Plot and libretto sources
The daughter of the Queen of the Night was kidnapped by the wizard Sarastro. The queen sends Prince Tamino to save the girl and gives him a magical attribute - a flute, and assistants. The prince goes over to the wizard's side, passes the tests and receives love.
The plot, processed in the spirit of folk extravaganzas popular at that time, full of exotic wonders, was drawn by Schikaneder from the tale of K. Wieland (1733-1813) "Lulu" from a collection of fantasy poems "Jinnistan, or Selected Tales of Fairies and Spirits"(1786-1789), with additions from his own fairy tales "Labyrinth" And "Smart boys". Additional sources also include the epic poem "Oberon, King of Wizards", with additions based on the libretto by K. W. Hensler from the opera "The Sun Festival of the Brahmins" Wenzel Müller; drama "Thamos, King of Egypt" T. F. von Gebler; novel "Sethos" J. Terrasona (1731). The work of Ignaz von Born, master of the Masonic lodge, is also called “Zur Wahrheit” (“Towards Truth”), “ About the mysteries of the Egyptians"(“Über die Mysterien der Ägypter”). It was von Born, who died shortly before the opera was written, that the libretto was dedicated to.
Famous arias
- "O Zittre nicht, mein lieber Sohn"(My days pass in suffering) - aria of the Queen of the Night
- "Der Holle Rache kocht in meinem Herzen"(The thirst for revenge burns in my chest) - second aria of the Queen of the Night
- “Ach, ich fühl’s, es ist verschwunden”(Everything is gone) - Pamina's aria
- "Dies Bildnis ist bezaubernd schön"(Such magical beauty) - Tamino's aria
- "Der Vogelfänger bin ich ja"(I am a bird catcher known to everyone) - Papageno's aria
- "Ein Mädchen oder Weibchen"(Find a friend of the heart) - Papageno's aria
- "In diesen heil'gen Hallen"(Enmity and revenge are alien to us) - Sarastro's aria
- "O Isis und Osiris"(O you, Isis and Osiris) - Sarastro's aria
- "Alles fühlt der Liebe Freuden"(Enjoy every moment) - Monostatos's aria
Musical fragments
- Goethe liked this work so much that he attempted to write a continuation of the libretto.
- Director Ingmar Bergman, in his film adaptation of the opera, made some changes to the plot - Sarastro is not just an opponent of the Queen of the Night, but also Pamina's father. Thus, the relationship of conflict between them and the kidnapping of the girl receives even greater psychological plausibility.
- In 2005, the opera was staged at the State Academic Central Puppet Theater named after S.V. Obraztsov (produced by Andrey Dennikov).
Selected discography
(soloists are given in the following order: Tamino, Pamina, Papageno, Queen of the Night, Sarastro)
- 1936 - Dir. Thomas Beecham; soloists: Helge Roswenge, Tiana Lemnitz, Gerhard Hüsch, Erna Berger, Wilhelm Strinz; Berlin Philharmonic Orchestra.
- 1951 - Dir. Wilhelm Furtwängler; soloists: Anton Dermot, Irmgard Seefried, Erich Kunz, Wilma Lipp, Josef Greindl; Vienna Philharmonic Orchestra.
- 1952 - Dir. Herbert von Karajan; soloists: Anton Dermot, Irmgard Seefried, Erich Kunz, Wilma Lipp, Ludwig Weber; Vienna Philharmonic Orchestra.
- 1953 - Dir. Herbert von Karajan; soloists: Nikolai Gedda, Elisabeth Schwarzkopf, Giuseppe Taddei, Rita Streich, Mario Petri; Italian Radio Orchestra (RAI Roma).
- 1954 - Dir. Ferenc Fryczai; soloists: Ernst Höfliger, Maria Stader, Dietrich Fischer-Dieskau, Rita Streich, Josef Greindl; RIAS orchestra, Berlin.
- 1964 - Dir. Otto Klemperer; soloists: Nikolai Gedda, Gundula Janowitz, Walter Berry, Lucia Popp, Gottlob Frick; Philharmonic Orchestra, London.
- 1964 - Dir. Karl Boehm; soloists: Fritz Wunderlich, Evelyn Lear, Dietrich Fischer-Dieskau, Roberta Peters, Franz Crass; Berlin Philharmonic Orchestra.
- 1969 - Dir. Georg Solti; soloists: Stuart Burrows, Pilar Lorengar, Herman Prey, Christina Deutekom, Martti Talvela; Vienna Philharmonic Orchestra.
- 1973 - Dir. Wolfgang Sawallisch; soloists: Peter Schreier, Anneliese Rothenberger, Walter Berry, Edda Moser, Kurt Moll; Orchestra of the Bavarian National Opera.
- 1988 - Dir. Nikolaus Harnoncourt; soloists: Hans Peter Blochwitz, Barbara Bonney, Anton Scharinger, Edita Gruberova, Matti Salminen; Orchestra of the Zurich Opera.
- 1991 - Dir. James Levine; soloists: Francisco Araiza, Kathleen Battle, Manfred Hemm, Luciana Serra, Kurt Moll; Metropolitan Opera Orchestra.
- 2005 - Dir. Claudio Abbado; soloists: Christoph Strehl, Dorothea Röschmann, Hanno Müller-Brachmann, Erika Miklos, René Pape; Mahler Chamber Orchestra.
Literature
- "The Magic Flute Unveiled: Esoteric Symbolism in Mozart's Masonic Opera." Jacques Chaillet (1910−1999).
Links
- Summary (synopsis) of the opera “The Magic Flute” on the “100 Operas” website
- The Magician Sarastro in "The Magic Flute" by W. A. Mozart (magic instruments, Zoroastrian ordeals and Freemasonry)
Wikimedia Foundation. 2010.
13 January 2015, 14:19Good afternoon, dear gossips!
To be honest, I have never been a big fan of opera. I liked ballet much more. But due to the fact that my little enlightened nephews (10 and 8 years old) love opera, I had to overcome myself and watch the opera with them.
It all started with Carmen, who simply fascinated them. Then there was Cinderella (they had to watch a billion different productions until they found their favorite), The Barber of Seville and much more. But my world turned upside down" magical flute"Mozart.
"The Magic Flute" is Mozart's Singspiel opera in two acts; libretto by E. Schikaneder. Opera-singspiel, i.e. with spoken dialogues (maybe at least thanks to these spoken dialogues my level of German will improve significantly)))
Act I. Prince Tamino got lost in the mountains, fleeing from a snake. Three ladies, servants of the Queen of the Night, save him from the serpent. The awakened prince sees the birdcatcher Papageno, pretending that it was he who saved the prince. The three ladies are outraged by his bragging and punish him by putting a padlock on his mouth. The ladies tell the prince that he has been saved by the Queen of the Night, who gives him a portrait of her daughter Pamina. Tamino falls in love with the portrait. According to the Queen of the Night, the girl was kidnapped by the evil wizard Sarastro. The prince goes to save Pamina. The queen gives him a magic flute that will help him overcome evil. Papageno receives magic bells and must, at the behest of the Queen, help the prince. Accompanied by three boys, they set off on their journey.
The Moor Monostatos, who was guarding Pamina in the wizard’s castle, kidnapped her. Papageno enters the room where the girl is hidden. The bird catcher and the Moor are frightened of each other, the Moor runs away. Papageno tells Pamina that his mother sent him, and about Prince Tamino, who fell in love with her from the portrait. The girl agrees to run, the Moor gives chase. Tamino at this time is in a sacred grove with three temples. The priest tells the prince that he was deceived: Sarastro is actually a good wizard, not an evil one, and he kidnapped Pamina by the will of the gods. Tamino begins to play the flute and hears the bells on Papageno's suit. At the sound of the magic flute, the Moor is forced to stop the chase. Sarastro promises to help Pamina meet Tamino. Monostatos appears, having captured the prince. Tamino and Pamina throw themselves into each other's arms.
Act II. Sarastro reveals to the priests that Tamino has been sent to become the protector of the Temple of Wisdom from the Queen of the Night, and as a reward will receive Pamina as his wife, for which she was kidnapped. The prince faces trials. Meanwhile, Monostatos pursues Pamina again. But the voice of the Queen of the Night is heard, and he runs away. The queen is in despair that Prince Tamino wants to devote himself to serving the temple, and asks her daughter to influence him. She refuses. The queen threatens to disown her daughter if she does not kill the wizard.
In the temple, the prince and Papageno are subjected to the first test - silence. Pamina thinks that the prince has stopped loving her. Second test - Tamino is told that he must say goodbye to Pamina forever. And he leaves her. And Papageno, seeing a wonderful girl, does not stand the test - he finally found his Papagena.
Pamina wants to die, but three boys calm her down. The prince has one last test: to go through fire and water. Pamina appears to go with him. The magic flute will help them. Papageno is punished, he lost Papageno. But three boys remind him of the magic bells that should help him find his beloved again. The Queen of the Night makes a last attempt: she promises her daughter to Monostatos if he helps destroy the temple. But the day comes, and the power of the Queen disappears. The darkness dissipates and the sun rises. The priests praise Sarastro's kindness and intelligence.
There are a huge number of productions. But my nephews and I liked two of them the most:
Cartoon from the Opera Vox series
True, the opera has been well shortened and the arias are performed in English. But it's not that important. The cartoon is really very beautifully drawn, the arias are impeccably performed. But the main thing is how wonderfully my dear Papageno and Papagena are depicted)
Theater Royal Covent Garden production (2003)
Simply the best (in my opinion) production. In the rest, something is wrong.
First of all, I like the cast.
Divine Diana Damrau in the role Queens of the night. She is exactly what you imagine the Queen of the Night to be - cold, menacing, powerful.
By the way, sometimes listening to her arias I wonder: did Mozart, when he wrote the opera, remember that people would perform it?! Sometimes it seems to me that he did not remember. The Queen of the Night’s arias are painfully complex) For example, the famous aria “Der Hölle Rache kocht in meinem Herzen” ( The thirst for revenge burns in my soul.)
Tamino-Will Hartmann And Pamina-Dorothea Reschmann They performed their parts well, but did not cause any special delight in me.
The main diamond of this production is Simon Keenlyside as Papageno! How he sings, how he plays! He never left his character for a second. Frankly, I had never heard of him before, but after The Magic Flute I became his big fan.
Next, costumes. In many productions, the costumes are one more ridiculous than the other (I hope that’s how to put it). Either the Prince is dressed as Little Mook, or the Queen of the Night is dressed in such a way that it is simply difficult for her to sing in her costume, or Papageno’s costume seems to have been dipped in glue and then sprinkled with feathers. It’s difficult to empathize with the characters when they are dressed up as jesters. Everything is perfect in this production (just look at Papageno’s hat))
That's all. I hope I didn't bore you.
Thank you for your attention:)
And finally, Keenlyside as Olivier (I know this is off topic, but I couldn’t resist))))
Mozart. Magical flute. A secret open to everyone
“But what pleases me most is this silent approval!” - Mozart will write to his wife after the first performances of The Magic Flute. Even the loud applause of the general public could not drown out the quiet praise of unknown spectators, whose opinion Mozart valued much more. The reason for this is believed to be the special mission of the Magic Flute: to preserve and transmit through the centuries the secret of the Masonic order.
More than 60,000 works have been written about the Masonic order, and it would seem that all the secrets have long been known. In addition, according to many researchers, there never was any secret. In any case, in its usual understanding: no one hid their membership in the order, access to the lodges was open to almost everyone, the documents of the society were more than once published by the Masons themselves.
And yet the secret existed. Although it would be more correct to call it not a secret, but a sacrament...
The opera's libretto was written by Mozart's fellow member of the Masonic lodge E. Schikaneder. The plot is based on the fairy tales of K. M. Wieland “Lulu, or the Magic Flute”, “Labyrinth”, “Smart Boys”; libretto by K.V. Hensler for the opera “The Sun Festival among the Brahmins”; drama by T. F. von Gebler “Thamos, King of Egypt”; novel by J. Terrason “Setos”.
The mystery of the birth of a “new man”, the mystery of finding a soul through knowledge of the truth, through a meeting with oneself. Such a secret cannot be revealed to anyone; it is impossible and there is no need to hide it. The cache that stores it is not located somewhere in the mysterious storerooms of the Masonic lodge, it is very close - in the heart of every person. Solving it is a journey, sometimes equal to life, since the true secrets of the Freemasons are those that a person “himself must learn to recognize gradually, parsing the symbols syllable by letter.” You cannot force him to do this, you can only help him get on the path, give him the right direction.
The secret of The Magic Flute is not in the words or replicas of the characters and not in the symbolic description of Masonic ceremonies and rituals (there are, of course, such descriptions in the opera, and an attentive viewer can easily find them), but in the ability to turn a person to search for the essence of things.
And it doesn’t matter whether we are talking about the laws of nature or the laws of the inner world of the seeker himself. “If only the bulk of the audience enjoys the obvious, the higher meaning will not be hidden from the initiates,” Goethe said about The Magic Flute. “The bulk of the audience” is distinguished from the “initiates” only by the degree of internal maturity. It is expressed in the readiness to guess the “higher meaning” of what is happening in Mozart’s masterpiece and in the ability to comprehend the Mystery of one’s own heart, which is one and the same thing.
Freemasonry had a significant influence on modern literature. Among the works marked by Masonic ideas: “Nathan the Wise” by Lessing, “The Wanderer” by von Meyern, “The Years of Study and Years of Wanderings of Wilhelm Meister” by Goethe, “The Magic Mountain” by Thomas Mann.
And it is not surprising that The Magic Flute has caused and continues to cause so much heated debate. Someone sees in it a story of great love, overcoming all difficulties and obstacles; somebody - a beautiful fairy tale with a happy ending about the machinations of an evil sorceress and the funny adventures of the heroes; someone sees in it a social satire in which Freemasonry (Zarastro) enters into battle with the church (Queen of the Night) for souls common people(Pamina)... And someone will recognize in it an eternal philosophical parable, in the language of symbols telling about the path of a person in this world... And everyone is right in their own way.
Just don’t limit yourself to what has already been found: an inquisitive eye will always find in this story much more than it has found so far, and even more than it was looking for...
The Egyptian scenery is part of the overall concept of The Magic Flute. The secret knowledge of Egyptian priests is one of the sources of Masonic teaching.
Let's try to give our interpretation of The Magic Flute. This is not the truth in last resort"is just another attempt to comprehend great Mystery. That Secret, which is very accurately written down in Masonic symbols and conveyed by the magical music of Mozart.
With a quick acquaintance with the plot, a desire arises to divide all the characters of the opera into “positive - negative” pairs. For example, contrast the noble and brave Tamino with the chatterbox and liar Papageno. Or see the sage Sarastro and the treacherous Queen of the Night at the head of the forces hostile to each other. Or compare the storylines telling about the Three Ladies - the Queen's servants, similar to evil fairies from fairy tales, and the Three Geniuses of an angelic appearance, messengers of the Temple. But such a black-and-white view leads to a dead end when it comes to explaining some of the paradoxes of the plot.
For example, the Queen of the Night weaves conspiracies against the forces of Light, but at the same time she turns out to be the mother of Pamina - a beautiful, pure, kind girl, beloved of Prince Tamino. The magic flute, a wonderful instrument that guides and protects Tamino in his trials, also seems to be her gift. And it is no coincidence that Mozart puts one of the most beautiful arias (the Queen of the Night’s aria) into the mouth of this supposedly evil sorceress. The Three Ladies behave like their mistress: they save the protagonist from the dragon that is pursuing him, “cure” Papageno from lies, and help the Three Geniuses arrange the fate of the prince. The High Priest Sarastro, the embodiment of the image of an ideal ruler, nevertheless commits a cruel reprisal against the Moor Monostatos, not noticing his attempts to justify himself.
It is also surprising that the guards of the Temple forcefully, against his will, force Papageno to undergo tests together with Tamino, although the former assures them of complete indifference to the high goals and aspirations inherent in the prince. Many such contradictions can be found.
But they all disappear, you just have to look at the characters in The Magic Flute not as the usual characters of an opera performance, but as symbolic personifications of different facets human character, different qualities human soul. Then we will see no fairy tale story, played out on the stage, but the characters of our inner world who, day after day, play the play of our inner life. Their voices, often drowning out each other, sometimes sound like moans and cries of our whims, caprices, desires, and sometimes like the piercing voice of duty, reason, conscience.
Who are they, our inner heroes?
Tamino
Tamino is the personification of what we are used to calling our “I”, the focus of our consciousness, a spotlight gliding through thoughts, emotions, dreams and aspirations. Tamino is ours inner hero", his task is to make the right choice when it is necessary to choose; fight if the situation requires a battle, be on the alert, do not lose sight of the main thing when life pulls you into the whirlpool of everyday life. In The Magic Flute he appears either brave and decisive, or weak and defenseless. His thoughts are filled with nobility, but sometimes he is tormented by doubts. His heart is dominated by love, but there is also a place for anger and a thirst for revenge. It all depends on who he follows, whose advice he listens to, what he strives for.
Somewhere in our very core, we usually know what to do and what not to do. But sometimes that clown we call “I” behaves in such a distracting way that we do not notice the inner voice... (Marie Louise von France)
Papageno - back side Tamino, a funny and caricatured copy of the prince, his “physical” part. Papageno’s aspirations are down-to-earth, his thoughts are focused exclusively on material needs: “I ask for neither wisdom nor struggle for myself,” Papageno declares to the priest before the start of the tests, “for me it is enough to sleep, drink and eat; and if I also had a friend, I would be completely satisfied.” Tamino and Papageno are inseparable in the play, just as the demands of the body and the needs of the soul are inseparable in life. This is the law of nature, but only we ourselves can make sure that the desires of our inner Papageno do not become an obstacle to the highest aspirations of Tamino. How Tamino deals with this is clearly seen in the test scene for both heroes.
Sarastro - Reason... That's right, Reason with capital letters, our inner voice. He protects us from mistakes, in all situations he is ready to tell us what to do. True, one doesn’t always want to hear his advice, much less follow them - it can be too difficult for a person to meet the requirements of the “inner Priest.” But his role, the role of a strict teacher, is invaluable: he gives Light and Clarity to our inner world, gives criteria for good and evil, truth and lies. He is wise, kind, but severe in relation to ignorance, self-interest and deceit. These base vices are symbolized in The Magic Flute by the Moor Monostatos. It was he who captured and holds captive Pamina - the pure, bright Soul of a person.
Pamina is also the guardian of Love... “But this is extraordinary love!” - says Tamino. She strews the path with roses, she tirelessly draws you towards her Home - to the sky, full of stars; it illuminates life with the eternal light of sacrifice and compassion.
Pamina and Tamino are not separated even when they are physically far from each other. This is the magical property of this feeling... The search for a beloved for every person, in essence, is a search for oneself. Only by acquiring the other half do we become whole, unite all the best in ourselves and open the doors to the temple of wisdom. Speaking in Hermetic language (so close and understandable to Freemasonry), the time of the Alchemical wedding comes: a person acquires an immortal soul and becomes perfect.
Queen of the Night
To confirm the purity of thoughts and loyalty to the principles of goodness and justice, heroes are required to undergo ritual tests of the four elements. But first you need to get rid of the fears and doubts that befall a couple in love thanks to the diligence of the great tester - the Queen of the Night. From the darkness of the unconscious she brings out more and more temptations for the heroes.
Freemasonry is an initiatory tradition, and the path to Truth in it lies through the rite of passage, through symbolic death and resurrection. “Whoever in this terrible place seeks peace and goodness, who fights the waves, fire and ice and overcomes the horrors of death, before that the heavens and all the secrets of our deity will be revealed,” the dungeon guards explain to the subjects. In order to be born in a new capacity, knowledgeable and wise, you first need to die to old habits and illusions (the rituals of Masonic initiation are based on this). “Let courage burn in the heart: he who knows how to die will win,” the choir sings, escorting Pamina and Tamino into the flame-breathing cave.
And finally, one more, perhaps the most important character of the opera - the magic flute itself... The mysterious gift of the Goddess of the Stars, giving birth to enchanting sounds... The Call of the Heart... The Voice of Eternity... They are the ones who call a person on the road, they are the ones who do not allow one to fall asleep, fall or lose his way from the path: “...these sounds will protect you and will be your guide. They will help you guess the desires of your soul and heart; they will make you forget grief and suffering, and the most hardened soul will know love.”
It seems that Mozart himself was well acquainted with the Magic of the Fairy Flute. Its sounds are heard in his best creations, opening the doors of the great Mystery to everyone.
Dmitry Zubov.
Original article: Man Without Borders magazine.
Poster by Rafal Olbinski.
With libretto (in German) by Emanuel Schikaneder, possibly co-authored with Karl Ludwig Gieseke.
Characters:
TAMINO, Egyptian prince (tenor)
PAPAGENO, birdcatcher (baritone)
ZARASTRO, High Priest of Isis and Osiris (bass)
QUEEN OF THE NIGHT (soprano)
PAMINA, her daughter (soprano)
MONOSTATOS, chief of the temple slaves (tenor)
PAPAGENA (soprano)
THREE LADIES, fairies of the queen of the night (two sopranos and one mezzo-soprano)
THREE GENIUS OF THE TEMPLE (two sopranos and one mezzo-soprano)
ORATOR (bass)
TWO PRIESTS (tenor and bass)
TWO WARRIORS IN ARMOR (tenor and bass)
Time of action: uncertain, but approximately during the reign of Pharaoh Ramses I.
Setting: Egypt.
First performance: Vienna, Theater Auf der Wieden, 30 September 1791.
"The Magic Flute" is what the Germans call a Singspiel, that is, a play (dramatic work) with singing, like an operetta, or a musical comedy, or an opera ballad, or even an opera comique ( fr. - comic opera). Most operettas and musical comedies demonstrate certain absurdities and absurdities in their plots, and this opera is no exception. For example, the Queen of the Night appears as a good woman in the first act, and as a villain in the second. Further, this whole story begins as a romantic fairy tale, and then takes on a serious religious character. In essence, the rites of the Temple of Isis and Osiris are generally considered to reflect the ideals of the Masonic Order, and various critics Those who wrote about the opera long after the author’s death found the most profound political symbolism in the second act of the opera. Perhaps this is so, since both creators of the opera - Mozart and his librettist - were Freemasons, and Freemasonry was not officially supported (in 1794, Emperor Leopold II completely banned the activities Masonic lodges. - A.M.).
Today similar questions, apparently, do not make much difference. Much more important is the fact that Schikaneder, this eccentric actor-singer-writer-impresario who appears and disappears somewhere, ordered this work to his old friend Mozart in Last year the composer's life, precisely at the moment when Mozart was in extraordinary need of such an order. Mozart wrote his magnificent work with specific singers in mind, for example Schikaneder himself, this very modest baritone, sang the part of Papageno, while Josepha Hofer, Mozart's sister-in-law, was a brilliant, sparkling coloratura soprano, and it was for her that the arias of the Queen of the Night were composed . Giesecke, who may have had a hand in writing the opera's libretto (he later claimed to have written the entire libretto), was a man of scientific and literary talent and may have served as a model for Goethe's Wilhelm Meister, but he had no great stage talent. and he was appointed to the role of the first warrior in armor.
As for all sorts of absurdities in the plot, they can be attributed to the fact that, while the libretto was being written, one of the competing theaters successfully staged the opera “Caspar the Bassoonist, or the Magic Zither” by a certain Libeskind, which was based on the same story, which Schikaneder developed - “Lulu, or The Magic Flute,” one of the tales in the collection of Christoph Martin Wieland. It is believed that Schikaneder changed the entire plot already in the middle of the work, that is, after the entire first act had already been written and work on the second had begun. This is a pure hypothesis, and the only available evidence for it is indirect.
Despite the absurdities (or perhaps because of them), this opera always radiated the charm of a fairy tale and was a huge success from the very beginning. This success did not help Mozart too much. He died thirty-seven days after the premiere. As for Schikaneder, he found himself able - partly from the income from opera performances that took place with continued success- build it yourself seven years later completely new theater and crown it with a sculpture depicting himself in Papageno's bird feathers. That was the peak of his career, and fourteen years later he died, mentally ill, in the same poverty as Mozart.
OVERTURE
The overture begins solemnly with three powerful dotted chords, which later sound in the opera in the most solemn moments associated with priestly images. But everything else in the overture (with the exception of the repetition of these chords, which now sound like a reminder) is permeated with light and fun and written in a fugue style - everything, as it should be in an overture to a fairy tale.
ACT I
Scene 1. The fairy tale itself begins - as a fairy tale should - with the fact that a young prince was lost in the valley. His name is Tamino and he is being pursued by an evil snake. Tamino calls for help and, losing consciousness, eventually falls to the ground unconscious. At this moment, three ladies save him. These are the fairies of the Queen of the Night - of course, supernatural creatures. They are completely enchanted by the beauty of the young man lying unconscious. Then they leave to notify their mistress about the young man who has wandered into their domain. At this moment the main comedic character appears on the stage. This is Papageno, a birder by profession. He introduces himself with a cheerful folk-style melody - the aria "Der Vogelfanger bin ich ja" ("I am the most dexterous bird-catcher"). He says that he loves to catch birds, but it would be better for him to catch his wife. At the same time, he plays along with himself on the pipe - an instrument that we will hear later.
Papageno tells Tamino that the prince found himself in the domain of the Queen of the Night and that it was he, Papageno, who saved him from the terrible snake by killing him (in fact, the snake was killed by three fairies of the Queen of the Night, they cut it into three parts). For this lie, he receives punishment from the fairies who returned here - his lips are locked. Then they show Tamino a portrait of a lovely girl. This is the daughter of the Queen of the Night, who was kidnapped by an evil sorcerer and whom Tamino must save. Tamino immediately falls in love with the girl depicted in the portrait and sings an aria, which is called the aria with the portrait (“Dies Bildnis ist bezaubernd schon” - “What a charming portrait”). The mountains shake and move apart, the Queen of the Night herself appears, she sits on the throne and in the dramatic and incredibly difficult aria “O zittre nicht mein lieber Sohn” (“Oh, do not be afraid, my young friend") tells Tamino about his daughter and promises him to give her to him as a wife if he frees her. The first scene concludes with the quintet, one of the finest ensembles in opera, rivaling the magnificent finales of The Marriage of Figaro, although written in a completely different style. During this finale, the three fairies give Tamino a magic flute, the sounds of which are capable of taming and pacifying the most evil forces, and Papageno, this bird catcher, is given musical bells, since he must accompany Tamino in his search for Pamina, and these also magic bells will protect him from all dangers.
Scene 2 takes place in Sarastro's palace. He is the head of a secret and powerful Egyptian religious caste, and it is in his possession that Pamina, the daughter of the Queen of the Night, is now in his possession. Here she is guarded by the comical villain Moor Monostatos. He kidnapped Pamina, threatening her with death if she refused to belong to him. At a critical moment, Papageno accidentally wanders in here. He and Monostatos are terribly scared of each other, which is actually extremely comical. No eight-year-old child would be afraid of such a meeting. Monostatos eventually escapes, and when Pamina and Papageno are alone, the birdcatcher convinces her that there is one young man who loves her, and that he will soon come to save her. She, in turn, assures Papageno that he too will soon find a girlfriend. They sing a charming duet in praise of tenderness (“Bei Mannern welche Liebe fuhlen” - “When a man is a little in love”).
Scene 3. The scene changes again. This time it is the grove near the Temple of Sarastro. Tamino is led by three pages. These are the geniuses of the temple, they encourage him, but do not answer his questions. Left alone in a grove near three temples, he tries to enter each of the doors. A voice sounding from behind the doors warns him against entering two temples, but then the third door opens and the high priest himself appears. From a rather long (and - I have to admit this - rather boring) conversation, Tamino learns that Sarastro is not the villain he thought, and that Pamina is somewhere nearby and alive. In gratitude for this information, Tamino plays a wonderful melody on his magic flute, and then sings the same beautiful melody (“Wie stark ist nicht dein Zauberton” - “How full of enchantments magical sound"). Suddenly he hears the sounds of Papageno's pipe and rushes towards him. Pamina and Papageno appear. They are pursued by the comical villain Monostatos, who wants to put Pamina in chains. At a critical moment, Papageno remembers his magic bells. He plays them (they sound like a child's musical snuffbox), and the wonderful melody makes the Moorish servants and Monostatos himself dance in the most harmless way. Pamina and Papageno sing a charming duet. He is interrupted by sounds coming solemn march- this is the stern Sarastro approaching with his entire retinue. He forgives the girl for her attempt to escape. Monostatos bursts in with Prince Tamino, who has also been captured. Monostatos demands a reward from Sarastro and receives it - the one he deserves, namely seventy-seven blows with a stick for his insolence. The action ends with Tamino and Pamina solemnly preparing to perform the rites of passage that will determine whether they are worthy of each other.
ACT II
Scene 1. In the second act of the opera, scenes change much faster than in the first. The music in it becomes more serious. For example, the very first scene is the meeting of the priests of Isis and Osiris in a palm grove. Sarastro informs the priests that Tamino has been chosen to marry Pamina, who has come to them, but first this couple must prove that she is worthy to join the Temple of Light. He pronounces his famous appeal to the gods “O Isis und Osiris” (“His temple, Isis and Osiris”). Bernard Shaw once said of this majestic and simple aria with a male choir: “This is music that can be put into the mouth of God without blasphemy.”
Scene 2. At the walls of the temple, Tamino and Papageno meet priests who give them the most necessary cult instructions. The two priests (who sing in an octave, probably to make their instructions perfectly clear) warn the prince and the birdcatcher to be on their guard and not to fall for women's tricks, because women are the root of all human troubles. Three ladies appear from the Queen of the Night. They, in turn, warn our heroes against the priests and threaten them terrible fate. Papageno enters into conversation with them, while the smart Tamino does not give in to this temptation. He stands the test of silence. Then the choir of priests (singing off stage) sends these messengers of the Queen of the Night back to where they came from.
Scene 3. The scene changes again. This time we have a garden in front of us - Pamina is sleeping in a gazebo covered with roses. Monostatos, who managed to escape punishment, is again near her - he has not given up the thought of pursuing the girl and is trying to kiss her. At this moment, her mother, the Queen of the Night, appears. In her terrifying aria of revenge, she demands that Pamina kill Sarastro herself. She puts a dagger in her hand and threatens that if she does not do this and does not remove the sacred solar disk from his chest, she will be cursed by her. This revenge aria (“Der Holle Rache kocht” - “The thirst for revenge burns in my chest”) with its two high “Fs” always turned out to be a stumbling block for dozens of sopranos who were otherwise quite suitable for this role.
Immediately after the disappearance of the Queen of the Night, Monostatos returns. He overheard a conversation between a mother and her daughter and now demands from the girl that she belong to him - this should be her payment for her silence about her conspiracy with the Queen of the Night. But Pamina manages to escape again - this time thanks to the arrival of Sarastro. When Pamina is in prayer, he explains to her that within the walls of this temple there is no place for revenge and only love binds people here. An aria of extraordinary beauty and nobility sounds (“In diesen heil" gen Hallen” - “Enmity and revenge are alien to us”).
Scene 4. In some productions, at this moment there is an intermission, and the next scene opens the third act. However, in most published scores this is just another scene of the second act - a hall, and quite a spacious one at that. The two priests continue to instruct Tamino and Papageno, imposing a vow of silence on them and threatening punishment with thunder and lightning if this vow is broken. Tamino is a very obedient young man, but the birdcatcher cannot keep his mouth shut, especially when an ugly old witch appears who tells him, firstly, that she has just turned eighteen years old and, secondly, that she has a lover, slightly older than her, named Papageno. But just as she is about to say her name, thunder and lightning are heard and she instantly disappears. Immediately after this, the three boys appear once more and, in a charming terzetto, present Tamino and Papageno not only with food and drink, but also with their magic flute and bells, which were taken from them. While the birdcatcher is enjoying his meal and the prince is playing his flute, Pamina appears; she resolutely heads towards her lover. She knows nothing about his vow of silence and, not understanding his behavior, sings a sad aria (“Ach, ich fuhl"s, es ist verschwunden” - “Everything is gone”). At the end of this scene, trombones sound, calling on Papageno and Tamino for a new test.
Scene 5. In the next scene, Pamina finds herself at the temple gates. She is filled with fear, for she is afraid that she will never see her beloved Prince Tamino again. Sarastro, in the most consoling tones, convinces her that everything will be fine, but in the next terzetto (with Tamino) she is by no means sure of this. Tamino is taken away, and the two lovers pray that they will meet again.
Scene 6. Now - as a kind of change of mood - the action turns again to Papageno. He is informed (by the Orator) that he is deprived of "heavenly pleasures which are bestowed upon initiates." But he doesn't really need them. A good glass of wine is much dearer to him than all the shrines of wisdom. The wine loosens his tongue and he sings his song. He has only one desire: to get himself a lifelong friend or at least a wife! His recent acquaintance appears - an old witch. She demands from him an oath of allegiance to her, otherwise he will remain here forever, cut off from the world, only on bread and water. As soon as Papageno agrees to such a marriage, the witch turns into a young girl, dressed in feathers, to match Papageno. Her name is Papagena! However, they cannot get married yet. The birder must first earn it. And the Speaker takes her away.
Scene 7. The next scene takes place in the garden, where the three geniuses of the temple of Sarastro eagerly await the triumph of the goddess. But poor Pamina is suffering. There is a dagger in her hand. She thinks that Tamino has completely forgotten her, and she will never see him again. She is ready to commit suicide. Just then the boys stop her and promise to take her to Tamino.
Scene 8. The boys did everything as they were told. The prince will face the final test of the four elements - fire, water, earth and air. He is taken away by priests and two warriors in armor, who this time again give their instructions in an octave. Just before he enters the terrible gates, Pamina runs out. She wants only one thing - to share the prince's fate. Two warriors allow her to do this. Tamino takes out his magic flute, he plays it, and the lovers pass through these trials painlessly. And so, when everything is behind them, a joyful choir greets them.
Scene 9. But what about our friend Papageno? Well, of course, he is still looking for his beloved, his Papagena. He calls her again and again in the garden and, finding no one, decides, like Pamina, to commit suicide. With great reluctance, he ties a rope to a tree branch, ready to hang himself. But those three boys (the geniuses of the temple) who saved Pamina also save him. They advise him to play his magic bells. He plays and a gentle little bird-girl appears. They sing a charming comic duet “Ra-ra-ra-ra-ra-ra-Rarageno” (“Pa-pa-pa-pa-pa-pa-Papageno”). Their dream is to create a big, big family.
Scene 10. And finally, another scene change. Monostatos now allied himself with the Queen of the Night, who promised him Pamina. Together with the three fairies of the Queen of the Night, they captured the temple of Sarastro. But they cannot defeat Sarastro. Thunder roars and lightning flashes, and the villainous quintet disappears into the bowels of the earth. The temple of Isis and Osiris appears. And this fabulous opera ends with a triumphant chorus of priests crowning Tamino and Pamina with crowns of Wisdom and Beauty.
Henry W. Simon (translated by A. Maikapara)
The history of the creation of this last opera by Mozart must be, at least briefly, restored. Between 1790 and 1791 the composer was quite far from the operatic genre. After the death of Emperor Joseph II (in February 1790), Leopold II ascended the throne, who did not have the same respect for music as Joseph. In addition, the superintendent of the imperial theaters, Count Orsini Rosemberg, and the librettist Lorenzo Da Ponte, who could have encouraged Mozart to write music for a theatrical work, left their positions. In addition, the Jesuits demanded the closure of Masonic lodges, which were already suspected by the authorities as the inspirers of the revolution in France. Mozart, who belonged to the Masonic organization, was thus deprived of important connections that could help him end the increasingly persistent poverty that haunted him. Nevertheless, in March 1791, Emmanuel Schikaneder, an outstanding actor, entrepreneur, freethinker associated with the Freemasons, entrusted Mozart with the creation of the opera, writing its libretto. Schikaneder had recently become the director of a theater in the Vienna suburbs (theater Auf der Wieden), which broke with mythological performances that demanded high costs for stage machinery. Here, in this theater, The Magic Flute received approval and began its victorious path through the German countries, from success to success. The composer himself wrote to his wife during performances at the Auf der Wieden theater: “The hall is invariably full. Duet "Man and Woman" ( It's about about the duet of Pamina and Papageno “When a man is a little in love.”), “Bells” from the first act, as before, requires an encore. Just like the trio of pages from the second act. But what makes me most happy is the tacit approval! It feels like opera is growing more and more in public opinion" Applause accompanied the opera until the composer's death in December of the same 1791, when he was buried as an unknown pauper.
It is noted that the plot of The Magic Flute is associated with mythology Ancient Egypt, recreated from ancient Greek sources, and is nourished by the cultural atmosphere in which the myth of Isis and Osiris was seen as having some influence on all subsequent religions. In reality, Isis and Osiris are sung only by the priests, the servants of this cult: the cult of suffering and light, which will also be remembered by Beethoven in Fidelio and Wagner in Tannhäuser. The rest of the action of the opera takes place in an eastern setting, and Egypt occupies only a small part of it. A variety of exotic customs depict a Masonic ritual and at the same time a cheerful children's fairy tale, something between a puppet show and a circus performance. After the acutely satirical depiction of morals, which gives the opera a cheerful comic fervor, Mozart turns to the creation of a temple of concord. We are transported into a truly Goethean atmosphere; instincts are subject to the laws of wisdom and kindness, the belief in the existence of which on earth still remains, although French revolution showed that the balance of enormous theocratic power is more than illusory.
Mozart's caustic and crafty mind is also felt in The Magic Flute and softens the importance and severity of moral edifications, symbols, tests, concepts, systems present in the opera and almost pressing on the viewer. The playfulness is evident in the very structure chosen for this charming tale. Before us is a real Singspiel. The alternation of words and music - prolonged and clearly pronounced sound - creates something airy, rational and at the same time simple. A heart burning with love that fights darkness and deception, humanism, which is the essence of the opera, is also visible in the images of such funny puppets as the Moor Monostatos, an erotomaniac who pours out his feelings with exciting sincerity: “Everyone tastes the joys of love, the trumpet sounds, calling for caresses and kisses. And I have to give up love, because the Moors are ugly!.. But I also love girls!”
Mozart makes the loving Moor perform vocal pirouettes with magnificent ease, not with the lyrical and pure ease of Cherubino from “The Marriage of Figaro”, but with an ease more caricatured, but nevertheless achieving a softness and delicacy, like the whim of a child alien to vice. The music surrounds him with a fantastically legendary brilliance, already reminiscent of Mendelssohn and Rossini. Above him in the heights, as if on an imaginary circus rope, the Queen of the Night moves in an acrobatic sketch, there, under the illuminated vault, making magnificent flights on the trapeze, demonstrating extreme vocal virtuosity, so that the sound of her voice reverberates in the empty interstellar spaces. This airy creature, a poor restless soul, was supposed to become the bearer of evil, but there is nothing harmful in her, only something sad, animal and at the same time human: this is a mother, powerful and defeated, whose daughter was kidnapped. In a fairy tale about animals, Pamina's mother would be a bird of prey at night; here the emphasized sonority of her voice is, as it were, a further elevation of the bell ringing of Papageno, the man-beast currying favor with the wise men, who, like Monostatos, is driven by lust. As much as Papageno is simple-minded and greedy, Monostatos is so stupid and restless, but they are similar to each other. Everything in The Magic Flute has a common origin, forming, as it were, the roots and branches of one tree. Everyone is attracted by the power of love, which Sarastro and his priests try to balance between love-lust and love-disposition. Strict solemnity, dramatic tension (going back to Bach's passions and Handel's oratorios) reign at the entrance to the sanctuary and reinforce the words of Sarastro's anticipating Parsifal, the only words that, as J. B. Shaw wrote, could be put into the mouth of a god without risking committing blasphemy. The instrumental part of the opera is an architectural structure filled with a certain meaning - sparkling and at the same time porous, like a beautiful antique glass, fragile, with warm reflections. The orchestral part, as it were, takes under its protection innocent toy instruments, from Tamino's flute to Papageno's pipes and bells, including the darkly deep sound of fanfares, and accompanies large choirs during a ritual close to the Masonic. The choice of timbres already testifies to calm attention to every good aspiration, no matter how insignificant it may be. In this opera, with its silks and sparkles of puppet performance, suffering and the one who experiences it win. This is especially evident in the image of Pamina, who is destined to become a victim. Her love aria (“Oh Tamino! These tears, like flames, burn me”) contains a whole series of vocal difficulties: these difficulties symbolize the moral tests proposed by Sarastro, and at the same time they are associated with the desire upward, towards the mother. This is a Bach aria, but without the persistently questioning accompaniment of the orchestra, which, on the contrary, slows down more and more, its trembling becomes weaker, it reaches and spiritual level, depicting sadness and humility.
Tamino and Pamina confidently go from test to test; finally the magic flute, preceded by soft timpani, guides the young people through water and fire and through the horror of stage mechanics designed to test the courage of the candidates. Tamino, ardent, already romantic hero, finds in a mysterious temple an ideal that he could not find in life. Papageno wanders around the temple, also happy, holding the hand of his Papagena, who is eager to give him many little Papagenos. Monostatos, unfortunately, received cuffs and was exiled into darkness, like the Queen of the Night. The union of light and darkness has not been achieved; agreement comes only after the victory won by light over darkness, that is, after the external victory of joy. Darkness meant suffering, but also tenderness, the mother's womb. So, when creating a future ideal society, there should be no alternative to light; a person is still seduced by the absence of obstacles and doubts about choice. But Mozart himself knows how light and darkness compensate each other and that a true temple is nothing more than life.
G. Marchesi (translated by E. Greceanii)
History of creation
The libretto of The Magic Flute was proposed to Mozart in March 1791 by his longtime friend, the entrepreneur of one of the theaters in the Vienna suburb, Emmanuel Schikaneder (1751-1812). Selected tales about fairies and spirits" (1786-1789). Schikaneder processed this plot in the spirit of popular folk extravaganzas of that time, full of exotic wonders. Its libretto features the sage Sarastro appearing in a chariot drawn by lions, the vengeful Queen of the Night, fairies, magical boys and savages, Masonic trials in the Egyptian pyramid and mysterious transformations.
In this naive plot, Mozart, however, invested a serious moral and philosophical idea, his deepest, most cherished thoughts. Having absorbed a lot from the philosophy of the Enlightenment, he was inspired by the ideals of equality, brotherhood of people, faith in the primordial goodness, the possibility moral improvement man, into the final triumph of light and reason. The sublime philosophy of Mozart’s “The Magic Flute” attracted the sympathy of outstanding minds of that time. “The kingdom of the night, the queen, the solar kingdom, mysteries, initiations, wisdom, love, trials, and, moreover, certain commonplaces of morality that are magnificent in their ordinariness,” Hegel wrote in his “Aesthetics,” “all this, with depth, enchanting cordiality and the soulfulness of the music, expands and fills the imagination and warms the heart.” Among all Mozart's operas, Beethoven especially singled out The Magic Flute. Goethe compared it with the second part of his Faust and made an attempt to write its continuation.
The humanistic ideals of this opera have the character of a naive utopia, which was characteristic of progressive views late XVIII century. But in addition, they are invested with mystery and mystical symbolism associated with the ideas and rituals of the Masonic society, the order of “freemasons”, of which both Mozart and Schikaneder were members. This society united many leading people of Austria, sought to spread education, fight superstitions, remnants of the Middle Ages, and the influence of Catholicism. Suffice it to say that the French bourgeois revolution of 1789 in aristocratic circles was explained by a “Masonic conspiracy”, and in 1794 Austrian Emperor Leopold II banned the activities of Masonic lodges.
In Mozart's interpretation, social utopia and fantasy are mixed with humor, apt life observations, and rich everyday touches. Fantastic characters have acquired personalities real people. The evil and vengeful queen of the night turned out to be a despotic, stubborn and treacherous woman. Three fairies from her retinue are ladies of the demimonde, talkative, absurd, playfully sensual. The savage birdcatcher Papageno is a handsome everyman, a curious, cowardly and talkative merry fellow, dreaming only of a bottle of wine and a little family happiness. Most perfect image- Sarastro, the personification of reason, goodness, harmony. Tamino, a man seeking the truth and coming to it through a series of trials, rushes between his solar kingdom and the kingdom of the night.
This is how the optimistic idea of “The Magic Flute,” Mozart’s last opera, his favorite creation, is embodied. The opera premiered on September 30, 1791, under the direction of the composer, just over two months before his death.
Music
Papageno is musically characterized by the cheerful aria “I am the bird-catcher known to all,” in the spirit of a folk dance song; after each verse the simple-minded roulades of his pipe sound. Tamino's aria with the portrait “Such magical beauty” combines song, virtuoso and recitative elements in a lively, excited speech. The Queen of the Night’s aria “My days pass in suffering” begins with a slow, majestically sad melody; the second part of the aria is a brilliant, decisive allegro. The quintet (three fairies, Tamino and Papageno) vividly juxtaposes the comic mooing of Papageno (with a lock on his lips), the sympathetic remarks of the prince, and the fluttering phrases of the fairies. In the second picture, the duet of Pamina and Papageno “Who Tenderly Dreams of Love”, written in the form of a simple verse song, stands out; his ingenuous heartfelt melody gained wide popularity in the composer’s homeland. The finale of the first act is a large stage with choirs of priests and slaves, ensembles and recitatives, in the center of which is Tamino’s jubilantly bright aria with the flute “How full of enchantment is the magic sound,” and a choir of slaves dancing to Papageno’s bells; the act is concluded by a solemn chorus.
The second act involves frequent changes of scene and contains seven scenes. The opening march of the priests (orchestra) sounds muffled and solemn, reminiscent of a chorale. In the first scene, Sarastro’s majestically sublime aria with the chorus “O you, Isis and Osiris” is contrasted with a lively quintet, where the incessant chirping of the fairies of the Queen of the Night is interspersed with short replicas of Tamino and Papageno, trying to remain silent.
The following picture gives three remarkably vivid musical portraits: the defiantly daring aria of Monostatos “Everyone can enjoy”, the aria of the Queen of the Night “The thirst for revenge burns in my chest”, to which the Italian coloraturas give a parodic shade, and the calm, melodically expressive aria of Sarastro “Enmity and Revenge” are alien to us."
At the beginning of the third scene, the airy terzetto of the magical boys with fluttering passages in the orchestra, sustained in the rhythm of an elegant minuet, attracts attention. The aria of the saddened Pamina “Everything is gone” is a magnificent example of Mozart’s operatic monologue, marked by melodic richness and truthfulness of declamation. In the terzetto, the excited melodic phrases of Pamina and Tamino are contrasted with the strict recitation of Sarastro. The lyrical scene gives way to a comedic one: Papageno’s aria “To Find a Friend of the Heart” is full of carelessness and humor of folk dance tunes.
The scene of the meeting between the magical boys and Pamina is deeply impressive; Pamina’s remarks intrude into the light transparent sound of their terzetto in dramatic sharp contrast. This scene begins the finale of the second act, permeated by the continuous musical development that unites the last three scenes.
In the fifth scene, after a stern and alarming orchestral introduction, the strict measured chorale of the men-at-arms “Who has walked this path” sounds; with their archaic melody they accompany the enthusiastic duet of Pamina and Tamino. Their next duet, “We Walked Boldly Through Smoke and Fire,” is accompanied by the orchestra with a solemn march that sounds as if in the distance.
The comedy line of the opera naturally ends with the duet of Papageno and Papagena - full of genuine humor, reminiscent of the carefree chirping of birds.
The last picture begins in sharp contrast: an ominous march, muted by the quintet of the Queen of the Night, her three fairies and Monostatos. The opera concludes with the brilliant, jubilant chorus “Reasonable force has won the struggle.”
M. Druskin
Written in the traditional Singspiel form, Mozart's last opera is a true masterpiece and one of his most popular works. musical theater. An amazing wealth of expressive means, humanistic content and inspired melodicism distinguish this work, which has made a triumphant march throughout the world.
The first production in Russia took place in 1797 (by a German troupe). The opera was first staged on the Russian stage in 1818 (Mariinsky Theatre). A major event was the production of the opera in 1906 at the Bolshoi Theater (soloists Bonacich, Salina, Nezhdanova, etc., director U. Avranek). Among modern productions, we note the 1956 performance at the Metropolitan Opera (director Walter, the role of the Queen of the Night was brilliantly performed by R. Peters). The most important event artistic life was the design of the Metropolitan Opera production (1967) by M. Chagall.
Of outstanding importance are the recordings of Beecham (1937, as Pamina T. Lemnitz), Frichai (1954). In 1974, Swedish film director I. Bergman created an opera film.
Many writers of opera librettos often turned to fantastic plots. The struggle between Light and Darkness is an immortal theme in art. Such is Mozart’s opera “The Magic Flute,” the content of which is a heap of supernatural events, as a result of which good triumphs.
Domain of the Queen of the Night
The first act of the opera takes place high in the mountains: Prince Charming Tamino runs from a monstrous snake. Having lost hope of salvation, he loses consciousness. But higher power, to whom the young man turned, heard his prayers. Three warriors rush to his aid. They admire the handsome, emotionless prince and kill the monster.
When they leave to tell their mistress, the Queen of the Night, that Tamino has been saved, a wonderful character appears next to him: a man covered with feathers, like a strange bird. In this plot line, the content of The Magic Flute is more comic than dramatic. When the prince comes to his senses and sees that the enemy is defeated, the boaster Papageno claims that it was he who saved him.
Birdcatcher does not have to enjoy undeserved gratitude for long: the real saviors appear, shame the impostor and report that, as a sign of favor, their mistress sends Tamino a portrait of her only daughter.
The prince goes in search of the princess
This is where the further action begins, because “The Magic Flute” is an opera that is literally based on love. The prince, captivated by the image of the beautiful Pamina, falls in love with her and expresses a desire to see his beloved, but this, unfortunately, is impossible. She is captured by the wizard Sarastro, who villainously kidnapped her. Tamino volunteers to come to his beloved's aid. Then the Queen of the Night herself appears, who touchingly begs him to return her daughter. And if the brave man manages to do this, then his reward will be a beautiful girl.
When completing Tamino’s task, a magic flute will help: a summary of its wonderful properties boils down to the fact that it has the ability to protect from evil and turn human hatred into devoted love. The bird catcher Papageno must also go with the prince in search of the beautiful Pamina: for this he receives wonderful bells as a gift. Despite such generosity, he is not delighted with the prospect and grumbles dissatisfiedly, but no one is interested in his objections. It ends with the heroes setting off on their journey. Three boys go with them - this is good geniuses who should help them along the way.
A series of kidnappings
Meanwhile, the kidnapper of the girls, the wizard Sarastro, failed to save his prey. The Moor Monostatos, who was entrusted with guarding the princess, himself fell in love with the girl. Filled with passion, he in turn kidnaps her and hides her. There is a serious commotion in the palace, and Papageno suddenly finds the missing person.
He tells the kidnapped girl about Tamino, who fell in love with her after looking at the portrait - so much so that he agreed to go to the powerful Sarastro and return Pamina to her mother. It is not enough to say that the content of the opera “The Magic Flute” is built on love - it is built on the feeling that arises in the characters who are unfamiliar with each other. The impressed girl agrees to go look for Tamino, who has fallen behind his companion and come to the temple.
The priest tells the prince an unexpected truth: it turns out that Sarastro is not a villain, but a kind and fair ruler. He took his beloved away only because it was the will of the gods.
Then the young man begs to know what is with his beloved, and receives an answer: she is unharmed. Tamino is happy, but the meeting of the lovers is postponed. Although Papageno and Pamina are busy searching for the prince, Monostatos intervenes in the course of events (this is “The Magic Flute” - the summary of the opera is replete with kidnappers). The bells saved the fugitives: hearing their miraculous sound, the Moor and all his minions disappear, led by an unknown force.
Long-awaited meeting
In the next scene Sarastro appears. Pamina is frightened - she does not know how the powerful wizard reacted to her disappearance. But not only is he not angry with the girl, but he also promises her help in finding Tamino. The name of the powerful wizard traces a connection with the Freemasons, to which the author of the opera “The Magic Flute” V.A. Mozart. There is even a version that this work was written by order of the lodge.
There was no need to look for the prince - the restless Monostatos caught him and brought him to the ruler, hoping to avoid punishment for kidnapping Pamina and receive a reward for the capture of her supposed savior. The scoundrel’s calculation turned out to be wrong: he is punished for unsatisfactory performance of his direct duties.
The lovers rush to each other, beside themselves with happiness.
The path to happiness
The second act begins with Sarastro informing the priests about future fate a young prince: he will become a servant in the temple of wisdom and its protector, and as a reward he will receive his beloved as a wife (in order for the will of the gods to be accomplished, the wizard, in fact, kidnapped her). However, not everything is so simple: “The Magic Flute,” a brief summary of which is not able to contain all the plot twists, cannot give Tamino such a high honor if he does not deserve it. Therefore, it must withstand a number of tests.
The prince happily agrees to all the conditions, saying that even death does not frighten him at all. In contrast, the “squire” Papageno is desperately cowardly: even the prospect of finding a life partner (which the priests promise) does not inspire him too much to exploits.
Mother and daughter
Minostatos managed to evade the guards (and the promised punishment). He is full of hopes to still achieve what he wants. Noticing a girl who has fallen asleep in the gazebo, he sneaks up and kisses her, but immediately takes to his heels: the voice of the Queen of the Night is heard in the garden. Waking up, Pamina tells her that Tamino abandoned the idea of returning and firmly decided to serve the gods, but her mother is not happy. She hoped that the prince would destroy the wizard and the Queen of the Night would regain her former power. Thus, the opera “The Magic Flute,” a brief summary of which can be described as a struggle between light and darkness, depicts the struggle for power in the fantasy world where the events take place.
The mother asks Pamina to persuade Tamino to run away, otherwise she will lose her lover. But the girl cannot dare to betray. Then the Queen of the Night orders her to kill the wizard, otherwise she will disown her daughter. The girl remains in fear and despair.
Hero Trials
And Tamino and Papageno (he nevertheless agreed to the tests under pressure from the priests) set off to meet their fate. The first test for them should be silence. For Tamino it turns out to be difficult: hearing the sounds of a flute, his beloved runs out to him. She rushes to the prince, but he cannot answer her. The girl is in despair: if Tamino has stopped loving her, she has no reason to live.
Papageno unexpectedly also rose to the occasion: when an ugly old woman appears, calling herself his future wife, he is so angry that she could not get a word out of him.
Now Tamino and the bird catcher face their next test. To pass it, the lover must inform Pamina that he is leaving her. She cries in horror and despair, but the prince is unshakable.
The funny Papageno doesn’t lag behind the main character: “The Magic Flute” is an opera in which happiness is destined for everyone. The ugly old woman from the previous test promises to be a good companion for him. Counting on the fact that he will subsequently be able to get rid of her, the bird catcher agrees. And suddenly - lo and behold! - the old woman appears as a young Papagena. The bird catcher is delighted: she is lovely, and she has the same wonderful tastes in clothes as her prospective husband.
Victory of light and goodness
In the next scene, Pamina is in the garden. She is inconsolable and is about to commit suicide: Tamino has renounced her and their love. Now all that remains is to die, but three geniuses who appear out of nowhere console the girl: the prince is faithful to her.
Tamino approaches the cave, where the final, third test awaits him. Then Pamina appears: she has finally found her beloved, and now they will always be together. A magic flute helps them both pass the exam. A summary of the bird catcher's ordeals would be tragic if it were not funny. At first, Papageno was unlucky: he chickened out, and for this the gods took his bride away from him. But the good geniuses came to the rescue again: after ringing the bells on their advice, the bird catcher gets it back.
The Queen of the Night undertakes last try to destroy her opponent: having enlisted the support of the same Minostatos, she is going to destroy the temple. But then, finally, the day comes, and she becomes powerless: light has defeated darkness, and the priests praise Sarastro.
It is not at all surprising that the work ends so life-affirmingly, since the author of the opera “The Magic Flute” is Mozart. A summary will never be able to convey the main thing: the beautiful, sublime music of a brilliant composer, which is able to compensate for any shortcomings of the plot.