"I have this moment returned from the opera, which was as full as ever", he wrote on 7 October, listing the numbers that had to be encored. Enjoy! On the reception of the opera, Mozart scholar Maynard Solomon writes: Although there were no reviews of the first performances,[6] it was immediately evident that Mozart and Schikaneder had achieved a great success, the opera drawing immense crowds and reaching hundreds of performances during the 1790s.[7]. In composing the opera, Mozart evidently kept in mind the skills of the singers intended for the premiere, which included both virtuoso and ordinary comic actors asked to sing for the occasion. Hm! All ends happily when Sarastro unites Tamino and Pamina in marriage. The libretto is also a natural continuation of a series of fairy tale operas produced at the time by Schikaneder's troupe, including an adaptation of Sophie Seyler's Singspiel Oberon as well as Der Stein der Weisen. [12][13], The Magic Flute is noted for its prominent Masonic elements,[14] although some scholars hold that the Masonic influence is exaggerated. An old woman enters, carrying water. The Magic Flute, German Die Zauberflöte, singspiel in two acts by Wolfgang Amadeus Mozart, with a German libretto by Austrian actor and theatrical producer Emanuel Schikaneder. On 28 December 1791, three and a half weeks after Mozart's death, his widow Constanze offered to send a manuscript score of The Magic Flute to the electoral court in Bonn. Papageno rushes to embrace her, but the priests drive him back, telling him that he is not yet worthy of her. (Trio: Sarastro, Pamina, Tamino – "Soll ich dich, Teurer, nicht mehr sehn?" They advise him to play his magic bells to summon Papagena. One of the most memorable moments in The Magic Flute comes in Act II, when the Queen of the Night sings, “Der Hölle Rache” (Hell’s vengeance boils in my heart) and exhorts her daughter Pamina to kill Sarastro. An old woman enters and offers Papageno a cup of water. The Lviv performance was brought to the attention of musical scholarship only recently by, "Die Zauberflöte, Masonic Opera, and Other Fairy Tales (PDF Download Available)", "The otherworldly feeling of Mozart's magic", "Mozart, Kirnberger, and the idea of musical purity: Revisiting two sketches from 1782", "Wolfgang Amadeus Mozart (composer) – Discography of American Historical Recordings", "Mozart: Die Zauberflöte, K620 (The Magic Flute)", The Classical Style: Haydn, Mozart, Beethoven, "Die Zauberflöte, Masonic Opera, and Other Fairy Tales", International Music Score Library Project, Frontispiece of the first edition libretto, Introduction and Variations on a Theme by Mozart, https://en.wikipedia.org/w/index.php?title=The_Magic_Flute&oldid=982933180, Operas set in fictional, mythological and folkloric settings, Articles needing additional references from September 2016, All articles needing additional references, Articles containing Italian-language text, Articles with German-language sources (de), Articles with International Music Score Library Project links, Wikipedia articles with CANTIC identifiers, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, "Der Vogelfänger bin ich ja" (The birdcatcher am I) – Papageno, scene 1, "Bei Männern, welche Liebe fühlen" (In men, who feel love) – Pamina and Papageno (duet), scene 2, "Wie stark ist nicht dein Zauberton" (How strong is thy magic tone) – Tamino, finale, "O Isis und Osiris" (O Isis and Osiris) – Sarastro, scene 1, "Alles fühlt der Liebe Freuden" (All feel the joys of love) – Monostatos, scene 3, "In diesen heil'gen Hallen" (Within these sacred halls) – Sarastro, scene 3, "Ach, ich fühl's, es ist verschwunden" (Ah, I feel it, it is vanished) – Pamina, scene 4, "Ein Mädchen oder Weibchen" (A girl or a woman) – Papageno, scene 5, "Pa–, pa–, pa–" – Papageno and Papagena, scene 10, This page was last edited on 11 October 2020, at 07:44.