ClassicsOnline Home » MOZART: Zauberflote (Die) (The Magic Flute)
Wolfgang Amadeus Mozart (1756 - 1791)
Die Zauberflote / The Magic Flute / La
flute enchantee K. 620
Eine deutsche Oper in zwei Aufzugen
A German Opera in Two Acts
Text von Emanuel Schikaneder
In 1781 Mozart won independence from the ties that had
bound him to his native
Salzburg. After a childhood during which he had
astonished Europe by his feats of musicianship, there had been a less
satisfactory period of adolescence in which his gifts were the greater but his
chances to display them the less. An attempt to seek an honourable position in
Mannheim or in Paris in 1777 and 1778 led to nothing, but the successful
reception of his opera Idomeneo in Munich in January 1781 encouraged him in his
quarrel with his patron, the Archbishop of Salzburg, during the course of a
visit to Vienna immediately afterwards.
For the last ten years of his life Mozart lacked the
security of patronage and was without the careful advice of his father, Leopold
Mozart, who remained as Vice-Kapellmeister in Salzburg, unable any longer to
guide and plan his son's career. An imprudent marriage did nothing to improve
his position, but Vienna brought one very great advantage. At last it was
possible to write directly for the theatre. Mozart's first Vienna opera during
this period was the German Singspiel Die Entfuhrung aus dem Serail (The
Abduction from the Seraglio), in 1782. This was followed in 1786 by the first
of his collaborations with Lorenzo da Ponte, the Italian opera Le nozze di
Figaro (The Marriage of Figaro). In 1787, the year of his father's death, came
a further opera with Lorenzo da Ponte, Don Giovanni, and in 1790, with the same
poet, Cosi fan tutte, otherwise known as La scuola degli amanti (The School of
Lovers). The following year Mozart wrote two operas, La clemenza di Tito (The
Clemency of Titus) as a coronation opera for Prague and a German magic opera,
Die Zauberflote (The Magic Flute)for a suburban theatre in Vienna, where it was
still running at the time of his death early in December.
The Magic Flute was a collaboration with the
actor-manager Emanuel Schikaneder who in 1789 had acquired the lease of the
Freihaus Theater auf der Wieden, with the backing of a well-to-do co-director,
Joseph von Bauernfeld. Schikaneder had opened his first season with a work of
his own, a German comedy with songs in which music played a much smaller part
than in the later Singspiel produced at the theatre in the autumn of 1791. Work
on The Magic Flute started in the spring, when Schikaneder proposed the
composition of a magic opera, a genre very much in vogue, and by April it may
be inferred from Mozart's correspondence, he was at work on the project. At the
beginning of June his wife Constanze travelled to Baden to take the cure and he
found it convenient to continue work on the score in a summer-house near the
theatre. Her Schikaneder kept his composer to work, while Mozart from time to
time sought relaxation with friends. An interruption came with the commission
of a coronation opera, La clemenza di Tito, for Prague, first staged on 6th September
and described by the new Empress as "porcherra tedesca" (German
piggishness). The Overture to The Magic Flute and the March of the Priests were
written on 28th September and the first performance of the new piece at the
Wiedner Theater took place two days later, scoring an immediate and continuing
The sources of The Magic Flute have been the subject of
Schikaneder drew, as elsewhere, on the work of Wieland,
whose oriental fairy-tale collection Dschinnistan was a useful basis for a
number of stage-pieces. There was at the same time a clear debt to the
Hanswurst tradition, followed in Schikaneder's first piece for the new theatre,
Der dumme Anton (Stupid Anton), in which a simple and hence comic peasant is
placed in some situation inappropriate to his character and background a source
of comedy that finds a place in Shakespeare's A Midsummer Night's Dream when
the Queen of the Fairies falls in love with Bottom the Weaver. In The Magic
Flute the bird-catcher Papageno represents the simple man, contrasted here with
the magic or semi-divine and with the princely. Mozart and Schikaneder were
both freemason and masonic references abound in both plot and music, while
magic instruments bassoons, harps, horns or flutes - form part of the stock
repertoire of the Zauberope Freemasonry, ancient Egypt, Hanswurst or the
commedia dell'arte Harlequin, come together to form one of the most remarkable
of works, seminal in the history of German opera.
The plot of The Magic Flute may be simply recounted. It
is what might be described as a Bildungsoper, an opera in which the hero is
brought to the truth and to true love, after earlier trials and ordeals. A
problem has been seen in an apparent disparity between the first and second
acts. In the earlier part of the opera the hero, Tamino, is enlisted by the Queen
of the Night in the rescue of her daughter Pamina, seized by her father
Sarastro. By the second act it appears that the Queen of the Night is evil and
that Sarastro represents the power of good, and it is he who guides Tamino through
initiatory ordeals to true wisdom and to his beloved Pamina. Critics have
suggested hurried patchwork on the part of the writer and composer, with an
ill-considered change of direction half-way through the piece. This seems on
the face of things most unlikely. Mozart expressed his own complete
satisfaction with the work as a whole, book and music, and it must be possible to
see the early deception of Tamino as part of the process by which he grows to
wisdom, a process in which the audience joins. The bird-catcher Papageno, a
role played by Schikaneder himself, represents a lower level of initiation, in
which the simple peasant finds his own truth and wisdom, rewarded by the
happiness of which he is capable with his own female counterpart and bride,
In the first production of the opera the part of the
Queen of the Night was taken by Mozart's sister-in-law, Josefa Hofer, nee
Weber, who boasted an exceptionally wide vocal range and was skilled in the
coloratura that the role demands. Pamina was sung by Nannette Gottlieb, who had
created the part of Barbarina in The Marriage of Figaro, and Benedikt Schack,
who provided music or text for some of Schikaneder's productions, sang Tamino.
The part of Sarastro was taken by Franz Xaver Gerl, whose wife was the first
Papagena, against Schikaneder's Papageno.
The Overture opens with a series of chords, to which the
presence of three trombones adds a certain ritual solemnity. The slow
introduction is followed by a rapid fugal movement, opened by the second
violins. Its progress is interrupted by the threefold repetition of three
further solemn chords, before the development of the fugal material of the
2. No.1 Introduction
The scene is a rocky landscape, with trees overhanging,
mountains on each side and a round temple. Tamino, dressed in Japanese
hunting-dress, comes down from a rock, carrying a bow, but no arrows, pursued
by a serpent. He calls for help (Zu Hilfe! zu Hilfe!) as the serpent is about
to seize upon him. Three Ladies carrying silver javelins hurry in, as Tamino
falls unconscious to the ground. They kill the monster and vie in admiration of
the handsome young man at their feet. News of his presence must be taken to
their mistress, the Queen of the Night, and each in turn expresses a desire to
stay with Tamino while the others go to the Queen.
As Tamino comes to his senses and wonders where he is (Wo
bin ich?) .the Ladies go. The sound of a pipe is heard.
4. No.2 Aria
Papageno, the bird-catcher, comes down a footpath, a curious
figure, clad in feathers He carries a cage on his back, with various birds, and
sings and plays the panpipes. Hi song tells of his life as a bird-catcher (Der
Vogelfanger bin ich ja) .well known to everyone but wishing he could catch
girls and then exchange some for sugar, before settling on one as his
Tamino asks Papageno who he is, a stupid question, the
latter thinks: he is a man, like Tamino. In reply to Papageno's question,
Tamino tells him that he is of princely blood. This has to be explained, and
Tamino tells him that his father is a prince, ruling over many lands and
people, and consequently he himself is a prince. Papageno knows nothing of other
lands and people, beyond the mountains that surround the place where he lives. When
he learns of the wider world beyond, he sees immediate possibilities for trade
with his birds. He can tell T amino nothing of his own parentage and in answer
to the question as to how he lives replies that he lives by eating and
drinking, as all men do. This he can do by catching birds for the Queen and her
maidens, in return for food and drink. This Queen is the Queen of the Night,
mentioned to Tamino so often by his father. Tamino wonders if Papageno is
human, since he is covered with feathers, but the latter boasts the strength of
a giant: after all he has just rescued Tamino by killing the serpent that pursued
him, strangling it with his bare hands. The three Ladies return, overhearing Papageno's
false claim to bravery. They cannot be much to look at, Papageno remarks to
Tamino, otherwise they would not cover their faces. They bring the bird-catcher
a proper reward: instead of wine, the first Lady gives him water; instead of
sugar-bread, the second gives him a stone, and instead of sweet figs, the third
gives him a golden padlock, to close his mouth and stop his boasting. They ask
him now if he slew the serpent, to which he can only shake his head. The third
Lady tells Tamino that they saved him and gives him a portrait of the great
Queen's daughter, Pamina: if the picture is pleasing to him, then he shall have
happiness, fortune and honour. The Ladies leave the two men together.
6. No.3 Aria
Tamino is bewitched by the portrait (Dies Bildnis ist
bezaubernd schon) and in love with the girl portrayed.
As Tamino ends his song, the three Ladies return. They
assure Tamino that the
Queen has heard his words: if he is as brave and
steadfast as he is handsome, her daughter will certainly be saved. Now she is
in the power of a wicked spirit. Tamino is horrified, but thunder is heard: the
Queen of the Night approaches.
8. No.4 Recitative and Aria
The mountains part and a magnificent room is seen. The
Queen is seated on a throne, surrounded by glittering stars. She tells Tamino
not to be afraid (O zitt're nicht, mein lieberSohn!) and goes on to explain her
grief at the loss of her daughter(Zum Leiden bin ich auserkoren), captured by a
wicked man: Tamino shall set her free and be united with her. There is a roll
of thunder, as she disappears, and the scene is transformed again to what it
Tamino cannot believe what he has seen (Ist's denn auch
Wirklichkeit, was ich sah?).
10. No.5 Quintet
Papageno can say nothing, since his mouth is padlocked,
and Tamino cannot help him (Der Arme kann von Strafe sagen). The three Ladies
return, releasing Papageno (Die Konigin begnadigt dich). Now he can talk, but
never lie again, and it would be a good thing if every liar was padlocked in
the same way, then all would be love and brotherhood. The first Lady gives
Tamino a magic flute, with which he can cheer the unhappy, a precious gift.
Papageno has been chosen to accompany Tamino as his servant, in his attempt to rescue
Pamina from the clutches of Sarastro. Papageno does not care for the task,
since his life is precious to him. He is given a set of bells, a glockenspiel,
a magic protection. Tamino and Papageno may find the castle of Sarastro through
the guidance of three boys, who will appear to them. The Ladies withdraw,
wishing the two farewell.
11. No.6 Trio
The scene changes to a magnificent Egyptian room in the palace
of Sarastro. There are cushions, a Turkish table and carpets. Monostatos and
his slaves bring in Pamina (Du feines Taubchen, nur herein!). He tells the
slaves to chain her, and bids them be gone. She sinks unconscious on a sofa, as
the slaves go out. Papageno appears at a window, unseen by the blackamoor
Monostatos. Papageno wonders where he is (Wo bin ich wohl?) and approaches
Pamina, but stops short when he sees the black Monostatos. Each is terrified of
the other; surely it must be the Devil (Hu! das ist der Teufel sicherlich!),
and they both run away.
Pamina recovers, and calls on her mother, and Papageno
comes back, having plucked up courage: there are blackbirds, so why not black
men? He recognises
Pamina from her portrait, which he carries, and announces
his identity, as a messenger from the Queen. He goes on to compare her features
item by item with the miniature (Die Augen schwarz - richtig, schwarz),
checking off each in turn. He explains that Tamino has been charged with
Pamina's rescue. She is at first suspicious, but he explains his own
predicament in his search for a companion, a Papagena. She urges patience.
13. No.7 Duet
In a duet that was an immediate favourite with audiences,
Pamina and Papageno sing of the happiness of the union of two lovers (Bei
Mannern, welche Liebe fuhlen). They go out, eager now to escape Sarastro.
14. No.8 Finale
The scene changes to a grove, with three temples. In the
centre is the Temple of Wisdom, with a colonnade joining it to the two other
temples, on the right the Temple of Reason and to the left the Temple of Nature.
Three Boys, each with a silver palm-leaf in his hand, lead Tamino in, telling
him that this path will lead to his goal (Zum Ziele fuhrt dich diese Bahn). In
reply to Tamino's questions, they can only urge him to be steadfast, patient
and silent (Sei standhaft, duldsam und verschwiegen!).
They leave him, and, in a recitative, he admires their
wisdom (Die Weisheitslehre dieserKnaben / sei ewig mirins Herzgegraben!). He
takes courage, in his quest to save Pamina, and approaches the right-hand Temple
door, but a voice bids him back. The same answer comes when he approaches the
left-hand Temple, but at the Temple of Wisdom he is met by an old priest
(described as Sprecher, the Speaker). In the exchange that follows the Speaker
explains the true nature of Sarastro. Tamino is animated by unreasoning hatred
of Sarastro, a cruel tyrant, but he has been deceived by some woman. He is told
that he will find Pamina when the hand of friendship leads him into the holy
place of everlasting union. The old man withdraws, and Tamino wonders when
eternal night will vanish and his eyes see the light. Hidden voices tell him soon
or never; Pamina still lives. Tamino is delighted at this reassurance.
Tamino plays his flute, and animals of all kind come out
to listen, until he stops, when they run away. He is amazed at the effect of
the magic flute (Wie stark ist nicht dein Zauberton!), yet Pamina still does
not come. The answering call of Papageno's pipes is heard.
As Tamino goes out, Papageno and Pamina come in, hurrying
to make good their escape (Schnelle FuBe, rascher Mut). Papageno plays, and
Tamino replies, from afar. As they are about to leave to find him, Monostatos
and his slaves enter, barring their way and threatening chains and ropes.
Papageno saves the situation by playing his magic glockenspiel, which sets
Monostatos and the slaves dancing. They understand the world would be a better
place, if every honest man had bells like this. The sound of a march is heard,
and they realise that Sarastro is at hand.
18. (Allegro maestoso)
Sarastro enters with his followers, to the sound of a
welcoming chorus (Es lebe Sarastro, Sarastro lebe!). Pamina falls at his feet,
but he bids her rise and assures her that he knows her heart and the love she
feels. She must not return to her mother, for a man must guide her heart.
Monostatos drags Tamino in, amazed to see Pamina, who
sees in him her true love.
Monostatos tries to separate them, and tells Sarastro that
the bird-man had tried to make off with Pamina; by his own cleverness he has
defeated their aims. Sarastro, however, instead of praising him, orders the
bastinado as the punishment of his alleged lies. The chorus praise their
master, a just man in reward and punishment, and Sarastro bids them take Tamino
and Pamina to the temple of trial, to be purified, and with heads covered they are
The chorus of initiates praises virtue and righteousness,
which will make the earth a heavenly kingdom (Wenn Tugend und Gerechtigkeit /
den GroBen Pfad mit Ruhm bestreut).
21. No.9 March of the Priests
The scene is now a palm-grove. Sarastro and the other
priests enter in solemn procession.
Sarastro announces the importance of the occasion:
Tamino, a king's son, is waiting at the north door of the temple, seeking to
cast aside the veil of night and find the light: today they must offer him
friendship. The first priest asks if Tamino is virtuous (Erbesitzt Tugend?). He
is, replies Sarastro. Discreet, asks another. Discreet, answers Sarastro. Is he
beneficent? Beneficent, and if you hold him worthy, follow my example. The
priests sound the threefold ceremonial chords with their trumpets. Pamina,
Sarastro continues, has been chosen as a partner for Tamino and so has been
taken away from her mother, a woman who has tried to destroy the Temple, which
Tamino will now join in defending. The threefold chords are sounded again. A
priest asks if Tamino will triumph through the heavy ordeals of initiation; he
is a prince. Yet more, Sarastro rejoins, he is a man. What if he perishes? Then
he will experience the joys of Heaven, through the great gods Isis and Osiris,
before they do. The threefold chords are sounded again, and Sarastro commands
that Tamino and his companion be brought now into the temple forecourt: the priests
must now teach them the wisdom and power of the gods.
23. No.10 Aria and Chorus
Sarastro sings a prayer to Isis and Osiris, beseeching
the spirit of wisdom for the pair (O Isis und Osiris).
The scene changes to the forecourt of the Temple, where
there are fallen columns and pyramids. On each side are ancient Egyptian doors,
leading to other buildings. It is night and thunder is heard. Tamino and
Papageno are led in by two priests, who uncover their heads, before leaving
them. Tamino asks Papageno if he is afraid, as he shows every sign of fear,
suggesting that he may have caught a little fever. Be a man, urges Tamino, but
Papageno would rather be a girl. They are questioned by two priests who appear,
carrying torches, asking what they seek in that place. Friendship and love,
answers Tamino. Are you ready to fight for them? Yes, to be rewarded by the
knowledge of wisdom and the love of Pamina; for this he will undergo every
ordeal. One of the priests takes his hand and the second asks Papageno if he
too will fight for the love of wisdom, but fighting is not Papageno's thing: he
is a man of nature, satisfied with sleeping, eating and drinking - and, when
possible, a pretty little wife. The priest tells him he must undergo the
ordeals, never fearing death, but Papageno had rather remain single (Ich bleibe
ledig!). But what, asks the priest, if Sarastro found for him a girl just like
him, dressed the same way? Young?, he asks. Young and pretty! And her name? Papagena.
He may see her, but not speak to her. The priest takes his hand. The first
priest tells Tamino that he too will see Pamina, but must keep silence.
2. No.11 Duet
The two priests warn Tamino and Papageno against women's
tricks (Bewahret euch vor Weibertucken), the first duty of their band. Many
wise men have been deceived by women and ill rewarded.
The priests go out, and Papageno calls for light (He,
Lichter her!), remarking that it is wonderful how nothing can be seen whenever
these two gentlemen leave them. Tamino tells him to be patient, since it is the
will of the gods.
4. No.12 Quintet
The three Ladies appear, telling Tamino and Papageno that
they will never escape.
Tamino tries to prevent Papageno speaking to them. They
say that the Queen is at hand, in the Temple. The priests are wicked and
whoever joins them will go to Hell. Papageno is ready to believe what he hears,
but Tamino warns him against women's gossip. The three Ladies prepare to leave,
in some indignation at the silence of Tamino, and the relative silence of his
companion, who can hardly be restrained from chatter. There is a cry from
within the Temple, that the place has been defiled by the presence of these women
(Entweiht istdie heilige Schwelle). There is thunder and lightning, to the
distress of Papageno, who falls in fear to the ground.
Tamino is led away by one of the two priests, who now
enter, while Papageno is led away by another, complaining at all the hardship
he must undergo to see his Papagena.
The scene now changes to a garden. Pamina is sleeping in
the moonlight, and Monostatos creeps in, intent on stealing a kiss, at the
6. No.13 Aria
Monostatos sings of the need for love for all, whatever
their colour (Alles fuhlt der Liebe Freuden): he too has a heart, and has every
intention of stealing a kiss.
As Monostatos approaches, there is a roll of thunder, and
the Queen of the Night appears, bidding him back. Pamina wakes up, and greets
her mother, falling into her arms: she tells the Queen that the young man sent
to rescue her has joined the initiates. The Queen now gives Pamina a dagger,
sharpened in order to kill Sarastro: this murder she must carry out and bring
her mother the orb of the sun that he wears.
8. No.14 Aria
The Queen of the Night sings of the vengeance of Hell
that is in her heart (Der Holle Rache kocht in meinem Herzen). If Pamina does
not kill Sarastro, she will be an outcast; this she vows.
A clap of thunder, and the Queen of the Night vanishes,
leaving Pamina holding the dagger, but wondering what to do. Monostatos,
stepping forward, offers his help, if she will give herself to him; he has
heard everything, and must love him or die. Sarastro appears suddenly, saving
Pamina and sending Monostatos away. The latter resolves now to join the Queen
in her evil designs. Pamina asks Sarastro to be merciful to her mother, but he
tells her that she will see what kind of revenge he takes on her.
10. No.15 Aria
Sarastro sings of the absence of revenge in these sacred precincts
(In diesen heil'gen Hallen), where love and friendship reign.
The scene changes to a hall, into which Tamino and
Papageno are led by two priests, to be left again in a silence that Papageno
can never keep, but his attempts at conversation are hushed by Tamino. He
remarks on the lack of refreshment, not even a drop of water, but at this point
an old woman suddenly appears, carrying a large beaker of water. Is that for
me? , he asks. Yes, my angel, says the old woman. Papageno interrogates the old
woman. How old is she? Eighteen years and two minutes. Has she a lover? Oh,
yes. Is he the same age? No, ten years older. What is his name? Papageno. Where
is he? Sitting just here, my angel. Who is she, then? Thunder sounds and the old
woman hurries quickly away, before Papageno can learn her name.
12. No. 16 Trio
The three Boys now return, hovering in the air in a
carriage decked with roses. One of them has the magic flute and the other the
glockenspiel. They welcome Tamino and Papageno again to Sarastro's kingdom
(Seid uns zum zweiten Mal willkommen) and return to them the flute and
glockenspiel. A table laden with food appears and they are told to eat: Tamino
must have courage, and Papageno had better keep quiet. When they appear a third
time, they will have their due reward.
Papageno starts eating, while Tamino plays his magic
flute. Pamina now joins them, having heard the sound of the flute, but Tamino will
not speak to her, following the behest of Sarastro.
14. No.17 Aria
Pamina now feels herself rejected by Tamino, and now can
only die (Ach, ich fuhl's, es ist verschwunden).
Pamina leaves them, and Papageno points out, ineptly
enough, that he can keep quiet when he has to. He drinks to the health of
Sarastro's cellarer and cook, at which the trombones sound the threefold
chords, a signal to them to go. Tamino signals to Papageno to go, but he says
he will follow later. Tamino tries to drag him away, and leaves him, but he
will not go, even if Sarastro sends his lions, which then appear, to his terror.
Tamino plays his flute and comes quickly back, while the lions disappear.
Tamino signals again to him, and the threefold chords are heard. Eventually
Papageno can be persuaded away from the laden table.
16. No.18 Chorus of the Priests
The scene now changes to the interior of the Temple,
where the priests and Sarastro are assembled. They sing in praise of the gods
Isis and Osiris and the enlightenment that Tamino will soon experience (0, Isis
und Osiris, welche Wonne!).
Tamino is led in, and Sarastro tells him his behaviour
has been manly and calm.
Pamina is brought in, seeking her Tamino, who must now
bid her a last farewell. She makes towards him, but he tells her to keep back.
18. No. 19 Trio
Tamino must now undergo his ordeals, to the fears of
Pamina, but Sarastro and Tamino are resigned to the will of the gods (SoIl
ichdich, Teurer, nicht mehrsehn?). Both feel the bitterness of parting.
Now Papageno rushes in, afraid that Tamino will leave
him. There is a clap of thunder and a voice tells him to draw back, as he
approaches the door where Tamino has gone. Lost, he wonders if he will starve
to death and the priest who now comes in has little sympathy, since Papageno can
never be one of the initiates. All the latter wants is a glass of wine, and
immediately wine appears, to his delight, but what was it that he really wanted?
20. No.20 Aria
Papageno plays his glockenspiel and realises that what he
really wants is a girl or a little wife (Ein Madchen oder Weibchen wOnscht
Papageno sich!), then he would enjoy eating and drinking and be truly happy.
As Papageno finishes his song, the old woman hobbles in:
Here I am, my angel! The glockenspiel cannot be working properly, says Papageno.
She wants him to promise to be true to her, but he has obvious hesitations. He
must do as she says, otherwise he will have to stay there on a diet of bread
and water, all alone. He offers his hand as a pledge, and at once the old woman
is transformed into young Papagena, the female counterpart of her man. A priest
enters and takes her by the hand, since Papageno is not worthy of her. The
latter resents this intrusion into his family affairs. May the earth swallow
him up, if he gives way, as it at once starts to do.
22. No.21 Finale
The three Boys appear for the third time. Now morning has
come and the sun travels his golden course (Bald prangt, den Morgen zu
verkOnden): the wise man will soon triumph, and the earth will be a heavenly
kingdom. Pamina, though, needs their comfort, and they move aside, as she
rushes in, with a dagger in her hand: this will be her bridegroom (Du also
bistmein Brautigam?). She intends to die, abandoned now by her beloved Tamino,
the result of her mother's curse. She is about to stab herself, but is restrained
by the Boys, who assure her of Tamino's love and promise to lead her to him.
The scene changes to reveal two mountains. The left-hand
mountain has a waterfall, while the other spits fire. In each there is a grille
through which water and fire can be seen. Where the fire burns the horizon is
red, and where the water is, it is shrouded in black mist. Two men in black
armour lead Tamino in, bare-footed, with fire burning from their helmets. In
the middle stands a pyramid, with an inscription. The two armed men tell of the
purification through fire, water, earth and air, set free from fear of death
and dedicated to the mysteries of Isis. Tamino has no fear of death, but
pauses, as he hears the voice of Pamina: now she can go with him. The armed men
allow him to speak to her, and he is happy now to go with her, hand in hand,
for she too can be an initiate.
Tamino and Pamina are delighted to be united in love and
together in any ordeal to come (Tamino mein! O welch ein GIOck!).
25. March. Adagio
Tamino plays his flute, as the couple undergo the ordeal
of fire. Once they have passed through, they seek its help in passing through
the water (Wir wandelten durch Feuersgluten). They come through unscathed, to
be welcomed by the priests, whose voices are heard declaring victory.
The scene changes again to the garden where Papageno was
left. He plays his pipe, forlornly, now he has lost his Papagena, his for a
brief moment (Papagena! Papagena!). All he can now do is hang himself from the
nearest tree, and this he sets about, only to be rescued at the last minute by
the three Boys, who restrain him and tell him to be wise. Now he is reminded of
his glockenspiel, which he plays. The Boys lead in Papagena, in her true form.
The two greet each other, hesitantly at first
(Pa-Pa-Pa-Pa-Pa-Pa-Papagena!), but soon agree on their plans for many children,
boys and girls, little Papagenas and Papagenos.
The scene is now the Temple forecourt. Monostatos creeps
in (Nurstille, stille, stille, stille), with the Queen of the Night and the
three Ladies bearing torches. Monostatos expects Pamina as a reward for his
treachery, but they are interrupted by the sound of thunder and rushing water,
and the elements unite to defeat their purpose, their power destroyed.
29. Recitative. Andante. Allegro
The scene changes. Thunder, lightning and a mighty wind,
are followed by bright sunshine. Sarastro is seen, with Tamino and Pamina now
robed as initiates, by their side the priests and the three Boys. Sarastro
sings of the victory of the sun over night (Die Strahlen der Sonne vertreiben
die Nacht), and the priests greet the initiates (Heil sei euch Geweihten!),
offering thanks to Isis and Osiris, as beauty and wisdom finally triumph, and all
ends in light and happiness.
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MOZART: Zauberflote (Die) (The Magic Flute)