Salzburg, Le 24 D'avril3 Ma Trés Chére Cousine!4 1780 You Answered My
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The Magic Flute Synopsis
Mozart’s The Magic Flute Synopsis ACT I Three ladies in the service of the Queen of the Night save the fainting Prince Tamino from a serpent (“Zu Hülfe! zu Hülfe!”). When they leave to tell the queen, the bird catcher Papageno bounces in and boasts to Tamino that it was he who killed the creature (“Der Vogelfänger bin ich ja”). The ladies return to give Tamino a portrait of the queen’s daughter, Pamina, who they say is enslaved by the evil Sarastro, and they padlock Papageno’s mouth for lying. Tamino falls in love with Pamina’s face in the portrait (“Dies Bildnis ist bezaubernd schön”). The queen, appearing in a burst of thunder, is grieving over the loss of her daughter; she charges Tamino with Pamina’s rescue (“Zum Leiden bin ich auserkoren”). The ladies give a magic flute to Tamino and silver bells to Papageno to ensure their safety, appointing three spirits to guide them (“Hm! hm! hm! hm!”). Sarastro’s slave Monostatos pursues Pamina (“Du feines Täubchen”) but is frightened away by the feather-covered Papageno, who tells Pamina that Tamino loves her and intends to save her. Led by the three spirits to the Temple of Sarastro, Tamino is advised by a high priest that it is the queen, not Sarastro, who is evil. Hearing that Pamina is safe, Tamino charms the animals with his flute, then rushes to follow the sound of Papageno’s pipes. Monostatos and his cohorts chase Papageno and Pamina but are left helpless by Papageno’s magic bells. Sarastro, entering in great ceremony (“Es lebe Sarastro”), promises Pamina eventual freedom and punishes Monostatos. -
The Magic Flute' and It’S Written by a Composer Called Wolfgang Amadeus Mozart
I’VE NEVER BEEN TO THE OPERA BEFORE. WHAT’S IT GOING TO BE LIKE? It’s great fun! You can expect to hear lots of great music and acting. All operas tell a story with performers who act and sing on a stage in costume whilst a band of musicians (aka an orchestra) play along. The opera that you’ll be coming to see is called 'The Magic Flute' and it’s written by a composer called Wolfgang Amadeus Mozart. E WASN'T MOZART AROUND A LONG TIME AGO? IS 'THE MAGIC FLUTE' A T REALLY OLD OPERA? U Yes, Mozart lived over 200 years ago and 'The Magic Flute' was first performed in 1791. However, all the costumes and the set are all brand spanking new and L of course all the people performing aren’t 200 years old! F The costumes, set, lighting and the way the performers act is what’s known as the production, all created by a team of people led by a director. You’ll be coming to see a new production of 'The Magic Flute' today. If you see another C production of 'The Magic Flute' in the future, it’ll look totally different to this one! I G IS THE WHOLE OF 'THE MAGIC FLUTE' SUNG? A Not all of it. 'The Magic Flute' is a type of German opera called a ‘singspiel’ M which means there are several moments where the performers speak instead of singing. E DOES THIS MEAN THAT THE OPERA WILL BE IN GERMAN? H Yes it does! But don’t worry. -
Mozart's Scatological Disorder
loss in this study, previous work has been descriptive Our study shows that there is a potential for hearing in nature, presenting the numbers of cases of hearing damage in classical musicians and that some form of loss, presumed to have been noise induced orcomparing protection from excessive sound may occasionally be hearing levels with reference populations.'7-8 Both needed. these descriptive methods have shortcomings: the former depends on the definition of noise induced 1 Health and safety at work act 1974. London: HMSO, 1974. 2 Noise at work regulations 1989. London: HMSO, 1989. hearing loss, and the latter depends on identifying a 3 Sataloff RT. Hearing loss in musicians. AmJ Otol 1991;12:122-7. well matched reference population. Neither method of 4 Axelsson A, Lindgren F. Hearing in classical musicians. Acta Otolaryngol 1981; 377(suppl):3-74. presentation is amenable to the necessary statistical 5Burns W, Robinson DW. Audiometry in industry. J7 Soc Occup Med 1973;23: testing. We believe that our method is suitable for 86-91. estimating the risk ofhearing loss in classical musicians 6 Santucci M. Musicians can protect their hearing. Medical Problems ofPerforming Artists 1990;5:136-8. as it does not depend on identifying cases but uses 7 Rabinowitz J, Hausler R, Bristow G, Rey P. Study of the effects of very loud internal comparisons. Unfortunately, the numbers music on musicians in the Orchestra de la Suisse Romande. Medecine et Hygiene 1982;40:1-9. available limited the statistical power, but other 8 Royster JD. Sound exposures and hearing thresholds of symphony orchestra orchestras might be recruited to an extended study. -
Major Themes in the Magic Flute Filled with Ritual and Symbolism
Major Themes in The Magic Flute Filled with ritual and symbolism, Mozart’s final masterpiece is a playful but profound look at man's search for love and his struggle to attain wisdom and virtue. From the virtuosic arias of the Queen of the Night to the folksong-like melodies of the bird catcher Papageno, the full range of Mozart's miraculous talent is on display in this magical fairy-tale opera. That The Magic Flute is a barely veiled Masonic allegory cannot be doubted. It acts, in fact, as a kind of introduction to the secret society. Its story celebrates the main themes of masonry: good vs. evil, enlightenment vs. ignorance, and the virtues of knowledge, justice, wisdom and truth. The evocation of the four elements (earth, air, water and fire), the injunction of silence in the Masonic ritual, the figures of the bird, the serpent and the padlock as well as the ‘rule of three’ all play important roles in the plot or in the musical fabric of the opera (three ‘Ladies’, three ‘Boys’, three loud chords at the beginning of the overture signifying the three ‘knocks’ of the initiates at the temple, three temples, the three flats of E-flat Major which is the primary tonality of the work, etc.) All of these symbols and characteristics come from Egyptian lore and the various original texts of Masonry; hence the opera’s libretto is set in Egypt, although many productions eschew that specification. Sources: operapaedia.org & sfopera.com Definition of Freemasonry (the Masonic order) Freemasonry is a fraternal organization that arose from obscure origins in the late 16th to early 17th century. -
Mozart's Operas, Musical Plays & Dramatic Cantatas
Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct. -
A European Singspiel
Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel. -
Leopold and Wolfgang Mozart's View of the World
Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage. -
The Magic Flute
The Magic Flute PRODUCTION INFORMATION Music: Wolfgang Amadeus Mozart Text (English): Emanuel Schikaneder English Translation: J.D. McClatchy World Premiere: Vienna, Theater auf der Wieden Austria, September 30, 1791 Final Dress Rehearsal Date: Friday, December 13, 2013 Note: the following times are approximate 10:30am – 12:30pm Cast: Pamina Heidi Stober Queen of the Night Albina Shagimuratova Tamino Alek Shrader Papageno Nathan Gunn Speaker Shenyang Sarastro Eric Owens Production Team: Conductor Jane Glover Production Julie Taymor Set Designer George Tsypin Costume Designer Julie Taymor Lighting Designer Donald Holder Puppet Designers Julie Taymor and Michael Curry Choreographer Mark Dendy 2 Table of Contents Production Information 2 An Introduction to Pathways for Understanding Study Materials 4 Meet the Characters 5 The Story of The Magic Flute Synopsis 6 Guiding Questions 8 The History of Mozart’s The Magic Flute 10 Guided Listening Overture 12 I’m sure that there could never be 13 Such loveliness beyond compare 14 Don’t be afraid, now hear my song 15 The wrath of hell is burning in my bosom 16 Now I know that love can vanish 17 If only I could meet her 18 Pa-pa-ge-na! – Pa-pa-ge-no! 19 The Magic Flute Resources About the Composer 20 The Enlightenment & Singspiel 22 Online Resources 25 Additional Resources The Emergence of Opera 26 Metropolitan Opera Facts 30 Reflections after the Opera 32 A Guide to Voice Parts and Families of the Orchestra 33 Glossary 34 References Works Consulted 38 3 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. -
DMG · Leopold!
LEOPOLD! 300 Jahre Leopold Mozart · Jubiläumsmagazin der Deutschen Mozart-Gesellschaft HEIMAT AUGSBURG DER NETZWERKER SEINE MUSIK DIE VIOLINSCHULE LEOPOLD DURCH DIE BRILLE DER NACHWELT MIT KONZERT-TIPPS: JubiLeo! Deutsches Mozartfest 11. — 26. Mai 2019 EDITORIAL Liebe Mitglieder der DMG, liebe Augsburgerinnen und Augsburger, Anlässlich des 300. Geburtstags von Leopold Mozart Vieles in den Geschichten rund um Leopold führt hat es sich die Deutsche Mozart-Gesellschaft mit die- uns auch immer wieder zurück zu seinen Augsburger sem Jubiläumsmagazin zur Aufgabe gemacht, die viel- Wurzeln – dahin, wo er die geistigen Grundlagen sei- seitige Persönlichkeit des Augsburger Bürgersohnes nes späteren Wirkens erhalten haben muss. Angesichts neu zu beleuchten. Wie bei einem Kaleidoskop fokus- der Bedeutung, die nicht nur musikgeschichtlich, son- sieren die Autoren dabei aus einem jeweils anderen dern auch kulturgeschichtlich dem Augsburger Leopold Blickwinkel heraus den Menschen, Musiker, Erzieher, Mozart beizumessen ist, kommt seiner Würdigung mehr Komponisten, Reisenden und Schrift steller und es ent- als nur eine lokale Dimension zu. Das JubiLeo! bietet die steht das facetten reiche Bild eines Mannes, ohne des- Möglichkeit, seine in der Memoria der Stadt fest ver- sen Wirken die Musikgeschichte ein Stück weit anders ankerte Persönlichkeit nicht nur mit diesem Magazin, verlaufen wäre. sondern auch mit einer Reihe von hochkarätigen Ver- anstaltungen – vom Deutschen Mozartfest bis hin zum Bislang ist Leopold Mozart eher nur im Kontext der Internationalen Violinwettbewerb – in das Rampenlicht Wunderkindgeschichte um Wolfgang Amadé wahr- einer breiteren Öffentlichkeit zu stellen und einer Neu- genommen worden. Folgt man aber seinen Lebens- bewertung zu unterziehen. stationen, entsteht doch das Bild eines selbstbewussten Selfmademan und Allrounders, der selbst über eine Eine erhellende Lektüre wünscht Ihnen Ihr hohe Begabung in allen Wissensgebieten seiner Zeit verfügt haben muss. -
Mozart, Bäsle-Briefe
Wolfgang Amadeus Mozart 1756 - 1791 D i e B ä s l e - B r i e f e Mozarts Bäsle, Maria Anna Thekla Mozart, wurde 1759 als Tochter von Leopold Mozarts Bru- der Franz Aloys in Augsburg geboren. Die intime Freundschaft zwischen dem Vetter und der drei Jahre jüngeren Cousine begann mit dem Aufenthalt in Augsburg vom 11. bis 26. Oktober 1777. Im September war Mozart zusammen mit seiner Mutter aus Salzburg aufgebrochen, um zu versuchen, an einem Fürstenhof eine Anstellung zu finden. In München waren sie bereits erfolglos, als sie in Augsburg Station machten. Auch im weiteren Verlauf der Reise, die über Mannheim bis nach Paris führte, erfüllten sich die Hoffnungen nicht. Mozarts Mutter starb 1781 in Paris an Typhus und er mußte nach Salzburg zurückkehren. In den Bäsle-Briefen scheint von all diesen Schwierigkeiten und Kümmernissen nichts auf. Im letzten Brief Mozarts an die Cousine ist allerdings in dem völlig veränderten Ton die Entfremdung der beiden zu spüren. 1784 brachte Maria Anna Thekla eine un- eheliche Tochter zur Welt, wahrscheinlich von einem Augsburger Chorherrn. 1814 zog sie nach Bayreuth zu ihrer Tochter, wo sie 1841 starb. Ihre Briefe an Mozart sind nicht erhalten. Mozarts prüde Biographen und Herausgeber hatten lange Probleme mit der drastischen und derben Sprache der Briefe. Noch 1914 in der ersten kritischen Gesamtausgabe der Briefe wurden alle anstößigen Stellen eliminiert. ____________________________________________________________________________ 1. Brief [Mannheim, den 31. 10. 1777] Das ist curiös! ich soll etwas gescheutes schreiben und mir fällt nichts gescheides ein. Vergessen Sie nicht den Herrn Dechant zu ermahnen, damit er mir die Musicalien bald schickt. -
Reader's Theater Script- the Magic Flute
THE MAGIC FLUTE Wolfgang Amadeus Mozart and Emanuel Schikaneder Adapted for young readers by Joshua Borths A Reader’s Theater Script for Young Audiences! 1 Cast of Characters (in order of appearance) Narrators (1-3) They guide the audience on the journey Sarastro (za-RA-stro) The wise ruler of the Sun Prince Tamino (tah-ME-no) A foreign Prince, the hero Dragon Ladies (1-3) The Queen’s handmaidens, Each lady is different Papageno (pa-pa-GEH-no) The Queen’s birdcatcher, fun loving and funny The Queen of the Night An ultimately evil Queen, but she doesn’t let people see it Monostatos (moe-NAST-tah-toes) Sarastro’s guard, who wants to marry Pamina Pamina (pah-ME-na) The virtuous daughter of the Queen Ensemble Guards, animals, voices, attendants A quick note about Reader’s Theater… Welcome to the Arizona Opera Reader’s Theater version of Mozart’s The Magic Flute! This script takes about 10-15 minutes to perform and guides the readers and audience through the first act of the opera. This script was created with 3rd— 6th grade in mind. This script helps develop reading fluency, comprehension, and imagination as both readers and audience members alike are guided through the story of the opera. We encourage double casting (students reading more than one role) when appropriate. However, make sure everyone gets a chance to read out loud! 2 Props List (in order of appearance) Mouth Lock (For Papageno) Picture Frame (The picture of Pamina for Tamino) Magic Flute (For Tamino) Magic Bells (For Papageno) A note about performance… Putting together The Magic Flute should be a fun and educational experience for your students. -
Magic Mozart a Delighted Cabaret ! (Concert Version)
2019 I 2020 SEASON MAGIC MOZART A DELIGHTED CABARET ! (CONCERT VERSION) DIFFUSION 1ST - 22 JULY 2020 insulaorchestra.fr MAGIC MOZART A DELIGHTED CABARET ! (CONCERT VERSION) Wolfgang Amadeus Mozart (1756-1791) Excerpts from chosen works* : Duration : 1h15 without interval The Magic Flute The Marriage of Figaro Numbers: Don Giovanni 4 soloists, 41 musicians Der Stein der Weisen La Finta semplice Diffusion : Bastien und Bastienne 1st-22 july 2020 ... * possibility to add to the program the symphony n°40 in G minor Olga Pudova, soprano Léa Desandre, mezzo-soprano Ben Bliss, ténor (tbc) Armando Noguera, baryton Insula orchestra Laurence Equilbey, conductor This programme will be recorded for a Warner Classics-Erato disc (april 2020). Mozart’s music is magic. Insula orchestra takes the statement literally, offering a selection of works and musical extracts in which the wonderment of magical experience is a central theme. Known by the music lovers as well as by the general public, these poetic or comical melodies, duos and ensembles are performed in a succession of short, diverting and enchanting acts. The Magic Flute, Mozart’s last opera, composed in 1791, is of course the cornerstone, with its magic bells, bewitched animals and Queen of the Night. But we will also find there some characters from the Marriage of Figaro, Don Giovanni, La Finta semplice, Bastien und Bastienne, or from the more unusual Der Stein der Weisen (The Philosopher’s Stone), a Singspiel written by four authors among whom Mozart and the librettist of The Magic Flute, Emanuel Schikaneder. Three dominant colours are at work in these Magic Mozart sketches: the benevolence and transparency of white magic; the tumultuous emotions of love, expressing red magic in arias like “Voi che sapete” and “Porgi amor”; and black magic, driven by vengeance and symbolized by the Queen of the Night’s aria, “Der Hölle Rache”.