The Magic Flute
A Magic Flute to remember, filmed at the Salzburg Festival! The production's exceptional cast stars René Pape and Diana Damrau. The premi. Check out The Magic Flute by Various artists on Amazon Music. Stream ad-free or purchase CD's and MP3s now on laboutiquelva.com Mozart's The Magic Flute. Do you hear the Queen of the Night singing? Good, evil, bird catchers, and princes, time for Mozart's strangest work. Play.
Queen of the Night ariaA Magic Flute to remember, filmed at the Salzburg Festival! The production's exceptional cast stars René Pape and Diana Damrau. The premi. From a production of The Magic Flute at Texas A&M University–Commerce: the Queen of the Night menaces the terrified Pamina. "Der Hölle Rache kocht in. Explore this one of a kind opera adventure - The Land of the Magic Flute - A Motion Graphic Novel - Mozart reimagined.
The Magic Flute Background and context VideoThe Magic Flute: Overture - Wolfgang Amadeus Mozart
Works combining spoken words and sung text in local languages— German , French , and English —were fairly common, and these more-accessible works had periods of great local popularity.
Scene 1. Prince Tamino, lost in a wild forest, is being pursued by a giant serpent. He collapses. The Three Ladies, who serve the Queen of the Night, appear and kill the monster.
They find the unconscious Tamino attractive, and they argue about who will guard him while the others report to the Queen of the Night; unable to decide, they all leave.
Papageno the birdcatcher enters, singing of the joys of his profession and his desire for a wife. Tamino recovers consciousness , and Papageno claims to have strangled the serpent himself.
The Three Ladies reappear and padlock his mouth for lying. They show Tamino a portrait of Pamina; he falls in love at first sight.
The Queen arrives. She tells Tamino that Pamina is her daughter, who has been captured by the evil Sarastro. The Three Ladies give Tamino a magic flute and Papageno a set of magic bells to protect them on their journey.
Scene 2. Monostatos and Papageno are terrified by each other and flee. But Papageno returns and reassures Pamina that her mother has sent Tamino to help her.
They leave together. Scene 3. Tamino is at first rebuffed as he seeks to enter the temples of Reason and Nature, but the speaker of the temple of Wisdom reveals to him that Sarastro is good, not evil.
Having learned that Pamina is alive, Tamino plays his magic flute to summon Pamina and Papageno; its sounds tame the animals. Papageno answers with his pipes, and Tamino rushes off to find them.
Scene 4. Papageno and Pamina are making their way toward Tamino when they are captured by Monostatos and his fellow slaves. Everywhere the Enlightenment produced restless men because they were mostly men impatient for change.
All this was eventually to lead to the French Revolution, and with the birth of the Napoleonic era, the Enlightenment came to an end, roughly in The ideals of Enlightened Harmony and Peace were utterly disrupted, and history took another turn.
In other quarters, the idea of Enlightenment meant something different, but closely akin to the secular ideas of the movement: the advancement of human consciousness through education.
To these people education was of two kinds: secular education on one hand, and spiritual education on the other. These two ingredients are strongly present in Freemasonry, which like the movement of Enlightenment is based on the idea of the essential brotherhood of humankind.
So, the ideas of Freemasonry were very much in line with the spirit of the times. So, when Tamino, who is the main character of The Magic Flute, enters the Temple of Wisdom, he is in fact being initiated into the Masonic Mysteries, or into a mythical version of it: as you will see, there is a lot of talk about Isis and Osiris, of pyramids and sphinxes, etc.
Now, this was very fashionable and modern in those days — exotism was quite the thing — but, equally, as anybody with a bit of insight into the Masonic Tradition knows, there are many Egyptian elements in Freemasonry proper, even today.
Before we go into all that, let me describe what goes on in The Magic Flute. The story, in condensed form, goes roughly like this:.
Tamino, a prince, happens onto a wild landscape where he is rescued from a gigantic serpent by Three Veiled Ladies — servants of the Queen of the Night.
The Queen, also called Flaming Star, has a daughter — Pamina, and, as the Queen herself tells Tamino, the girl has been abducted by a cruel magician, Sarastro.
If the prince can rescue Pamina, he may then marry her. During his adventures Tamino is joined by a youth of contrasting qualities: Papageno, a bird catcher, jovial and earthy.
Fortified with a magic flute and a set of bells, they set out in search of Pamina. They find that things are often not what they seem. Gradually both the prince and Pamina, who meet, undergo rites of purification that enable them together to enter the temple of Sarastro as enlightened servants.
Tamino plays the magic flute as he passes through the ordeals of fire and water. In fact, it is possible, indeed very likely, that we have lost something in dropping this colourful vocabulary.
The mind is never dry, nor is it clinical. The symbolism employed in The Magic Flute is not known to us in its entirety. However, the story is a spiritual one, and many of the symbols employed are known to us: they are still employed in a spiritual context; they are still in use Freemasonry and within the occult.
As Masons, Schikaneder and Mozart must have been familiar with basic occult history and symbology; elements of the Kabbalah and of Alchemy were certainly known to them.
It is very easy to understand some of the more obvious symbols. As an occultist, it is always wise to remember the story of Procrustes, who used to solve the problem with houseguests being too tall or too short for the beds he provided for them by simply cutting off their legs or racking them until they fitted!
As occultists we are equally prone to make the same mistake — forcing the facts fit our theories. Shoot me, not Mozart! I will simply try to use the basic elements of Western Qabalah to demonstrate how the Magic Flute might be interpreted in the light of esoteric symbolism.
Mozart and Schikaneder might not agree with every detail in this particular interpretation. However, archetypes being what they are — common to all humankind — I think they would agree in principle.
The overture of The Magic Flute is different, however: not a single bar of it is taken from the opera itself.
It is a separate piece altogether. Now, this has caused some musicologists to believe that it has nothing to do with the opera, and that it perhaps was added afterwards.
This is not true, and there are two strong points of evidence which demonstrate this. Firstly, the key of the overture is E flat major, which acts as a kind of central key throughout the entire opera.
Mozart was not alone in using E flat major in this way — other composers have used it as well, notably Beethoven, who also was a Mason, and there are plenty of other examples.
Secondly, the overture begins with three chords, three heavy, accented, majestic chords — in E flat major. These three chords are separated by long pauses which makes them stand out like three great pillars.
Indeed, this is exactly what they represent. Those familiar with the rituals of the Golden Dawn will recognize these titles, because the Golden Dawn was founded by Masons three Masons, in fact!
They are the Three that rule the Lodge. Indeed, throughout the score of The Magic Flute, attention is constantly drawn to the number three in various ways.
In the overture, Mozart also draws special attention to the trombones. They urge the protagonists on, they make things happen. Trombones are extremely ancient instruments.
Traditionally, trombones and their ancestors were mainly used in religious ceremony. They represented the majesty and divinity of the King; compared to the trumpets, their sound is heavier, calmer, more dignified and expansive: all qualities of Jupiter.
So we might say that trumpets belong to the Sphere of Gevurah on the Tree of Life, and trombones belong to the Sphere of Chesed. However, we might also put the trombones in Tifaret, the Royal Sephira above all others, the Sphere of the King.
Tifaret is also the Sphere of Sacrifice and of Higher Initiation, and since The Magic Flute is an opera about initiation and the trombones are given the task of summoning the characters to their initiation, we can regard the trombones as symbols of Tifaret, the Sphere of the Sun and of the Higher Self.
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The Evolution of Keanu Reeves. The three child-spirits lead Tamino to Sarastro's temple, promising that if he remains patient, wise and steadfast, he will succeed in rescuing Pamina Quartet: " Zum Ziele führt dich diese Bahn ".
Tamino approaches the left-hand entrance and is denied access by voices from within. The same happens when he goes to the entrance on the right.
But from the entrance in the middle, an old priest appears and lets Tamino in. The old priest is referred to as "The Speaker" in the libretto, but his role is a singing role.
He tells Tamino that Sarastro is benevolent, not evil, and that he should not trust the Queen of the Night. He promises that Tamino's confusion will be lifted when Tamino approaches the temple in a spirit of friendship.
Tamino plays his magic flute. Animals appear and dance, enraptured, to his music. Tamino hears Papageno's pipes sounding offstage, and hurries off to find him aria: " Wie stark ist nicht dein Zauberton ".
They are recaptured by Monostatos and his slaves. Papageno plays his magic bells, and Monostatos and his slaves begin to dance, and exit the stage, still dancing, mesmerised by the beauty of the music chorus: " Das klinget so herrlich ".
Papageno and Pamina hear the sound of Sarastro's retinue approaching. Papageno is frightened and asks Pamina what they should say.
She answers that they must tell the truth. Sarastro enters, with a crowd of followers. Pamina falls at Sarastro's feet and confesses that she tried to escape because Monostatos had forced his attentions on her.
Sarastro receives her kindly and assures her that he wishes only for her happiness. But he refuses to return her to her mother, whom he describes as a proud, headstrong woman, and a bad influence on those around her.
Pamina, he says, must be guided by a man. Monostatos brings in Tamino. The two lovers see one another for the first time and embrace, causing indignation among Sarastro's followers.
Monostatos tells Sarastro that he caught Papageno and Pamina trying to escape, and demands a reward. Sarastro, however, punishes Monostatos for his lustful behaviour toward Pamina, and sends him away.
He announces that Tamino must undergo trials of wisdom in order to become worthy as Pamina's husband. The priests declare that virtue and righteousness will sanctify life and make mortals like gods " Wenn Tugend und Gerechtigkeit ".
The council of priests of Isis and Osiris , headed by Sarastro, enters to the sound of a solemn march. Sarastro tells the priests that Tamino is ready to undergo the ordeals that will lead to enlightenment.
Tamino and Papageno are led in by two priests for the first trial. The two priests advise Tamino and Papageno of the dangers ahead of them, warn them of women's wiles and swear them to silence Duet: " Bewahret euch von Weibertücken ".
The three ladies appear and try to frighten Tamino and Papageno into speaking. Quintet: " Wie, wie, wie " Papageno cannot resist answering the ladies, but Tamino remains aloof, angrily instructing Papageno not to listen to the ladies' threats and to keep quiet.
Seeing that Tamino will not speak to them, the ladies withdraw in confusion. Pamina is asleep. Monostatos approaches and gazes upon her with rapture.
Monostatos hides. In response to the Queen's questioning, Pamina explains that Tamino is joining Sarastro's brotherhood and she is thinking of accompanying him too.
The Queen is not pleased. She explains that her husband was the previous owner of the temple and on his deathbed, gave the ownership to Sarastro instead of her, rendering the Queen powerless this is in the original libretto, but is usually omitted from modern productions, to shorten the scene with Pamina and her mother.
She gives Pamina a dagger, ordering her to kill Sarastro with it and threatening to disown her if she does not.
Aria: " Der Hölle Rache kocht in meinem Herzen ". She leaves. Monostatos returns and tries to force Pamina's love by threatening to reveal the Queen's plot, but Sarastro enters and drives him off.
Pamina begs Sarastro to forgive her mother and he reassures her that revenge and cruelty have no place in his domain Aria: " In diesen heil'gen Hallen ".
The other teachers at the center are also bilingual, and have pre-school and kindergarten teaching degrees or are teacher-aids at local schools.
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