Study Guide 2012 / 2013

Home , Grand opera, Requiem (Mozart), The Magic Flute

Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013

Batchelor MIAMI BEACH Foundation Inc. Dear Friends,

Welcome to our exciting 2012-2013 season! Florida Grand Opera is pleased to present the magical world of opera to the diverse audience of

© FLORIDA GRAND OPERA © FLORIDA South Florida. We begin our season with a classic Italian production of Giacomo Puccini’s La bohème. We continue with a supernatural singspiel, Mozart’s The Magic Flute and Vincenzo Bellini’s famous opera La sonnam- bula, with music from the bel canto tradition. The main stage season is completed with a timeless opera with Giuseppe Verdi’s La traviata. As our RHWIEWSRÁREPI[ILEZIEHHIHERI\XVESTIVEXSSYVWGLIHYPIMRSYV continuing efforts to be able to reach out to a newer and broader range of people in the community; a tango opera María de Buenoa Aires by Ástor Piazzolla. As a part of Florida Grand Opera’s Education Program and Stu- dent Dress Rehearsals, these informative and comprehensive study guides can help students better understand the opera through context and plot. )EGLSJXLIWIWXYH]KYMHIWEVIÁPPIH[MXLLMWXSVMGEPFEGOKVSYRHWWXSV]PMRI structures, a synopsis of the opera as well as a general history of Florida Grand Opera. Through this information, students can assess the plotline of each opera as well as gain an understanding of the why the librettos were written in their fashion.

Florida Grand Opera believes that education for the arts is a vital enrich- QIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX A message from these study guides will help students delve further into the opera. We Kevin Mynatt hope you enjoy the show! -PSSOJSV[EVHXSWIIMRK]SYEXXLI3TIVE

Kevin G. Mynatt Managing Director Florida Grand Opera

2 Florida Grand Opera // Kevin Mynatt Study Guides // Magic Flute 3 Content

6-9 Attending an Opera 10-13 Florida Grand Opera 14-17 Roots and Development 18-21 On Broadway! 22-29 Close up with Jeanette Vecchione 30-35 The Operatic Voice 36-37 The Magic Flute 38-39 Cast & Characters 40-51 Synopsis 52-55 The Composer 56-59 Librettists So what is Singspiel ? 60-65 Freemasonry 66-71 Mozart’s Music 72-75 The Age of Enlightenment 76-81 Pamina 82-85 Gender in The Magic Flute 86-89 Class in The Magic Flute 90-91 Race in The Magic Flute 92-93 What else happened in that year? 94-97 References 98-101 Credits 102-103

4 Florida Grand Opera // Content Study Guides // Magic Flute 5 © FLORIDA GRAND OPERA © FLORIDA

Attending Opera an

FGO dress rehearsal

6 Florida Grand Opera // Attending an Opera Study Guides // Magic Flute 7 WHAT WILL YOU SEE IN AN OPERA? OPERA ETIQUETTE: Opera combines colorful sets and costumes, dynamic _Attending an opera is an exciting occasion! You staging, passionate stories, and poetic words with should dress comfortably, but presentably. Many audi- beautiful music. Richard Wagner referred to it as ence members use an opera as an opportunity to dress +IWEQOYRWX[IVOSVEµXSXEPEVX[SVO¶=SYQMKLX in formal attire. [EXGLHERGMRKW[SVHÁKLXMRKGLEVEGXIVWHVIWWMRKMR _Arrive early. Audience members who arrive after the disguises, the tenor wooing the soprano, or unfurling start of the performance are prevented from entering schemes against another character. Operas can be until there is a change of scene. romantic, comedic, tragic, dramatic, or all of the above. Primarily, opera is entertaining! _It is customary to show your appreciation at various times in the performance with applause. The audience will applaud at the beginning of each act as the con- WHAT WILL YOU HEAR IN AN OPERA? ductor enters the orchestra pit, at the ends of partic- Operas are sung in many different languages, the most ularly well-sung arias or choruses, at the close of each common of which are Italian, French, German, and WGIRISVEGXERHHYVMRKXLIÁREPGYVXEMRGEPPEWXLI English. The Magic Flute, however, is sung in German. performers bow. Florida Grand Opera provides supertitles (transla- _If you want to show your admiration even more, you tions of the text projected on a screen above the stage) can call out “Bravo!” for a male singer, “Brava!” for a in English and Spanish. Singers are accompanied by female singer, or “Bravi!” for an ensemble. If you en- the orchestra which can consist of string instruments joyed the entire production, stand and clap during the PMOI ZMSPMRW ZMSPEW GIPPSW ERH HSYFPI FEWWIW [SSH- curtain call to join in a standing ovation. [MRHWPMOIÂYXIWGPEVMRIXWSFSIWERHFEWWSSRWERH FVEWWMRWXVYQIRXWPMOIXVYQTIXWJVIRGLLSVRWXVSQ- _Audience members are expected to turn off all cell bones, and tubas. phones and refrain from using cameras with or with- SYXÂEWLHYVMRKXLITIVJSVQERGI

_While concessions are sold in the lobby before the performance and during intermissions, no food or HVMROMWEPPS[IHMRWMHISJXLIXLIEXVI

_Be respectful of the musicians and your fellow audience QIQFIVWERHHSRSXXEPOHYVMRKXLITIVJSVQERGI

Most importantly, enjoy the opera!

8 Florida Grand Opera // Attending an Opera Study Guides // Magic Flute 9 © FLORIDA GRAND OPERA © FLORIDA

FloridaGrand Opera

Dr. Arturo di Filippi

Florida Grand Opera stands as one of the old- The Greater Miami Opera was founded by Dr. Ar- est performing arts organizations in Florida and turo di Filippi, a voice teacher at the University of in the nation. Florida Grand Opera is one of the 1MEQM8LIÁVWXTVSHYGXMSRLIPHEX1MEQM7IRMSV resident companies of The Adrienne Arsht Cen- High School in 1942, was a single performance of ter for the Performing Arts of Miami-Dade County Leoncavallo’s Pagliacci, performed in English, with where it presents its Miami performances in the Dr. di Filippi singing the role of Canio. In 1945, Dr. Ziff Ballet Opera House. Fort Lauderdale perfor- di Filippi appeared in a production of Il trovatore at mances are given at the Broward Center for the Ft. Lauderdale Central High School, representing Performing Arts. Florida Grand Opera was formed XLI ÁVWX TVSHYGXMSR SJ XLI8LI 3TIVE +YMPH -RG in June 1994 by the merger of Greater Miami Op- Florida Grand Opera has a rich history of present- era, founded in 1941, and The Opera Guild Inc. of ing internationally acclaimed artists such as Robert Fort Lauderdale, founded in 1945. 1IVVMPP (SVSXL] /MVWXIR 6MGLEVH 8YGOIV 6IREXE Tebaldi, Roberta Peters, Franco Corelli, Renata

10 Florida Grand Opera // Florida Grand Opera Study Guides // Magic Flute 11 7GSXXS 1SRXWIVVEX 'EFEPPI .SR :MGOIVW 7LIVVMPP At the core of Florida Grand Opera’s mission is a Milnes, Nicolai Gedda, Birgit Nilsson, Anna Moffo, commitment to training emerging opera profes- Plácido Domingo, Beverly Sills, Joan Sutherland, sionals and educating young people about opera Evelyn Lear, James Morris, Thomas Stewart, Diana while embracing the diverse cultural heritage of the Soviero, Justino Diaz, Simon Estes, Elizabeth Fu- South Florida community. Each year, established tral, Helen Donath, Deborah Voigt, and Fernando education programs, including the School Dress de la Mora. Luciano Pavarotti made his American Rehearsal Program and the company’s education debut in 1965 with the company’s production of festivals expose thousands of children and students Lucia di Lammermoor. to opera’s many facets. Florida Grand Opera’s renowned artist training program, the Young Artist In April, 2007, Florida Grand Opera presented the Studio, nurtures gifted young singers and provides critically acclaimed world premiere of David Carl- XLIQ [MXL XLI WOMPPW ERH I\TIVMIRGIW RIGIWWEV] son’s Anna Karenina with libretto by Colin Graham. to move beyond their training at universities and Anna Karenina was commissioned as a co-produc- music conservatories into successful careers in the tion by Florida Grand Opera, Michigan Opera The- professional opera world. atre, and Opera Theatre of Saint Louis. In May 1997, the Company presented the world premiere of Bal- seros, an opera by Robert Ashley with libretto by world renowned Cuban writer María Irene Fornés. Balseros was commissioned as a co-production by Florida Grand Opera, Miami-Dade Community College and the South Florida Composers Alliance. Another world premiere was Robert Ward’s Min- utes Till Midnight in 1982. American premieres include Gioachino Rossini’s Bianca e Falliero and the ÁREPVIZMWIHZIVWMSRSJ%PFIVXS*VERGLIXXM¸W'VMWXS- foro Colombo.

12 Florida Grand Opera // Florida Grand Opera Study Guides // Magic Flute 13 ©NICKU

Opera’s Roots & Development

Mozart. Weber Wagner

Where did opera come from? What prompted com- L’Orfeo. Following L’Orfeo’s success, the art form posers to create it? Poets, musicians, architects, art- spread rapidly amongst composers, artists, and po- ists, philosophers, mathematicians, and many other ets. The Baroque form consisted of sung recitatives XLMROIVWLEHFIGSQISFWIWWIH[MXLEVIGVIEXMSRSJ by soloists which would move the plot or story line, XLI+VIIOGYPXYVIHYVMRKXLI-XEPMER6IREMWWERGI arias in which the soloist would explore an emo- In the 1500’s, a certain group of composers from tion, and choruses where the rest of the characters the Camerata Fiorentina, or Florentine Academy, commented on the action. Composers began to FIKERXSJSGYWSRXLIVITVSHYGXMSRSJ+VIIO(VE- create duets, trios, and other ensemble numbers ma. The Camerata believed that several factors with multiple soloists, allowing for more character were extremely important in recreating these dra- interaction and more dynamic plot lines. As the mas: the sung text must be understood, the music Classical period began, the chorus of an opera be- WLSYPHVIÂIGXXLIGEHIRGIWSJWTIIGLVEXLIVXLER came more integral to the story, rather than mere- dance, and most importantly, the music should ex- ly providing commentary. Arias began to express plore and enhance the emotions being expressed. multiple emotions and more complex ideas and The Camerata developed Western music’s earliest QEMR GLEVEGXIVW XSSO SR QSVI LYQER EXXVMFYXIW STIVEWXLIQSWX[IPPORS[RFIMRK1SRXIZIVHM¸W %PPSJXLIWIHIZIPSTQIRXWEVITVIWIRXMRXLI[SVOW of Wolfgang Amadeus Mozart.

14 Florida Grand Opera // Opera’s Roots & Development Study Guides // Magic Flute 15 9RXMP XLI PEXI ¸W STIVEW ÁX MRXS ZIV] WTIGMÁG Mozart, and Rossini, among others, are considered GPEWWMÁGEXMSRWSTIVEWIVMEXLIRSFPIERHµWIVMSYW¶ by scholars to be members of the Italian School of genre, and opera buffa, the comic and low brow operatic composition. Italian School composers genre. Mozart revolutionized opera as he began to created highly melodic music which displays the FPIRHXLIWIKIRVIWMRLMWPEXIV[SVOW-R8LI1EV- singers to the best of their abilities. The orchestra riage of Figaro, buffo, or comic, servant characters accompaniment is usually secondary to the vocal PMOI *MKEVS [IVI TSVXVE]IH EPSRKWMHI WIVME RSFPI- line, and as such, these operas are termed “Singer’s QIRPMOI'SYRX%PQEZMZE*YVXLIVQSVIXLIFYJJS Opera.” Conversely, the German School of Opera, characters often displayed more admirable quali- [LMGLGV]WXEPPM^IHMXWIPJXLVSYKLXLI[SVOWSJ'EVP ties than the nobles. Mozart’s Don Giovanni is clas- Maria von Weber, Beethoven, and Wagner, empha- WMÁIHEWEHVEQQEKMSGSWSSVGSQMGHVEQE-XJIE- sizes the power of the music as a whole instead of tures lighthearted moments and comic scenes such displays by the vocalist. Weber’s opera Der Freis- as Giovanni’s servant displaying the catalogue of his chütz (The Marksman) MW GSRWMHIVIH XLI ÁVWX MQ- master’s conquests to a jilted lover, but ends quite portant German Romantic opera, and is particular- dramatically with the womanizer being dragged to P][IPPORS[RJSVMXWYRIEVXLP];SPJ¸W+PIRWGIRI Hell for his terrible debauchery. Weber’s opera Euryanthe followed Der Freischütz and was through-composed, blurring the distinc- Giuseppe Verdi composed operas during the Ro- tions between recitative and aria. This melding of mantic period as harmonic language became more recitative and aria was enhanced and expanded by varied and effective. Due to the concurrent devel- 6MGLEVH;EKRIV[LS[VSXIMRÂS[MRKERHIRHPIWW opments in literary style, plots explored a greater QIPSHMIW;EKRIV¸WSTIVEWPMOITristan und Isolde, depth of emotion and action, and provided com- Parsifal, and The Ring Cycle best exemplify the Ger- mentary on current events with more frequency. man focus on the effectiveness of the orchestra, vo- As more regions chaffed under the oppressive rule calists, and poetry as a total production to create of foreign empires, composers sought to express the drama. The French School, founded by Lully nationalistic themes with their art. Verdi endured and developed by composers such as Meyerbeer, many struggles with government and church cen- Bizet, Gounod, and Massenet, is a balancing point sors over his operas, because of their political over- between the Italian and German ideologies. Instru- tones or, in Rigoletto’s case, portrayal of an abusive mental support for the vocal line was more complex and degenerate nobleman. ERHVMGL[LMPIXLIZSGEPPMRI[EWPIWWÂSVMH8LI As opera developed even futher, national styles di- voice was always well displayed while still doing its ZIVWMÁIHERHHIZIPSTIHXLIMVS[RGERSRW:IVHM TEVXXSIZSOIERHTVSKVIWWXLIHVEQEXMGTPSX

16 Florida Grand Opera // Opera’s Roots & Development Study Guides // Magic Flute 17 ©BROADWAY

OnThe modern Broadway! American “Opera”

2EQIWPMOI7SYXL4EGMÁG3OPELSQE4LERXSQSJXLI In response to this demand, composers began cre- Opera, Wicked, and RENT are often more familiar EXMRK[SVOWXLEXMRGSVTSVEXIHHSQIWXMGGLEVEGXIVW to us than the vast majority of the operatic reper- in funny situations. The music was lighthearted and tory. These musical dramas are heavily integrated characters relatable, leaving audiences happy and into pop culture and are usually synonymous with upbeat by the end of the performance. Some of the &VSEH[E]ERH2I[=SVO'MX],EZI]SYIZIV[SR- QSWX[IPPORS[RSTIVEFYJJEEVIThe Marriage of dered what inspired the creation of this unique art Figaro by Mozart and The Barber of Seville by Ros- form full of drama, music, and dance? Though the sini. In the late 19th century, British and American modern musical’s inspiration comes from a variety GSQTSWIVW WSYKLX XS GVIEXI RI[ GSQIHMG [SVOW SJWSYVGIWXLISTIVEQSVIWTIGMÁGEPP]STIVEFYJJE that mixed many genres of music, dance, and dra- lies at its heart. ma. These composers drew musical ideas from the opera buffa idiom, but also included dance num- Opera buffa, or ‘comic opera,’ was a response to op- bers and parody elements that were typical of bur- era seria, or ‘serious opera,’ during the 18th century. lesque shows. “Musical comedies” such as Cohan’s During this time, audiences wanted a plot that they Little Johnny Jones (1904) and Kern’s Nobody Home could relate to and have fun watching. X]TMÁIHXLMWKIRVI%WMRSTIVEFYJJESVHM- nary, average characters were emphasized and

18 Florida Grand Opera // On Broadway! The modern American “Opera” Study Guides // Magic Flute 19 brought to life. The plots were simple and easy to YWMRK VSGO FERH MRWXVYQIRXEXMSR 8LIVI MW RS YRHIVWXERH 9RPMOI STIVE LS[IZIV HERGMRK ERH longera “typical” sound for a musical, as the acting played a major role in these productions in repertory is as diverse as the composers who have order to bring the variety show to life. created it. New musicals explore all facets of the human experience, social injustice, and worldly In 1927, Oscar Hammerstein II and Jerome Kern TVSFPIQW EW [IPP EW WGMIRGI ÁGXMSR ERH JERXEW] delivered a musical dealing with prejudice, and Though there is dancing, over the top acting, and tragic, undying love: Showboat. This musical was VSGO ERH VSPP QYWMG MR SYV QSHIVR QYWMGEP XLI revolutionary for a number of reasons. Showboat XLIQIWSJPSZIPSWWERHPSRKMRKEVIRSXYRPMOIMXW was clearly distinguishable from the “musical operatic ancestor. GSQIH]¶ PMOISTIVEFYJJE ERHIWXEFPMWLIHMXWIPJEWE ¶QYWMGEPTPE]¶ PMOISTIVEWIVME %PPSJXLIIPIQIRXW Many call the Broadway musical “American Opera.” were subservient to the play; the story was cohesive The musical, though primarily drawing from and the integrated songs that contributed to the operatic arts, was created through a conglomeration action by establishing moods, unveiling characters, SJQER]HMJJIVIRXIPIQIRXWQYGLPMOISYV%QIVMGER or advancing the plot. Showboat dealt with heavy culture. Opera made use of drama, music, costumes, IQSXMSRWERH[EWPMOIRSXLMRKXLEXLEHGSQIFIJSVI and art to tell timeless stories that resound deep it. It paved the way for musicals by allowing them to within our souls, as many musicals aim to do today. deal with new subject matter. A few years later, Strike Many parallels can also be drawn between subject Up the Band (1930) included social commentary on matter of opera buffa and the musical comedy, as war, capitalism, and North American politics.Since well as opera seria and the musical play. Songs are XLI¸WGSQTSWIVWLEZIXEOIRXLIQSHIVRQYWMGEP used to create drama, move the story forward, and in many different directions. Because the music from hopefully teach us something about our own lives. a “musical” is no longer popular music, composers The orchestra is used in both art forms to support the LEZISJXIRFVSYKLXµTST¶QYWMGFEGOXSXLIWXEKI singers and add depth to their words. And though Andrew Lloyd Weber has done so numerous times the acting and dancing used to be quite different in Jesus Christ Superstar (1971), Cats (1982), and between and an opera and a musical, current trends Phantom of the Opera F]MRGSVTSVEXMRKVSGO on Broadway and in opera houses are showing that beats and electric instruments in the orchestra. they are learning from each other’s successes. And Some composers, such as Jonathan Larson, have though they are learning and growing from each even created entire musicals Rent (1994) other today, we must not forget the musical’s roots. Without opera, the modern musical would never have come to be.

20 Florida Grand Opera // On Broadway! The modern American “Opera” Study Guides // Magic Flute 21 © FLORIDA GRAND OPERA © FLORIDA

CloseJeanette up with Vecchione

Jeanette Vecchione

22 Florida Grand Opera // Close up with Jeanette Vecchione Study Guides // Magic Flute 23 Starring as the Queen of the Night in the upcoming with so much feeling and emotion, I wanted to be production of Wolfgang Mozart’s The Magic Flute, PMOIXLEX-QMQMGOIH[LEX-LIEVHERHMXQEHIQI Jeanette Vecchione gives us a close up on her so excited that my voice was able to reach the same journey as an opera singer. Although Vecchione notes that she reached. Hence, we found out that I was initially committed to becoming a basketball was a coloratura soprano, the highest type of voice. player in high school (even keeping the record in 3RGI FEWOIXFEPP WIEWSR [EW SZIV Q] LIEVX VIEPP] the state of New York for the most three-pointers), started to change. I realized that I didn’t want to play her former high school chorus teacher discovered FEWOIXFEPPER]QSVI -[ERXIHXSFIETVSJIWWMSREP her singing an opera aria. After that, Vecchione opera singer. XVEMRIH JSV ÁZI QSRXLW ERH EYHMXMSRIH JSV8LI ;LEX[IVI]SYVÁVWXVSPIWEWERYTGSQMRKSTIVE Juilliard School, where Vecchione attended on a star? How did you ready yourself for your debut? full scholarship. See how her story unfolds. While I was at The Juilliard School, I had a strong As a high school student, you were an amazing desire to sing in Italy. So I found a vocal competition FEWOIXFEPP TPE]IV ;LEX QEHI ]SY W[MXGL JVSQ and music festival in Riva del Garda, Italy. I was TPE]MRKFEWOIXFEPPXSWMRKMRKSTIVE# extremely nervous to go there because I was only When my chorus teacher, Ellen Levine, encouraged 21. However, I won 3rd place in the competition QIXSXV]WMRKMRK-[EWHIÁRMXIP]IEKIVXSKMZIMXE and was invited to sing in their music festival. This shot. She said, “You are an opera singer! You need music festival was vital to the start of my career. XS KS XS .YMPPMEVH¶ ,S[IZIV - HIÁRMXIP] [EWR¸X Once I graduated The Juilliard School in 2008, I TPERRMRKSRKMZMRKYTFEWOIXFEPPWSUYMGOP]8SFI HMHR¸XVIEPP]ORS[[LEX-[EWWYTTSWIHXSHS-R honest, opera was so foreign to me. I remember the the beginning of 2009, I received a message from day I said a simple prayer: “God, if this is what you an agent who met me during that festival in Italy. want me to do, give me the desire for it; because She told me that I needed to come to Europe for right now, I don’t see myself as an opera singer!” an audition. I travelled all over Europe auditioning But I decided to open my mind up to something new EXZEVMSYWSTIVELSYWIW3RISJQ]ÁVWXEYHMXMSRW and I started to really enjoy singing and learning there was for the Vienna State Opera in Austria. about the different stories and great singers. My This was a very big deal. After singing for them three teacher gave me different types of music to study. times, they offered me the role of the Queen of the She gave me a CD of Maria Callas as well as the Night for the following season. That was especially arietta of Gilbert and Sullivan’s Pirates of Penzance amazing because I had started out singing the role song Poor Wandering One. When I listened to the of Queen of the Night at Juilliard and was now '(SJ1EVME'EPPEWMX[EWFVIEXLXEOMRK7LIWERK WMRKMRKMX[LIVI1S^EVXÁVWXGVIEXIHMX-[EW

24 Florida Grand Opera // Close up Jeanette Vecchione Study Guides // Magic Flute 25 so honored to be there and sing at a place with so I love Italian opera. My favorite opera is La traviata. much respect and history for the opera, especially I hope one day I have the opportunity to sing it. The the operas of Mozart. Since I didn’t have much story and the music are so in sync it’s incredible. TVMSVI\TIVMIRGI-[SVOIHMRXIRWMZIP][MXLTMERMWXW You can really understand the story if you truly vocal coaches as well as with my present teacher listen to the music, even if you don’t understand -¸ZI [SVOIH [MXL LIV WMRGI - WXEVXIH .YMPPMEVH MR the words. The emotions lie in the music and it’s a 1EVPIRE1EPEW-EPWS[SVOIHMRXIRWMZIP]SR celestial experience when you can open your ears XLI+IVQERXI\XWMRGI-[EWEJSVIMKRIVWTIEOMRK and listen directly to each instrumental and vocal +IVQERXI\XMRE+IVQERWTIEOMRKGSYRXV]8LMW part and how they complement the storyline. was a bit intimidating, so I prepared and studied What other upcoming projects do you have? pronunciation as much as possible. After singing at Vienna State Opera, I have sung the Queen of the -XMWMQTSVXERXJSVQIXSKMZIFEGOXSXLIGSQQYRMX] Night in many other theatres. and also venture out and explore other areas of life. Other than opera engagements, I sing a How do you prepare for a role now? lot in churches, as well as in Italian-American I prepare for a role in 3 ways: mentally, physically SVKERM^EXMSRWMRXLI2I[=SVOXVMWXEXIEVIE-EPWS and emotionally. I try to imagine myself doing the have sung at various schools for children. Some role on stage with orchestra in front of people and OMHWEVIRSXI\TSWIHXSGPEWWMGEPQYWMGERHMX¸WRMGI MQEKMRII\EGXP][LEXXLEX[SYPHJIIPPMOI4VEGXMGI to share my experience with them and hopefully ERH ZSGEPM^MRK MW SFZMSYW FYX - EPWS PMOI XS FI inspire them to pursue their dreams. I am also TL]WMGEPP] ÁX IWTIGMEPP] HYVMRK VILIEVWEP TIVMSHW involved with planning musical events for adult and performances. I do a lot of running and jump homes, nursing homes, Gideons International and rope, and use outdoor benches as my exercise JSV GLMPHVIR [MXL HMWEFMPMXMIW QSVI WTIGMÁGEPP] equipment. Emotionally preparing for a role is EYXMWQ-¸QLIEHMRKFEGOXS)YVSTIMR7ITXIQFIV EPWS ZIV] MQTSVXERX - PMOI XS VIWIEVGL XLI STIVE to participate in a competition in Toulouse, France, WXYH] XLI FEGOKVSYRH XVERWPEXI IZIV]XLMRK ERH as well as audition in opera houses nearby. In understand the characters of the opera. I can try to 3GXSFIV-[MPPFIWMRKMRKEXEFIRIÁXGSRGIVXJSV understand the characters better, and put 100% of children with autism in Brazil and give a master- my dedication into that role that way. class at the music school of Florianopolis.

Do you have a particular character, role, opera or ;LIVIHS]SYWII]SYVWIPJMRÁZI]IEVW# musical production that is your favorite and also SRIXLEX]SY[SYPHSRIHE]PMOIXSTIVJSVQMR#

26 Florida Grand Opera // Close up Jeanette Vecchione Study Guides // Magic Flute 27 ;LIVIHS]SYWII]SYVWIPJMRÁZI]IEVW# ;LEXEHZMGI[SYPH]SYPMOIXSKMZIXSSXLIVJYXYVI opera singers? This is a good question. I have many goals for 1] EHZMGI XS JYXYVI STIVE WMRKIVW MW ÁVWX ERH XLI RI\X ]IEVW - [SYPH PMOI XS FI ÂYIRX MR JSVIQSWXHS[LEXQEOIW]SYLETT]8LMWMWQSWX languages: English, Italian, Spanish, Portuguese, important. If you are happy, then you are successful. French and German. I am on my way to this goal. Number two; be yourself and believe in yourself. Be Everywhere I sing, I go to a language school in that encouraged even when you do 50 auditions and country. I want a recording contract with a major don’t receive anything, because all you need is that recording company, as well. I would love to sing the SRIPMXXPIGVEGOMRXLIHSSV[LMGLGSYPHSTIRQER] Queen of the Night in all the major opera houses other doors. in the world. My other goals include completing a triathlon, and my ultimate goal would be to %RH RYQFIV XLVII OIIT ]SYV QMRH STIR8LIVI build a type of “boys and girls” club incorporating are many wonderful things in life, not just opera. the performing arts and sports. It would be a Remember to enjoy life and not forget about the GSQQYRMX]FYMPHMRKJSVOMHWSJEPPEKIWEW[IPPEW MQTSVXERXXLMRKWPMOIPSZIJEQMP]ERHJVMIRHW young adults. There would be rooms for practicing instruments, a theatre and rooms for visual artists. There would also be a large gymnasium for indoor WTSVXWEXVEGOERHSYXHSSVÁIPHW-[ERXXSKMZI young people the opportunity to explore what they EVI TEWWMSREXI EFSYX ERH XS HIZIPST E LEVH [SVO ethic, build healthy relationships and be around an encouraging, positive environment.

28 Florida Grand Opera // Close up Jeanette Vecchione Study Guides // Magic Flute 29 © SINGING LIKE A PRO © SINGING LIKE

The operaticVoice

Professional singer

30 Florida Grand Opera // The Operatic Voice Study Guides // Magic Flute 31 3TIVEWMRKIVWEVIGPEWWMÁIHMRX[SHMJJIVIRX[E]W Coloratura Soprano: *MVWXXLI]EVIMHIRXMÁIHEWWSTVERSQI^^SWSTVE- %GSPSVEXYVEWSTVERSMWQEVOIH[MXLKVIEXEKMPMX]ERH no, tenor, etc., based upon their singing range. Sec- a much higher range than a soubrette. Depending ondly, they are categorized based on characteristics on the weight of her voice, the soprano may be of their sound. Type of voice is often referred to additionally described as a lyric coloratura with with the German word Fach (plural Fächer), which medium weight and depth, or a dramatic coloratura means “subject” or “speciality.” A singer’s fach de- with the fullest sound and a brassy, ringing quality. XIVQMRIW[LEXVSPIWXLI]EVIQSWXPMOIP]XSTIVJSVQ Lyric Soprano: Women’s voices are grouped (from high to low) into 0]VMGWSTVERSWEVIX]TMÁIHF]EREFMPMX]XSWMRKPIKE- soprano and mezzo-soprano ranges. Men’s voices to (in a smooth and connected line) with a pure and are grouped into tenor, baritone, and bass by range. beautiful sound. Many of a lyric soprano’s roles are Common additional descriptive words include col- the love interests of their opera, so a soprano of this oratura, lyric, and dramatic. voice type must encompass the innocence and vul- nerability written into their music. Lyric sopranos Soprano Fächer QE]EPWSKVS[MRXSEGPEWWMÁGEXMSRORS[REWWTMR- Soubrette Soprano: to, which in Italian means “pushed.” This sound This soprano has a voice with the lightest weight is larger than a standard lyric soprano and can cut and enough agility to handle coloratura passages across a larger orchestra. (vocal runs of many fast notes). She will not typically Dramatic Soprano: sing above a high C. A soubrette is also referred to A dramatic soprano has a full and rich sound with in German as a “Character Soprano.” Her roles are power that can carry across the largest opera or- frequently the maid or comic relief of the opera. GLIWXVEW8LIMVXSRIMWSJXIRHEVOIVXLERSXLIVWS- TVERSW (VEQEXMG WSTVERSW EVI EPWS QEVOIH [MXL great stamina and endurance.

32 Florida Grand Opera // The Operatic Voice Study Guides // Magic Flute 33 Mezzo-Soprano Fächer Heldentenor: Meaning “heroic tenor” in German, a Heldentenor Coloratura, Lyric, and dramatic mezzo-sopranos features a richer and more robust sound than the have similar vocal characteristics to their soprano lyric tenor. In his middle range, a heldentenor may counterparts, but spend more of their time singing sound very similar to a baritone in color and weight. in a lower tessitura or range of their voice. Mez- zo-soprano voices are typically more mellow and Baritone Fächer rich in their sound than soprano voices. Lyric baritones and dramatic bass-baritones feature Contralto: the same characteristics of lyric and dramatic voices. 8LI GSRXVEPXS JEGL JIEXYVIW E WMKRMÁGERXP] PS[IV A lyric baritone has a sweeter, mellower sound, VERKIERHEZIV]HEVOVMGLXSRI%GSRXVEPXSMWSRI while a dramatic bass-baritone has more comfort of the rarer female voice types due to its range. and strength in his lower range as well as enough power to sing over a large orchestra. Tenor Fächer Cavalier Baritone: Comic Tenor: The cavalier baritone has a brassy quality to his The comic tenor sings roles that require acting voice and is capable of singing both lyric and rather than exquisitely beautiful singing. His arias dramatic passages. This voice is very similar to the QE]FI[VMXXIRMRETEXXIVSVWTIIGLPMOIWX]PIERH Verdi Baritone, discussed more in-depth in the next do not feature the demands of a full lyric melody. section, but the Verdi Baritone usually sings a much Lyric Tenor: higher tessitura than the cavalier baritone. Similar to the other lyric voices, a lyric tenor must Bass Fächer WMRK [MXL FIEYX] ERH GSQQERH FSXL ÂI\MFMPMX] of coloratura passages and musical phrasing of a &EWWIW EVI EPWS GPEWWMÁIH EW P]VMG SV HVEQEXMG EW legato line. well as comic, based upon weight and beauty of the ZSMGI8LMWFEWWZSMGIMWQEVOIHF]ERI\XVIQIPS[ range. The basso profundo (Italian for “Profound” or “Low Bass”) has an enormously resonant and full-bodied sound.

34 Florida Grand Opera // The Operatic Voice Study Guides // Magic Flute 35 (MI >EYFIVÂ}XI 8LI 1EKMG *PYXI / 620 An opera (Singspiel) in two acts by Wolfgang Amadeus Mozart (January 27, 1756- December 5, 1791) premiered in © ST. PETERSBURG OPERA © ST. Vienna, at the Freihaus-Theater auf der Wieden, September 30th, 1791. The li- FVIXXSMWF])QERYIP7GLMOERIHIV 7IT- tember 1, 1751- September 21, 1812) [VMXXIR EJXIV E FSSO SJ SVMIRXEP JEMV]- The tales. The source story was called Lulu, Magic Flute or The Magic Flute.

Magic Flute’s premiere Playbill

36 Florida Grand Opera // The Magic Flute Study Guides // Magic Flute 37 © FLORIDA GRAND OPERA © FLORIDA

CastCharacters &

Qeen of the Night Tamino Papageno Sarastro

Jeanette Vecchionee Andrew Bidlacke Jonathan G. Michie Jordan Bisch coloratura soprano tenor bariton bass A beautiful evil queen A handsome prince The Queen’s clumsy Highest priest of and Pamina’s mother. in love with pamina. bird catcher. Isis and Osiris.

Monostatos Pamina Papagena Three Ladies bass soprano soprano two sopranos, A moor and chief servant of Sarasreo’s prisoner. Girl who is disguised as mezzo soprano Sarastro. He is in love with Pamina. an old woman and trans- Servant to the queen forms into a beautiful of the night. female bird catcher.

Two A r m e d M a n Three Priests Three Boys 7TIEOIV tenor, bass tenor, two basses bass-baritone bass-baritone

38 Florida Grand Opera // Cast & Characters Study Guides // Magic Flute 39 © DOUGLAS HAMER LYRIC OPERA OF KANSAS CITY © DOUGLAS HAMER LYRIC SynopsisAct 1

Scenes from The Magic Flute 8EOIRJVSQLXXT[[[TSZFGGETHJWÂYXICWXYH]CKYMHITHJ

8LIÁVWXWGIRIGYVXEMPWXS8EQMRS¸WGVMIWJSVLIPTEW SJ XLI 2MKLX MR I\GLERKIH JSV JSSH ERH HVMRO he is pursued by a serpent. As he falls unconscious, 8EQMRSEWWYQIW4ETEKIRSMWLMWVIWGYIVERHEWOW the three ladies for the Queen of the Night arrive LS[LIGSYPHLEZIOMPPIHXLIWIVTIRX[MXLSYXER] ERHOMPPXLIWREOI8LI]EVIUYMXIXEOIR[MXLXLI weapons. Papageno boasts that he needs none: a handsome young man, and each vies to stay with strong squeeze of his hand is more effective than LMQERHXV]XSGSRZMRGIXLISXLIVWXSVITSVXFEGO any weapon. to the Queen. Eventually, they all unwillingly The three ladies return and scold Papageno for leave together. XIPPMRKPMIW8LI]XIPP8EQMRSXLEXXLI]LEZIOMPPIH 8EQMRS E[EOIW HMWSVMIRXIH ERH Q]WXMÁIH F] XLIWREOIRSX4ETKIRS8LIXLVII[SQIRWGSPH XLI WMKLX SJ XLI HIEH WREOI ,I WIIW WSQISRI Papageno and tell him the Queen is sending him approaching and hides. The stranger sings of his water instead of wine, a stone instead of bread and job as a bird catcher (Der Vogelfänger bin ich ja) TEHPSGOJSVLMWQSYXLMRWXIEHSJW[IIXÁKW8LI and longs for a net to entangle girls with so that three ladies then show Tamino a portrait of the he can marry the one he chooses When Tamino Queen’s daughter, Pamina. Tamino falls instantly inquires who the stranger is, Papageno explains MRPSZI (MIW&MPHRMWMWXFI^EYFIVRHWGL}R XLEXLIQEOIWLMWPMZMRKFEVXIVMRKFMVHWXSPEHMIW

40 Florida Grand Opera // Synopsis Study Guides // Magic Flute 41 © DOUGLAS HAMER LYRIC OPERA OF KANSAS CITY © DOUGLAS HAMER LYRIC

Suddenly, the Queen appears and informs Tamino Papageno is reluctant of going anywhere near XLEX4EQMRELEWFIIROMHRETTIHF]ERIZMPHIQSR 7EVEWXVS [LS MW WYVI XS LEZI LMQ TPYGOIH ERH Sarastro. The Queen urges Tamino to rescue her roasted and fed to the dogs. However, the ladies beloved daughter and promises that if he succeeds, insist that Papageno accompany Tamino, and they Pamina will be his forever (O zittre nicht, mein give him a set of magical bells to protect him, lieber Sohn!). then send the young men off, guided by three mysterious spirits. After this, the Queen leaves. Papageno still has LMWQSYXLTEHPSGOIHWLYXERH8EQMRSMWYREFPI At Sarastro’s palace, Pamina is dragged in after to help him (Quintet: Hm hm hm hm). The three her latest attempt to escape. She was left alone PEHMIWVIQSZIXLIPSGOQEOMRK4ETEKIRSTVSQMWI with the brutal Monostatosas when Papageno, to never tell lies again. They then give Tamino who has been sent on ahead as a scout, arrives E QEKMG ÂYXI [SVXL QSVI XLER KSPH SV GVS[RW Papageno and Monostatos see one another, and which will protect him on his quest and bring love each is convinced that the other is the devil, and and happiness to humans. 1SRSWXEXSWÂIIW

42 Florida Grand Opera // Synopsis Study Guides // Magic Flute 43 When she learns that Papageno has no wife she 8IVVMÁIH 4ETEKIRS EWOW [LEX XLI] WLSYPH WE] assures him that Heaven will soon send him a girl, 4EQMRE EWWYVIW LMQ XS WTIEO XLI XVYXL IZIR and they sing an ode to love (Bei Männern, welche though it may be a crime. Liebe fühlen). The two then leave Sarastro’s 8LIJVMKLXIRIHTEMVMWXEOIRMRXSGYWXSH]4EQMRE palace. Meanwhile, the three spirits lead Tamino I\TPEMRW XS 7EVEWXVS XLEX WLI ÂIH LMW TEPEGI MR to a grove where the temples of Reason, Natre and order to escape the attentions of Monostatos. Wisdom are standing. Sarastro reassures her, but insists that she must The spirits leave, advising him to be constant, stay with him and be guided by a man rather than patient and discreet. Tamino tries to enter the have her happiness entrusted to her proud mother. ÁVWXX[SXIQTPIWFYXMWVIJYWIHEHQMXXERGI,I Monostatos arrives with another prisoner, Tamino. ÁREPP] XVMIW XLI HSSV SJ XLI8IQTPI SJ;MWHSQ 8EQMRSERH4EQMREQIIXIEGLSXLIVJSVXLIÁVWX

A priest appears and tells him that he has been time and embrace. Monostatos expects Sarastro OPERA OF KANSAS CITY © DOUGLAS HAMER LYRIC duped; Sarastro is not an evil villain as depicted by to punish the young man, but instead Sarastro has XLI5YIIR8EQMRSEWOWMJ4EQMREMWEPMZIFYXXLI Monostatos punished. priest says he is sworn not to tell him. The chorus praises Sarastro’s wisdom as he orders An invisible chorus assures him that she is Tamino and Papageno brought into the temple to EPMZI 3ZIVGSQI [MXL KVEXMXYHI 8EQMRS XEOIW FIKMRXLIMVXVMEPWSJTYVMÁGEXMSR LMWÂYXISYXERHTPE]WMX ;MIWXEVOMWXRMGLXHIMR Zauberton). He hears the sound of Papageno’s TMTIWERHVYWLIWSJJXSÁRHLMQ4ETEKIRSERH 4EQMRE JSPPS[ XLI WSYRH SJ8EQMRS¸W ÂYXI ERH EVI WYHHIRP] SZIVXEOIR F] 1SRSWXEXSW ERH LMW servants. Papageno desperately plays his magical FIPPW8LIQYWMG[SVOWMXWIRGLERXQIRXERHXLIMV captors are set dancing, allowing the pair to elude XLIMVGETXSVW (EWOPMRKIXWSLIVVPMGLHEWOPMRKIX WS WGL}R %W WSSR EW 4EQMRE ERH 4ETEKIRS escaped the grasp of Monostatos and his servants, they hear the chorus of the priests announcing Sarastro’s arrival.

44 Florida Grand Opera // Synopsis Study Guides // Magic Flute 45 Addressing the Brotherhood, Sarastro states that Tamino must undergo a series of trials. If he succeeds, he will be able to attain light and wisdom and win the hand of Pamina. Sarastro continues by claiming that this has been been destined by the gods for Tamino, and it was for this reason that Sarastro seized Pamina from her mother. Sarastro then prays, (O Isis und Osiris), © DOUGLAS HAMER LYRIC OPERA OF KANSAS CITY © DOUGLAS HAMER LYRIC that the gods bestow the spirit of wisdom on the young couple, strengthen them with patience in danger and receive them if they should die during the trial. In response to questions from the priests, 8EQMRSTVSGPEMQWXLEXLIMW[MPPMRKXSVMWOLMWPMJI in his quest for friendship and love.

4ETEKIRSÁVWXHIGPMRIWERHGPEMQWXLEXLIHSIWR¸X care much for enlightenment, and would be GSRXIRX[MXLWPIITJSSHERHHVMROERHMJTSWWMFPI a pretty little wife. The priests tell him he’ll never get a wife unless he completes the trials . They MRJSVQLMQXLEXMJLIÁRMWLIHXLIXVMEPXLI][MPPWIX him off the perfect girl, a woman named Papagena. Papageno then hesitantly agrees to complete the trials with Tamino.

8LI TVMIWXW ERRSYRGI XLI ÁVWX XVMEP E XVMEP SJ silence. The two young men will be tempted by FIEYXMJYP[SQIRFYXQYWXXLI]RSXWTIEOXSXLIQ &I[ELVIXIYGLZSV;IMFIVXGOIR 8LVIIFIEYXMJYP Act 2 ladies appear and try to persuade them to abandon their quest, but the young men persevere, despite

46 Florida Grand Opera // Synopsis Study Guides // Magic Flute 47 some lapses on Papageno’s part. Meanwhile, the With two trials behind him, Tamino still has to escaped Monostatos creeps in and gazes upon the YRHIVXEOI X[S QSVI HERKIVSYW XVMEPW 7EVEWXVS sleeping Pamina (Alles fühlt der Liebe Freuden). then bring Pamina and Tamino together to say a When the Queen of the Night appears, he hides ÁREPJEVI[IPP 7EVEWXVSWYKKIWXWXLEXMJ8EQMRSMW himself and watches in the shadows as Pamina worthy, the gods will protect him and they will tells her mother that Tamino is now with Sarastro. meet again. The Queen gives Pamina a dagger, saying she Left behind, Papageno has started to feel lost, [MPP HMWS[R LIV YRPIWW WLI OMPPW 7EVEWXVS (IV EFERHSRIH ERH JVMKLXIRIH 8LI 7TIEOIV SJ XLI ,}PPI6EGLIOSGLXMRQIMRIQ,IV^IR 4EQMREMW Brotherhood (priests) tells him that although he ETTEPPIHERHGSRÂMGXIH has failed his test he won’t be punished, though After the Queen vanishes, Monostatos tries to he will never be among the “Initiated”. Papageno FPEGOQEMP 4EQMRE F] XLVIEXIRMRK XS VIZIEP XLI PSSOW YRGSRGIVRIH ERH WE]W XLEX EPP LI HIWMVIW murder plot unless Pamina becomes his lover. She at the moment is a glass of wine – a wish that is refuses and is saved by Sarastro’s arrival. When instantly granted. Papageno realizes of his other Pamina begs Sarastro not to punish her mother, desire, a wife, and starts to play his magic bells Sarastro reassures her that he is not vengeful (In and sings of his longing for a wife (Ein Mädchen HMIWIRLIMP¸KIR,EPPIROIRRXQERHMI6EGLIRMGLX oder Weibchen wünscht Papageno sich!). Almost Meanwhile, the trials of Tamino and Papageno MRWXERXP]XLISPH[SQERVIETTIEVWEWOMRKLMQXS move forward. For their next trial, they are again promise to be faithful to her, the alternative being told that they must once again remain silent. to remain alone for the rest of his life. Papageno However, the inveterate chatterbox Papageno falls agrees, that he will love the old woman faithfully, into conversation with an old woman – actually the and the old woman is transformed into the lovely young Papagena – who brings him water. enchanting young Papagena.

After she disappears, the three spirits appear, As Papageno rushes towards her, Papagena is bringing food, Papageno’s magical bells and XEOIRE[E]F]XLITVMIWXW8LIWGIRIRS[GLERKIW 8EQMRS¸W ÂYXI 4EQMRE LIEVW8EQMRS¸W ÂYXI ERH and the three spirits are seen welcoming the WIIOWLMQSYX7LIEXXIQTXWXSXEPOXSLMQFYX ETTVSEGLSJHE[RERHSJ[MWHSQEQSRKQEROMRH since he is still undergoing the trial of silence, &EPH TVERKX HIR 1SVKIR ^Y ZIVORHIR 8LI he sadly refuses to answer her. Pamina leaves three spirits then notice Pamina, out of her mind LIEVXFVSOIR %GLMGLJLPWIWMWXZIVWGL[YRHIR³ [MXLKVMIJERHVIEH]XSOMPPLIVWIPJ8LI]WXSTLIV )[MKLMRHIV0MIFI+PGO assuring her that Tamino loves her. The spirits XLIRXEOILIVXSLMQ

48 Florida Grand Opera // Synopsis Study Guides // Magic Flute 49 © DOUGLAS HAMER LYRIC OPERA OF KANSAS CITY © DOUGLAS HAMER LYRIC

8EQMRS EFSYX XS FIKMR XLI ÁREP XVMEPW MW RS[ Meanwhile, Papageno pines for his lost Papagena EPPS[IHXSWTIEOXS4EQMRE8LIVIYRMXIHPSZIVW ;IMFGLIR 8mYFGLIR QIMRI 7GL}RI ERH express their joy (Tamino mein! O Welch ein threatens to hang himself. The three spirits +PGO ERH4EQMRETVSQMWIWXSWXE]F]8EQMRS¸W persuade him to play his magic bells. Papagena side and to lead him through the trials. The lovers appears, and the delighted pair, stammer with EVIXLIRF]XLIQEKMGÂYXI[LMGLLEHFIIRGEVZIH happiness (Pa-pa-pa, pa-pa-pa, Papagena!) F]4EQMRE¸WJEXLIVJVSQEXLSYWERH]IEVSPHSEO The Queen of the Night, Monostatos, and the (Wir wandeln durch des Tones Macht). three ladies try to storm Sarastro’s temple and free The couple now endure the Trials of Fire and Pamina so Monostatos can have her for his wife, Water together, and with the music of the magic but they are destroyed by Sarastro’s forces of light. ÂYXIEVIWEJIP]EFPIXSTEWWXLVSYKL Sarastro welcomes the young lovers at the chief temple, and all rejoice and sing praises of Tamino and Pamina.

50 Florida Grand Opera // Synopsis Study Guides // Magic Flute 51 ©.CLASSICAL

TheWolfgang Composer Amadeus Mozart (1756-1791) Mozart 8EOIRJVSQLXXT[[[STIVEP]VEGEQIHME8EF0IEVR303C1*C)C[IFTHJ

52 Florida Grand Opera // The Composer Study Guides // Magic Flute 53 Mozart was born January 27, 1756 in Salzburg, &]ÁZI]IEVWSPH He built a highly successful career as a composer, Austria. At an early age, Wolfgang displayed great he composed the performer and teacher, and even went through ÁVWXSJ[LEX[SYPH genius. At the age of three, young Wolfgang began bouts of poverty. In 1791, (the year of his untimely become over 600 OI]FSEVHPIWWSRW compositions. death at the age of 35) Mozart wrote The Magic Flute and even conducted it on opening night. This &]ÁZI]IEVWSPHLIGSQTSWIHXLIÁVWXSJ[LEX fanciful opera, ringing with universal truths, was an would become over 600 compositions. Not wanting instant hit with the middle class crowd in Salzburg. XLMWWTEVOPMRKXEPIRXXSKSXS[EWXI1SÊVX¸WJEXLIV It remains one of Mozart’s most popular operas. and his sibling set off on a series of long European tours. Young Mozart and his sister, Maria Anna There are many myths, misconceptions and ru- Gifted with an amaz- RMGOREQIH2ERRIVP TPE]IHMRGSYVXWJSVTVMRGIW ing ear and a sharp QSVWEFSYX1SÊVX¸WPMJI2SXQER]ORI[EFSYX OMRKWERHEVGLFMWLSTW³IZIR1EVMI%RXSMRIXXIXLI mind, Mozart as- the private inclinations of the composer. It was future Queen of France. Gifted with an amazing ear tounded listeners by often thought that composition came effortless- repeating long pieces and a sharp mind, Mozart astounded listeners by of music he heard ly to him, yet Mozart indicated otherwise. “It is repeating long pieces of music he heard only once. only once. EQMWXEOIXSXLMROXLEXXLITVEGXMGISJQ]EVXLEW However, Mozart will become easy to me. I assure you, dear friend, no ,I[VSXILMWÁVWXW]QTLSR]F]XLIEKISJERH be commemorated one has given so much care to the study of com- LMW ÁVWX STIVE F] ;LMPI 1SÊVX ERH 2ERRIVP as one of the most position as I. There is scarcely a famous master were on tour in Paris, their mother died. Mozart, profound and impres- MRQYWMG[LSWI[SVOW-LEZIRSXJVIUYIRXP]ERH now a young man, returned to Salzburg where he sionable marks on Western music. diligently studied.” FIGEQI GSYVX SVKERMWX ,I PEXIV PIJX XS WIIO LMW musical fortune in Vienna and there met his future ,I[EWETVSPMÁG[VMXIVERHQER]SJLMWGSRXIQ- wife, Constanze Weber, a singer. Mozart dared to poraries, including Josef Haydn and the young leave the security of composing for wealthy patrons, Ludwig van Beethoven, held him in the highest re- preferring the freedom and creativity that self- gard. His letters also reveal a complex personality employment provided. ³STMRMSREXIHWSQI[LEXGSRGIMXIHERHHMJÁGYPX at times, but also very loving, with a strong sense of humor and a zest for life. However, Mozart will be commemorated as one of the most profound ERHMQTVIWWMSREFPIQEVOWSR;IWXIVRQYWMG

54 Florida Grand Opera // The Composer Study Guides // Magic Flute 55 ©PHOTOGRAPHERS DIRECT ©PHOTOGRAPHERS

EmanuelLibrettists 7GLMOERIHIV (1751-1812)

7GLMOERIHIVGMVGE )\GIVTXJVSQLXXTWJSTIVEGSQ7ER*VERGMWGS3TIVEQIHME)HYGEXMSR6IWSYVGI1EXIVMEPW1EKMG *PYXI7GLMOERIHIV&MSTHJ

56 Florida Grand Opera // Librettists Study Guides // Magic Flute 57 )QERYIP.SLERR.SWITL7GLMOERIHIV[EWFSVRSR )QERYIP 7GLMOERIHIV TIVLETW SRI SJ 1S^EVX¸W September 1, 1751 in Straubing, Germany and was best friends, made several entrances and exits an impresario, dramatist, actor singer and com- during the composer’s life. One such entrance led TSWIV8LSYKL PMXXPI MW ORS[R SJ LMW PMJI MR +IV- to the composition of The Magic Flute in late 1791. QER]7GLMOERIHIV[EWZIV][IPPORS[RMR:MIRRE The opera’s exotic subject and the timing of its (especially among the middle class audiences that premiere – only months before Mozart’s death – he endeavored to attract to the theatre). could not have been more dramatic. It was an im- mediate hit and success, and went on to become 2SXSRP][EW7GLMOERIHIVJEQSYWJSVLMW7LEOI- 2SXSRP][EW7GLMOER- SRISJ1S^EVX¸WQSWXIRHYVMRK[SVOW WTIEVMERVSPIW ORS[RJSVLMWI\GIPPIRXTSVXVE]EP eder famous for his 7LEOIWTIEVMERVSPIW of Hamlet) he was also adept at performing the 7GLMOERIHIVHMHR¸XKEMRLMKLEQSYRXWSJWYGGIWW ORS[RJSVLMWI\- lowest of comedy – and often did. He did not hes- cellent portrayal of as he did with The Magic Flute (he gave 223 repeat MXEXI XS QEOI YWI SJ WTIGXEGYPEV WTIGMEP IJJIGXW Hamlet) he was also performances in the production as Papageno). XSTYPPMRGVS[HW8LIXIVQµ7GLMOERIHIVIM¶[EW adept at performing 4IVLETWXLIWXEXYISJ4ETEKIRSXLEX7GLMOERIH- the lowest of comedy coined to describe those impressive productions. – and often did. er had installed over an entrance to the Theater EYJHIV;MIR[EWEREGORS[PIHKQIRXSJEHIFXSJ -R 7GLMOERIHIV HMVIGXIH E XVEZIP- gratitude to Mozart. ing theatre troupe (the troupe visited Salzburg in 7GLMOERIHIV¸WVMWI from itinerant en- 1780), for which he also wrote plays and librettos. 7GLMOERIHIV¸WVMWIJVSQMXMRIVERXIRXIVXEMRIVXS:M- tertainer to Vienna’s %JXIVHMVIGXMRKWIZIVEPSXLIVGSQTERMIWLIÁREP- QSWXLMKLVEROMRK IRRE¸WQSWXLMKLVEROMRKMQTVIWEVMSQEOIWUYMXI ly settled at the Freihaus-Theater auf der Wie- MQTVIWEVMSQEOIW a story. Certainly, he was one of the most talented den where he assembled one of the most talented quite a story. Certain- ERHMRÂYIRXMEPXLIEXVIQIRSJLMWEKI-RLMWPMJI- ly, he was one of the groups of singers in Vienna. At this theatre he pro- most talented and time, he wrote 50 librettos and built the Theater duced his own plays and commissioned settings MRÂYIRXMEPXLIEXVI ERHIV;MIRMR QEOMRKYWISJER-QTIVMEP of his operas and Singspiel librettos (such as The men of his age. In his license he had obtained 15 years earlier), which lifetime, he wrote 50 Magic Flute). still stands today. According to the New Grove librettos and built the Theater an der Wien Dictionary, the Theater an der Wien was “the most MR QEOMRKYWISJ lavishly equipped and one of the largest theatres an Imperial license he SJMXWEKI¶-XMWGPIEVXLEX7GLMOERIHIV¸WJEQIERH had obtained 15 years earlier), which still JSVXYRIGEQIXLVSYKLLEVH[SVOERHEXLSVSYKL stands today. understanding of his audience.

58 Florida Grand Opera // Librettists Study Guides // Magic Flute 59 © LIVERPOOL DAILY POST © LIVERPOOL DAILY SoSingspiel? what is

The Magic Flute, Liverpool Empire )\GIVTXJVSQLXXTETTOYLJSVKEVXMGPIW7MRKWTMIPLXQP

60 Florida Grand Opera // So what is Singspeil? Study Guides // Magic Flute 61 When the curtain goes up on The Magic Flute, one Literally translated, In the latter part of the 18th century, the Singspiel SJXLIÁVWXXLMRKW[IRSXMGISRGIXLISZIVXYVIMW Singspiel means underwent a transformation. Essentially, the Sing- “song-play.” It ÁRMWLIHMWXLIHMEPSKYI=SY[SR¸XLIEVXLIWIG- spiel split into two branches. In northern Germa- loosely translates to co or “dry” recitative (the music that connects the “musical comedy,” ny, the Singspiels of C.F. Weisse and Johann Adam opera’s arias, ensembles and choruses) that we WTIGMÁGEPP]EFVERH ,MPPIVLIPHW[E]WXVSRKP]MRÂYIRGIHF]XLI*VIRGL are used to hearing in many of Mozart’s other op- of German comic opéra comique, from which Weisse mined most of opera that had its eras (Don Giovanni, The Marriage of Figaro, Così heyday in the late his libretti. fan tutte), where the recitative is accompanied by a 18th century. In Southern Germany, however, the predominant harpsichord. Here, the musical numbers are con- MRÂYIRGI GEQI JVSQ -XEP]¸W QSVI ZMZEGMSYW ERH RIGXIHF]TPEMRWTSOIRHMEPSKYI virtuosic opera buffa. In 1778, a new National The- That’s because The Magic Flute is a Singspiel. Lit- ater built by Austrian Emperor Josef II opened in erally translated, Singspiel means “song-play.” It Vienna specializing in this sort of Singspiel. Four PSSWIP]XVERWPEXIWXSµQYWMGEPGSQIH]¶WTIGMÁGEPP] years later, Josef II’s theater saw the world pre- a brand of German comic opera that had its hey- miere of Wolfgang Amadeus Mozart’s The Abduc- day in the late 18th century. tion from the Seraglio.

)EVP]SR7MRKWTMIPPMOIMXWGSRXIQTSVEVMIW *VIRGL The Magic Flute %FHYGXMSR[EWRIMXLIV1S^EVX¸WÁVWX7MRKWTMIPRSV opéra comique, Italian opera buffa, English ballad really transcend- LMWPEWX,MWÁVWX[EW&EWXMIRYRH&EWXMIRRI[LMGL ed the Singspiel opera and German Singspiel) was a decidedly low- Mozart composed in the French opéra comique genre. Mozart him- er-brow entertainment. It featured light, farcical self did not call it a style at the ripe age of 12. A short one-act Sing- topics. The texts borrowed heavily from popular Singspiel, rather a WTMIPGEPPIH8LI-QTVIWEVMSTVIGIHIH1S^EVX¸WÁREP entertainment or from the common vernacular and “Grosse Oper,” or [SVO JSV XLI XLIEXIV ERH WSQI WE] XLI GVS[RMRK “grand opera.” the music was very simple that anyone could sing achievement of his career. The Magic Flute really (because the actors who were to sing it typically transcended the Singspiel genre. Mozart himself had little or no musical training). Scores were used did not call it a Singspiel, rather a “Grosse Oper,” MRREXMSREPMWXMGJSPOWSRKERHSJGSYVWIMRXLIHME- or “grand opera.” Although it retains Singspiel’s logue between the musical numbers. comedic origins with the character of Papageno, it adds some unprecedented sociological and philo- sophical weight in Tamino and Pamina’s journey toward enlightenment. tained musical numbers and EVIGSRRIGXIHF]WTSOIRHMEPSKYI

62 Florida Grand Opera // So what is Singspeil? Study Guides // Magic Flute 63 The Magic Flute and Beethoven’s Fidelio are Singspiel Timeline considered the crowning glories of Singspiel, Singspiel, once _Bastien und Bastienne which then led the way forward to the operas considered the”low- of Carl Maria von Weber, Heinrich Marschner, brow” 18th century Wolfgang Mozart Richard Wagner and Richard Strauss. Singspiel, musical entertain- _Die Jagd (The Huntsman) ment, eventually Johann Adam Hiller Zaïde – Wolfgang Mozart once considered the”lowbrow” 18th century gave birth to Ger- musical entertainment, eventually gave birth to man opera. _Die Entführung aus dem Serail (The Abduction German opera. from the Seraglio) Wolfgang Amadeus Mozart

_Der Schauspieldirektor (The Impresario) Wolfgang Mozart

_(MI>EYFIVÂ}XI (The Magic Flute) Wolfgang Mozart

_Fidelio Ludwig van Beethoven

_Abu Hassan Carl Maria vonWeber

_Die Verschworenen (The Conspirators) Franz Schubert

_Die Hochzeit des Camacho (Camacho’s Wedding) Felix Mendelssohn

64 Florida Grand Opera // So what is Singspeil? Study Guides // Magic Flute 65 © GNOMELOOK

TheFreemasonry, Founding Fathers and, The Magic Flute

Freemason’s symbol Excerpt from http://www.bslopera.com/images/Magic_Flute_Study_Guide.pdf

66 Florida Grand Opera // Freemasory Study Guides // Magic Flute 67 Freemasonry is an ancient secret order devoted to Freemasonry is Almost every president from George Washington an ancient secret the moral development of individuals. Its roots are XS%RHVI[ .EGOWSR [EW E *VIIQEWSR I\GITX JSV order devoted in the Judeo-Christian tradition and its symbols to the moral John Adams and John Quincy Adams). Some of dervie from the building, destruction and recon- development of XLIQ TEVXMGYPEVP] HIMWXW PMOI 8LSQEW .IJJIVWSR struction of the Temple of Jerusalem. However, individuals. QE]LEZILEHTLMPSWSTLMGEPGSRÂMGXWWMRGI*VII- even today there is still debate over the actual date masons profess absolute allegiance to a supernat- and location of the origins of modern Freemason- YVEPHIMX][LIVIEW.IJJIVWSRPMOIQSWXSJXLITLM- V]7SQILMWXSVMERWHEXIMXFEGOXSXLIJSVQEXMSRSJ losophers of his time, was interested in natural law, fraternal organizations as an outgrowth of medie- the natural sciences and the rule of reason. val stonemason guilds in the 1200s and others see &SXL;SPJKERK1S^EVXERH)QERYIP7GLMOERIHIV XLIÁVWXWMKRMÁGERXIZIRXMRQSHIVR*VIIQEWSRV] were Freemasons, and used Freemasonry princi- EWXLIJSVQEXMSRSJXLIÁVWX+VERH0SHKIMR0SR- TPIW[LMPI[VMXMRK8LI1EKMG*PYXI%QSRKXLIOI] don in 1717. principles to be considered was: Tamino to meet Freemasons insist they are not a religion but a “on level” with other men, the men who gathered LERHQEMHIRXSVIPMKMSR[LMGL[MPPQEOITMSYWSV in the “Lodge”(as Freemasons are all equal and on serious persons better members of their church- the same level, regardless of social status or occu- es. Nevertheless, at various times in the past, Free- TEXMSR 1S^EVXERH7GLMOERIHIVHVI[JVSQSXLIV masons have been persecuted by established reli- WSYVGIWEW[IPPZEVMSYWI\SXMGXEPIWXLEX[IVIÂSEX- gions. By the 18th century, particularly in Catholic ing around at the time, and used in other, less dis- countries such as Italy and Austria, Freemasonry tinguished extravaganzas. It was probably Mozart’s and the church were on a collision course. During MHIEPMWQEWQYGLEW*VIIQEWSRV]MXWIPJXLEXXSSO the course of the Enlightenment and the Ameri- over as the moral principle of the opera. Never- can and French Revolutions, certain concepts of theless, most productions of The Magic Flute be- Both Wolfgang Mo- *VIIQEWSRV][IVIXEOIRYTF]XLITSPMXMGEPPIEHIVW zart and Emanuel tween 1800 and 1950 had an overwhelmingly large “Liberty , Equality, Fraternity,” was the rallying cry 7GLMOERIHIV[IVI amount of Freemasonry in their décor, costumes, of the French Revolution and came from a triad of Freemasons, and and symbolism. Mozart despised the patronage used Freemasonry Masonic principles. principles while writ- system (a system of servitude) under which he la- The Magic Flute. bored for most of his career. Freemasonry played an interestring role in the ing founding of the United States of America. The great majority of the signers of the Declaration of Independence were Freemasons, as were most of the generals in the Revolution.

68 Florida Grand Opera // Freemasory Study Guides // Magic Flute 69 As a musician, he felt as though he was treated as -XMWÁXXMRKXLIVIJSVI a servant. If the aristocratic rulers (the Archbishop that the themes in The Magic FluteVIÂIGX TRINITYLODGE © of Salzburg, Emperor Joseph II, various counts and Mozart’s visions for HYOIW WEMHµ.YQT¶1SÊVXGSYPHYWYEPP]SRP]EWO a society in which all “How high?” Prior to the early 19th century, the age persons are created of Ludwig van Beethoven and Giaochino Rossini, equal, and truth and goodness always tri- musicians were craftsmen, just as a servant might umph over deception have been. The Magic Flute[EW1SÊVX¸WÁVWXERH and evil. only opera to be written for a popular theatre and not under the patronage of the royalty or nobility. Sadly, he died a few months after its completion. -XMWÁXXMRKXLIVIJSVIXLEXXLIXLIQIWMRThe Magic FluteVIÂIGX1SÊVX¸WZMWMSRWJSVEWSGMIX]MR[LMGL all persons are created equal, and truth and goodness always triumph over deception and evil.

George Washington

MusicMozart’s

Score from The Magic Flute Excerpt from http://www.operalyra.ca/media/Tab-Learn/OLO_MF_E_web.pdf

72 Florida Grand Opera // Mozart’s Music Study Guides // Magic Flute 73 Mozart is the greatest composer of all. Beethoven cre- More than 200 years .YWX EW 1S^EVX¸W QYWMG VIEGLIH FEGO XS +ISVKI ated his music, but the music of Mozart is of such purity after his death we Handel, Johann Bach and the high Baroque, it are still fascinat- and beauty that one feels he merely found it – that it has ed by this musical also reached forward to Beethoven and the age of always existed as part of the inner beauty of the universe genius, and we hear romanticism. In this opera we can hear that full waiting to be revealed. his music in movies, spectrum of musical achievement. advertisements and –Albert Einstein on television. More than 200 years after his death we are still Wolfgang Amadeus Mozart’s music is an example Mozart’s legacies as a fascinated by this musical genius, and we hear his of true classical style, as is the music of Christoph composer also include music in movies, advertisements and on television. the creation of complex ;MPPMFEPH +PYGO .SWITL ,E]HR ERH 0YH[MK ZER The 250th anniversary of his birth in 2006 brought and sophisticated tex- Beethoven. The classical period lasted from 1750- XYVIWXLEXPSSOJSV[EVH about much publicity for Mozart, even giving way 1820 and was noted for clarity, balance and ex- to the turbulence and JSV NMKWE[ TY^^PIW TIVJYQI QMPOWLEOIW ERH E pressive qualities achieved through tension and passion of romanticism. chocolate named after him. release with the prominence of melody. And yet Mozart’s legacies as a composer also include the creation of complex and sophisticated textures XLEXPSSOJSV[EVHXSXLIXYVFYPIRGIERHTEWWMSR of romanticism. Besides operas he also wrote piano concertos, piano sonatas, dances, symphonies, string quartets and religious music such as masses 1S^EVXLEHXSQEVOIXLMWGVEJXERHPMOILMWGSR- temporaries, he wrote music that would appeal to its intended audience. He also challenged the public to move beyond its comfort zone. He was sometimes criticized for writing music that was too complicated for his listeners. Le Nozze di Figa- ro is perhaps the most popular of all the Mozart operas and it has never dropped out of the stan- HEVHVITIVXSMVIWMRGIMXWÁVWXTIVJSVQERGI

TheEnlightenment age of

Wright of Derby, The Orrery, 1765 Excerpt from http://www.operalyra.ca/media/Tab-Learn/OLO_MF_E_web.pdf

76 Florida Grand Opera // The age of Enlightenment Study Guides // Magic Flute 77 Wolfgang Amadeus Mozart was born in the mid- The Age of Enlight- New inventions revolutionized the way people HPISJEGIRXYV]ÁPPIH[MXLGLERKI8LI%KISJ)R- enment, also called lived. Traditionally a rural agricultural society, The Age of Reason, lightenment, also called The Age of Reason, was Europe gradually became more industrius and was a turbulent time a turbulent time of revolutionary religious, social of revolutionary urban during the 18th century. Although the ERHWGMIRXMÁGXLSYKLX2I[MRZIRXMSRWERHXVERW- religious, social and Industrial Revolution had not yet begun, there formations changed how families made their liv- WGMIRXMÁGXLSYKLX were signs that change was afoot. ing. In the 17th century Galileo Galile’s observa- Times were also changing for women. Although XMSRW SJ XLI QSSR ERH .YTMXIV XLVSYKL XLI ÁVWX they did not yet have property rights, women were telescope determined that the universe was guid- becoming educated in the arts. Upper-class women ed by mathematical principles. Sir Isaac Newton learned to paint, draw, sing and play music. Women explained universal gravitation and developed of lower classes began lives of never-ending XLVIIPE[WSJQSXMSR;VMXIVWXLMROIVWERHTLMPSW- toil in factories as family structures changed ophers such as Jean-Jacques Rousseau, Voltaire, to accommodate an industry-based economy. David Hume, Jonathon Swift and Mary Wolstone- craft questioned the nature of social justice and There is no stronger statement from the Age of human identity. Reason than the resulting American Declaration of Independence and the American Revolution The idea that humans were born sinful in a (1775-1783). The French Revolution (1789-1799) god-centered universe, was giving way to a view was springboarded through monumental changes that people are born with “inalienable rights,” nat- XEOMRKTPEGIMR)YVSTI³XLIRI[FIPMIJNYWXMÁIH urally good, in a universe governed by reason, rath- XLEXXLIFVIEOHS[RSJGPEWWWXVYGXYVIERHVIWTIGX er than simple faith. The notion of Utopia seemed for the monarchy in both countries. Canada SFXEMREFPI :SPXEMVI¸W [SVO 'ERHMHI HITMGXIH E experienced its own upheaval at the time, with the scenario in “the best of all possible worlds.” The end of the Seven Years’ War resulting in Canada struggle to reconcile these visions of the world becoming exclusively British (1763). Some of this SJXIRXSSOTPEGI[MXLMRSRIMRHMZMHYEPEW[IPPEW WSGMEPXYVQSMPMWVIÂIGXIHMRXLIWXSV]PMRISJThe in society at large. Newton, devoutly religious, be- Magic Flute. lieved that although the planets followed a math- ematically determined route, it was God who set XLITPERIXWMRQSXMSRMRXLIÁVWXTPEGI

78 Florida Grand Opera // The age of Enlightenment Study Guides // Magic Flute 79 Many interpreters have suggested the the Queen of © CLIPART the Night is is supposedly representing the older tyrannical rulers of Europe- most immediately ORS[R XS 1S^EVX MR XLI JSVQ SJ XLI )QTVIWW Maria Theresa of Austria. She ruled ruthlessly and exerted power through lies, manipulation and bullying, most dramatically when she required her own daughter to commit murder.

By contrast, Sarastro represents the Enlightened Monarch – a middle way which lies in between absolute monarchy and democracy in political terms. Maria Theresa’s son, the Emperor Joseph II may have been the model for Sarastro. He was Mozart’s patron and a was a progressive monarch. Using the opera as a He ruled absolutely, but only in reference to vehicle of thought, reason, justice and truth. Using the opera as a Mozart discussed some of the most vehicle of thought, Mozart discussed some of the contentious and topi- most contentious and topical issues of his time. cal issues of his time.

Writing of the Declaration of Indepence

UnconventionalMozart’s Heroine Pamina

Liseth Orepesa as Pamina Excerpt from http://www.operalyra.ca/media/Tab-Learn/OLO_MF_E_web.pdf

82 Florida Grand Opera // Pamina Study Guides // Magic Flute 83 What made Pamina different from Wolfgang The idea that Pamina is not just content to be Mozart’s other heroines? chained to her situation is thought of to be a novelty in The Magic Flute. The hero doesn’t just Pamina is not the heroine in the sense of Mozart’s Pamina is the hero’s gain the simple maiden that he assumes her to S[R*MSVHMPMKMSV'SRWXER^I8LIIPIZEXIHHIÁERGI comrade and she is not the usual femi- be. Mozart presents this through Act 1, when he [LMGL ÁRHW XLI GSPSVEXYVE YXXIVERGI MR µ'SQI nine role. portrays Tamino off to search for her, but Papageno scoglio” and “Martern aller Arten” would be arrives in the middle of Monostatos’s seduction quite atypical of Pamina. That particular aspect and accidently rescues her, instead of Tamino. SJHIÁERGIMRThe Magic Flute transferred to the antagonist, the Queen of the Night, whose extreme 0EXIVMRXLIWSRKµ%GLMGLJLPW¶³LIVÁVWXWSPSMR coloratura arias are the real parallel of those XLISTIVE³4EQMREWXVMOIWETVSJSYRHERHTPERKIRX compared to Fiordiligi and Constanze. note of almost unbearable grief and Mozart gives LIVXLEX+QMRSVQYWMG[LMGLWIIQWXSFVIEOSYX However, Pamina is far from helpless. It is she who of every 18th convention into the musical idiom. ÁREPP] XEOIW GSQQERH I\TPEMRW XS 8EQMRS XLI When Pamina exits, having sung solo in the opera SVMKMR SJ XLI QEKMG ÂYXI ERH SJJIVW XS PIEH LMQ ³4EQMREWXVMOIWETVSJSYRHERHTPERKIRXRSXISJ She is the hero’s comrade and she is not the usual almost unbearable grief and Mozart gives her that feminine role that is dangled in front of the hero +QMRSVQYWMG[LMGLWIIQWXSFVIEOSYXSJIZIV] urging him onwards. The play between the two 18th convention into the musical idiom. When characters shows two opposite situations. Tamino 4EQMREI\MXWLEZMRKWYRKXLIÁREPVITIXMXMSRSJ is shown trying to be a conventional romantic “im Tode sein,” she is about to commit suicide. hero while Pamina tries to overcome the usual 8LIVI MW RS HIÁERGI MR LIV EVME RS GSPSVEXYVE heroine stereotype. The opera shows growth of simply despair and the longing to be at rest. Her Pamina’s character. The idea of a woman to be able despair is as deep as her love. Mozart has given to share her life equal to a man is a contribution LIVXLIFPIEOIWXQYWMGERHWSQISJXLIKVIEXIWXLI from the early German Romantics. It is, in fact, a ever wrote, outside the “Requiem.” new facet which helped the rise of the feminism in the late 19th century. In The Magic Flute, the Nothing better demonstrates the originality of The concept of the waiting heroine captured and in Magic Flute than through Pamina’s character, which RIIH SJ VIWGYI MW ÁVWX TVIWIRXIH ,S[IZIV PEXIV MW IUYEP XS 8EQMRS YRPMOI XLI HIZSXIH [SQIR on, Pamina transforms from a silly girl to a woman of Romantic opera whose love usually becomes during the course of the opera. either an embarrassment or an excuse for suicide. The passive heroine has become active, holding a special place with Mozart’s heroines. 84 Florida Grand Opera // Pamina Study Guides // Magic Flute 85 © AUSTRALIA OPERA AUSTRALIA ©

Gender“The Magic in Flute”

The Magic Flute, one of Mozart’s most popular operas )\GIVTXJVSQ7XYGOI]4VMWGMPPEµ0MKLX(MWTIPW(EVORIWW+IRHIV6MXYEPERH7SGMIX]MR1S^EVX¸Wµ8LI 5-39. pp. Spring 1995, 1. No. 11, Vol. Studies in Religion. of Feminist Magic Flute.””Journal

86 Florida Grand Opera // Gender in The Magic Flute Study Guides // Magic Flute 87 The issue of gender and the idea of women is In this one religious symbol, the Sun-Circle brought up multiple times in this classic opera. are joined by the twin values of wisdom and At one point, Sarastro, upon hearing that Tamino masculine power. The Sun-Circle, property of learned from the Queen of the Night that the men, symbolizes the masculine half of the sun- temple was evil, exclaims, “A woman does little, moon duality. To own it one must be wise, which, chatters a lot, and you, a boy, believed the wagging was only considered to be in the power of men. tongue!” The Queen of the Night is called arrogant In the view of the temple, a woman’s mind could for challenging male power. RSX KVEWT XLI WYFXPIXMIW SJ VIPMKMSYW ORS[PIHKI and trying to do so would mean threatening the Her particular offense consists of trying to win patriarchical structures of power. FEGOEVIPMKMSYWW]QFSPXLI7YR'MVGPIXLEXRS[ belongs to Sarastro. We learn in Act 2 that the Sun- The Queen of the Night and indeed all women Circle originally belonged to Pamina’s father. When belonging to her realm embody an inferior, if he died he bequeathed all he had to the Queen and not downright evil, morality. Sarastro, possessor Pamina, but gave the Sun-Circle to Sarastro and of the Sun-Circle, embodies all the enlightened the temple initiates. “Sarastro will use it as manfully divine traits that secular and mystical traditions EW-LEZIHSRI¶XLIH]MRKQERXSPHLMW[ÁIµ(S EPMOI EXXVMFYXIH XS QEWGYPMRI EGXMZMX] ERH TS[IV not try to understand things beyond the grasp of Therefore, in Sarastro’s temple, light is preferred woman’s mind. It is your duty to place yourself and SZIVHEVORIWWWYRMWWYTIVMSVXSQSSRERHHE] your daughter under the leadership of wise men.” is welcomed after night. Women, associated with (Act 2, Scene 8). QSSRERHHEVORIWWEVIGSRWMHIVIHMRJIVMSVFSXL FIGEYWIXLI]PEGOVIEWSR¸WPMKLXERHFIGEYWIXLI] IQFSH]EHIKIRIVEXIQSVEPMX]PEGOMRKGSRXVSPSJ their senses and passions.

Class“The inMagic the Flute” The Magic Flute Australia

“It is really a shame that I cannot stop chattering.” As capitalism developed during the 18th century, – Papageno (Act 2, Scene 5) Papageno reveals class distinctions became more pronounced. XLVSYKLLMW[SVHWXLEXLIMWPMOI[SQIRSVQSVI *SVXLIÁVWXXMQIWMRGIERXMUYMX]XLIIPMXIGPEWW TVIGMWIP] PMOI XLI XIQTPI¸W GSRWXVYGXMSR SJ XLI HIÁRIH MXWIPJ MR STTSWMXMSR XS TSTYPEV GYPXYVI feminine. He too is unable to control his tongue. Elites assigned lower classes the vices of sensuality, The temple’s religion sets a parallel between all ignorance, superstition and credulity. Papageno’s women and men of lower classes: the inability inability to control his impulses, his gullibility and XSOIITWIGVIXW4PE][VMKLXWSJ:MIRRIWITSTYPEV his sensuality dramatize the differences that elite dramas during the 18th century represented this classes of the 18th century that were perceived. class difference by contrasting the noble hero with 7IGVIG] LEH QEVOIH XLI HMJJIVIRGI FIX[IIR his comic servant. In the dramatic era of tradition initiated and profane in mysterious religions in which The Magic Flute stands, the hero of the since antiquity. As the mysterious traditions play went on his adventures accompanied always were rediscovered by Europeans during the by a peasant man who provided entertainment as 6IREMWWERGIWIGVIG]GEQIQSVIERHQSVIXSQEVO EHYRGISVJSMP8LMWWXSGOGLEVEGXIVSJXIRWTSOI the difference between privileged and pauper; with ribald humor and was adept with obscene until the 18th century, Freemasonry consisted of gestures. Papageno plays this bawdy simpleton in men primarily from the ruling classes. relation to Tamino.

Race“The in Magic the Flute” Monostatos, in The Magic Flute

If Papageno is the lower-class male version In the character of µ8LIEZIRKMRKQSXLIVERHXLIXVEMXSVSYWFPEGOWPEZI Monostatos we see of a “feminine” chatterbox, then Monostatos, are not human,” says Sarastro, “they are both evil.” that the gendered 7EVEWXVS¸WFPEGOWPEZIIQFSHMIWXVIEGLIV]ERSXLIV cosmos of light and &SXLFIPSRKXSHEVORIWW XLI5YIIRSJXLI2MKLX “feminine” vice. In the character of Monostatos HEVORIWWMR7EVE- since she rules the night, and the slave because we see that the gendered cosmos of light and stro’s temple also LI MW µFPEGO¶ MR WSYP &SXL EVI QIVIP] VIZIEPMRK divides along lines HEVORIWW MR 7EVEWXVS¸W XIQTPI EPWS HMZMHIW EPSRK of race. through their outward choices the true nature that PMRIWSJVEGI8LIGEXIKSV]SJQIRMWFVSOIRHS[R VIWMHIW[MXLMR0MOI1SRSWXEXSWXLIFPEGOQIRSJ according to men who are faithful and men who Renaissance literature was considered lecherous are treacherous, with deception and betrayal as well as treasonous. By the time Monostatos assigned to Monostatos and to the metaphorical appeared on the stage, therefore, the practice of IUYMZEPIRXWSJFPEGOWOMRERH JIQMRMRI HEVORIWW IUYEXMRKXLIµ1SSV¶[MXLFPEGORIWWXVIEGLIV]ERH Monostatos, throughout the opera, portrayed lust was well entrenched in European minds. His himself unworthy of the masculine sun religion by ZIV] REQI 1SRSWXEXSW IZSOIW YRMXEV] WXEXMW ER FIGSQMRKEXVEMXSV,MWFPEGOWOMRMWEQIXETLSVMGEP inability to progress toward enlightenment. Pamina VITVIWIRXEXMSRJSVLEZMRKEµFPEGO¶WSYP8LIJEGXLI by contrast, is white both bodily and symbolically. commits treason by leaving the temple and joining She changes over the course of the opera, leaving the Queen’s forces should surprise no one. her original loyalty (to her mother, the Queen) and moves toward the masculine temple.

92 Florida Grand Opera // Race in The Magic Flute Study Guides // Magic Flute 93 The Magic Flute was composedWhat else happened in 1791 in that year?

History_Politics C%YWXVMEERH8YVOI]WMKR4IEGISJ7MWXSZE Literature_Theater _Ann Radcliffe – The Romance of the Forest _French Constitution passed by French _Elizabeth Inchbald – A Simple Story National Assembly _Olympe de Gouges, Declaration of the Rights of C(YXGLTVMRGI;MPPIQ*VIHIVMOQEVVMIWLMWRMIGI Women and the Female Citizen TVMRGIWW*VIHIVMOE0SYMWI;MPLIPQMRESJ4VYWWME _Thomas Paine – The Rights of Man _King Louis XVI caught trying to escape the French Revolution C&MPPSJ6MKLXWVEXMÁIH[LIR:MVKMRMEKEZI Religion_Philosoph_ C,IMRVMGLZSR8VIMXWGLOI+IVQER Learning its approval historian, dies (1834) _Congress establishes U.S. Mint _Five annual Nobel prizes established for those _Danish navigator Vitus Jonas Bering who during the preceding year HMWGSZIVW%PEWOE WLEPPLEZIGSRJIVVIHXLIKVIEXIWXFIRIÁXWSRQER- _Battle at Wabash: Native Americans assault Gen- OMRHMRXLIÁIPHWSJTL]WMGWTL]WMSPSK]ERHQIHM- IVEP7X'PEMVERHOMPPWSPHMIVW cine, chemistry, literature, and peace +VYR&IVREVHERH;IVRIV7XIMR8LI8MQIXEFPIWSJ,MWXSV]%,SVM^SRXEP0MROEKISJ4ISTPIERH)ZIRXW2I[=SVO7MQSR 7GLYWXIVTT

94 Florida Grand Opera // What else happened that year? Study Guides // Magic Flute 95 Visual Arts _James Barry: The Tames (or Triumph Science_Technology_ _Luigi Galvani, publishes his discoveries in “ani- of Navigation) Growth mal electricity” (Galvanism) _Théodore Géricault, French painter, born, pio- _Titanium is discovered in ilmenite in Cornwall, neer of the Romantic movement (dies 1824) England, by local amateur geologist _Jean-Baptiste Descamps, French painter of vil- Rev. William Gregor. lage scenes, dies (born 1714) _Pierre Prévost shows that all bodies radiate heat, no matter how hot or cold they are. C.SLR *MXGL KVERXW 97 TEXIRX JSV LMW [SVOMRK steamboat Music _Carl Czerny, composer, born (dies 1857) _Johann Franz Encke, German chemist and physicist, _Joseph Haydn: Symphony No. 95 in C minor born (dies 1865) _Giacomo Meyerbeer, composer, born, (dies 1861) _Wolfgang Mozart: La Clemenza di Tito, K. 621 _ Wolfgang Mozart: Clarinet Concerto in A Major, Daily Life C*MVWX&EROSJ9RMXIH7XEXIWGLEVXIVIH K. 622 C:IVQSRXEHQMXXIHEWXLWXEXI ÁVWXEHHMXMSRXS _Wolfgang Mozart: Requiem, K. 626 the 13 colonies) _First Catholic college in the United States, Georgetown University , opens C2I[ =SVO 'MX] XVEJÁG VIKYPEXMSR GVIEXIW ÁVWX 1-way street

96 Florida Grand Opera // What else happened that year? Study Guides // Magic Flute 97 References

&IVO1*1ZERHIR8LIQEKMGÂYXI!(MI Evenden, Michael. 1999. Silence and selfhood: the >EYFIVÂ}XIEREPGLIQMGEPEPPIKSV]0IMHIR&VMPP HIWMVISJSVHIVMR1S^EVX¸W1EKMG*PYXI2I[=SVO P. L a n g . &YGL(EZMH.SWITL1EKMGÂYXIW IRGLERX- ed forests: the supernatural in eighteenth-century Grun, Bernard, and Werner Stein. The Timetables musical theater. Chicago: University SJ ,MWXSV]% ,SVM^SRXEP 0MROEKI SJ 4ISTPI ERH of Chicago Press. )ZIRXW2I[=SVO7MQSR 7GLYWXIV

Cherlin, Michael, Filipowicz, Halina, and Rudolph, ,IRV] .EGUYIW .EGO 'EMR ERH &VMKMXXI 1EWWMR Richard. The Great Tradition and Its Legacy: The 1S^EVX XLI JVIIQEWSR XLI QEWSRMG MRÂY- Evolution of Dramatic and Musical Theatre in ence on his musical genius. Rochester, VT: Inner Austria and Central Europe. Volume 4: Austrian Tr a d i t i o n s. and Habsburg Studies. Canada: &IVKLELR&SSOW ,SRSPOE /YVX ERH 6IMRLEVH + 4EYP] 4E- TEKIRS)QERYIP7GLMOERIHIVQERSJXLIXLIEXIV )GOIPQI]IV.YHMXL%ERH;SPJKERK%QEHIYW1S- in Mozart’s time. Portland, Or: Amadeus Press. zart. 1991. The cultural context of Mozart’s Magic ÂYXIWSGMEPEIWXLIXMGTLMPSWSTLMGEP0I[MWXSR

98 Florida Grand Opera // References Study Guides // Magic Flute 99 Hunter, Mary Kathleen. 2008. Mozart’s operas: a Levey, Michael. “Aspects of Mozart’s Heroines.” companion. New Haven, CT: Yale University Press. Journal of the Warburg and Courtauld Institutes. Vol. 22, No 1/2 (January-June, 1959), pp. 132-156. Keefe, Simon P. 2003. The Cambridge companion to Mozart. Cambridge: Cambridge University 1S^EVX ;SPJKERK %QEHIYW )QERYIP 7GLMOER- Press. IHIVERH'EVP0YH[MK+MIWIGOI8LI1EKMG ÂYXI0SRHSR.'EPHIV Landon, H. C. Robbins. 1988. 1791, Mozart’s last ]IEV2I[=SVO7GLMVQIV&SSOW 7XYGOI]4VMWGMPPEµ0MKLX(MWTIPW(EVORIWW+IR- der, Ritual, and Society in Mozart’s “The Magic Flute.””Journal of Feminist Studies in Religion. Vol. 11, No. 1. Spring 1995, pp. 5-39.

100 Florida Grand Opera // References Study Guides // Magic Flute 101 THIS STUDY GUIDE WAS WRITTEN AND PRODUCED BY:

Written and produced by: Kevin Mynatt Managing Director Florida Grand Opera Florida Grand Opera Education Department Ramon Tebar 8390 NW 25th Street Music Director Miami, FL, U.S.A. 33122 Florida Grand Opera Tel: (305) 854-1643 Fax: (305) 854-1644 Cerise Sutton www.FGO.org/education Director of Education Florida Grand Opera Copyright ©2012 by Florida Grand Opera (FGO) All rights reserved by FGO. Jeffrey Williams No part of this publication may be reproduced Consultant/Writer without prior permission from FGO. Michael Arbulu Contributing Writer and Editor

Bijal Mehta Contributing Writer and Editor Education Intern Florida Grand Opera

Fernando Loverri Graphic Design Artist Education Intern Florida Grand Opera

Special thanks to: Jeanette Vecchione Queen of the Night in The Magic Flute

102 Florida Grand Opera // Credits Study Guides // Magic Flute 103 Florida Grand Opera gratefully recognizes the following donors who have provided support of its education programs. Study Guide 2012 / 2013

Batchelor MIAMI BEACH Foundation Inc.