolution, faith, attachment. stratagem (strat-uh-juhm) n. a plan, scheme, or trick for surprising or deceiving an enemy. sovereign (sov-rin) n. a monarch; a king, queen, or other supreme ruler. succumb (suh-kuhm) v. to give way to superior force; yield. suffice (suh-fahys) v. to be enough or adequate, as for needs, purposes, etc. surreptitious (sur-uhp-tish-uhs) adj. obtained, done, made, etc., by stealth; secret or unauthorized; clandestine. symphony (sim-foh-nee) n. a long musical composition (usually in several parts) for a full orchestra. synopsis (si-nop-sis) n. a summary, a brief general survey. tone (tohn) n. 1. an interval equal to two semitones. 2. the sound quality of an instrument or voice. transgressed (trans-gresed) v. to violate a law, command, moral code, etc.; offend; sin. triumphal (trahy-uhm-fuhl) n. of, pertaining to, celebrating, or commemorating a triumph or victory. unscathed (uhn-skeythd) adj. not scathed; unharmed; uninjured. valiant (val-yuhnt) adj. boldly courageous; brave; stout-hearted. verismo (vuh-riz-moh ) n. realism in opera. vice (vahys) n. an immoral or evil habit or practice. vigilance (vij-uh-luhns) n. state or quality of being vigilant; watchfulness. wanton (won-tn) adj. without regard for what is right, just, humane, etc.; careless; reckless.

From Dictionary.com. Based on the Random House Unabridged Dictionary, Š Random House, Inc. 2013.

The School District of Philadelphia School Reform Commission Pedro A. Ramos, Chairman

Sounds of Learning™ was established by a generous grant from The Annenberg Foundation.

Joseph A. Dworetzky, member Feather Houston, member Wendell E. Pritchett, member Sylvia P. Simms, member William R. Hite, Jr., Ed.D Superintendent of Schools

Penny Nixon Chief Academic Officer

Dennis W. Creedon, Ed.D. Office of Comprehensive Arts Education Director/Principal

Opera Philadelphia David B. Devan General Director and President

Corrado Rovaris Music Director

Michael Bolton

Dedicated funding for the Sounds of Learning™ program has been provided by: $20,000 to $49,999 Hamilton Family Foundation Presser Foundation Universal Health Services Wachovia Wells Fargo Foundation Anonymous

Additional support is provided by the Independence Foundation and the Horace W. Goldsmith Foundation.

The Opera Philadelphia receives state arts funding support througha grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania.

Michael Bolton Vice President of Community Programs

bolton@operaphila.org Adrienne Bishop Community Programs Assistant

$10,000 to $19,999 The ARAMARK Charitable Fund at the Vanguard Charitable Endowment Program Eugene Garfield Foundation The Hirsig Family Fund of the Philadelphia Foundation Lincoln Financial Foundation Morgan Stanley Foundation

bishop@operaphila.org

Special thanks to: Dr. Dennis W. Creedon Creator, Sounds of Learning™ Curriculum Consultant

Tim Matheson

Vice President of Community Programs

The Opera Philadelphia is supported by major grants from The William Penn Foundation, The Pew Charitable Trusts, and The Lenfest Foundation.

Written and produced by: Opera Philadelphia Community Programs Department ©2013 1420 Locust Street, Suite 210 Philadelphia, PA, U.S.A. 19102 Tel: (215) 893-5927 Fax: (215) 893-7801 www.operaphila.org/learn

$5,000 to $9,999 Alpin J. & Alpin W. Cameron Memorial Trust Deluxe Corporation Foundation GlaxoSmithKline The McLean Contributionship $1,000 to $4,999 Citizens Bank Louis N. Cassett Foundation Mutual Fire Foundation

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