Florida Grand Opera gratefully recognizes
the following donors who have provided
support of its education programs.
Study Guide
2012 / 2013
MIAMI BEACH
Batchelor
Foundation Inc.
© FLORIDA GRAND OPERA
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
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 sonnambula, 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 Student 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.
A message from
Kevin Mynatt
Florida Grand Opera believes that education for the arts is a vital enrichQIRXXLEXQEOIWWXYHIRXW[IPPVSYRHIHERHLIPTWQEOIXLIMVPMZIWQSVI
GYPXYVEPP]JYPÁPPMRK3RFILEPJSJXLI*PSVMHE+VERH3TIVE[ILSTIXLEX
these study guides will help students delve further into the opera. We
hope you enjoy the show!
-PSSOJSV[EVHXSWIIMRK]SYEXXLI3TIVE
Kevin G. Mynatt
Managing Director
Florida Grand Opera
2
F l o r i d a G r a n d O p e r a / / Kev i n M y n a t t
S t u dy G u i d e s / / M a g i c F l u t e
3
Content
6-9
10-13
14-17
18-21
22-29
30-35
36-37
38-39
40-51
52-55
56-59
Attending an Opera
Florida Grand Opera
Roots and Development
On Broadway!
Close up with Jeanette Vecchione
The Operatic Voice
The Magic Flute
Cast & Characters
Synopsis
The Composer
Librettists
So what is Singspiel ?
Freemasonry
Mozart’s Music
The Age of Enlightenment
Pamina
Gender in The Magic Flute
Class in The Magic Flute
Race in The Magic Flute
What else happened in that year?
References
Credits
4
Florida Grand Opera // Content
60-65
66-71
72-75
76-81
82-85
86-89
90-91
92-93
94-97
98-101
102-103
S t u dy G u i d e s / / M a g i c F l u t e
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© FLORIDA GRAND OPERA
Attending an
Opera
FGO dress rehearsal
6
Florida Grand Opera // Attending an Opera
S t u dy G u i d e s / / M a g i c F l u t e
7
WHAT WILL YOU SEE IN AN OPERA?
Opera combines colorful sets and costumes, dynamic
staging, passionate stories, and poetic words with
beautiful music. Richard Wagner referred to it as
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[EXGLHERGMRKW[SVHÁKLXMRKGLEVEGXIVWHVIWWMRKMR
disguises, the tenor wooing the soprano, or unfurling
schemes against another character. Operas can be
romantic, comedic, tragic, dramatic, or all of the
above. Primarily, opera is entertaining!
WHAT WILL YOU HEAR IN AN OPERA?
Operas are sung in many different languages, the most
common of which are Italian, French, German, and
English. The Magic Flute, however, is sung in German.
Florida Grand Opera provides supertitles (translations of the text projected on a screen above the stage)
in English and Spanish. Singers are accompanied by
the orchestra which can consist of string instruments
PMOI ZMSPMRW ZMSPEW GIPPSW ERH HSYFPI FEWWIW [SSH[MRHWPMOIÂYXIWGPEVMRIXWSFSIWERHFEWWSSRWERH
FVEWWMRWXVYQIRXWPMOIXVYQTIXWJVIRGLLSVRWXVSQbones, and tubas.
OPERA ETIQUETTE:
_Attending an opera is an exciting occasion! You
should dress comfortably, but presentably. Many audience members use an opera as an opportunity to dress
in formal attire.
_Arrive early. Audience members who arrive after the
start of the performance are prevented from entering
until there is a change of scene.
_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 conductor enters the orchestra pit, at the ends of particularly well-sung arias or choruses, at the close of each
WGIRI SV EGX ERH HYVMRK XLI ÁREP GYVXEMR GEPP EW XLI
performers bow.
_If you want to show your admiration even more, you
can call out “Bravo!” for a male singer, “Brava!” for a
female singer, or “Bravi!” for an ensemble. If you enjoyed the entire production, stand and clap during the
curtain call to join in a standing ovation.
_Audience members are expected to turn off all cell
phones and refrain from using cameras with or withSYXÂEWLHYVMRKXLITIVJSVQERGI
_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!
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Florida Grand Opera // Attending an Opera
S t u dy G u i d e s / / M a g i c F l u t e
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© FLORIDA GRAND OPERA
Florida
Grand Opera
Dr. Arturo di Filippi
Florida Grand Opera stands as one of the oldest performing arts organizations in Florida and
in the nation. Florida Grand Opera is one of the
resident companies of The Adrienne Arsht Center for the Performing Arts of Miami-Dade County
where it presents its Miami performances in the
Ziff Ballet Opera House. Fort Lauderdale performances are given at the Broward Center for the
Performing Arts. Florida Grand Opera was formed
in June 1994 by the merger of Greater Miami Opera, founded in 1941, and The Opera Guild Inc. of
Fort Lauderdale, founded in 1945.
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Florida Grand Opera // Florida Grand Opera
The Greater Miami Opera was founded by Dr. Arturo di Filippi, a voice teacher at the University of
1MEQM8LIÁVWXTVSHYGXMSRLIPHEX1MEQM7IRMSV
High School in 1942, was a single performance of
Leoncavallo’s Pagliacci, performed in English, with
Dr. di Filippi singing the role of Canio. In 1945, Dr.
di Filippi appeared in a production of Il trovatore at
Ft. Lauderdale Central High School, representing
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Florida Grand Opera has a rich history of presenting internationally acclaimed artists such as Robert
1IVVMPP (SVSXL] /MVWXIR 6MGLEVH 8YGOIV 6IREXE
Tebaldi, Roberta Peters, Franco Corelli, Renata
S t u dy G u i d e s / / M a g i c F l u t e
11
7GSXXS 1SRXWIVVEX 'EFEPPI .SR :MGOIVW 7LIVVMPP
Milnes, Nicolai Gedda, Birgit Nilsson, Anna Moffo,
Plácido Domingo, Beverly Sills, Joan Sutherland,
Evelyn Lear, James Morris, Thomas Stewart, Diana
Soviero, Justino Diaz, Simon Estes, Elizabeth Futral, Helen Donath, Deborah Voigt, and Fernando
de la Mora. Luciano Pavarotti made his American
debut in 1965 with the company’s production of
Lucia di Lammermoor.
In April, 2007, Florida Grand Opera presented the
critically acclaimed world premiere of David Carlson’s Anna Karenina with libretto by Colin Graham.
Anna Karenina was commissioned as a co-production by Florida Grand Opera, Michigan Opera Theatre, and Opera Theatre of Saint Louis. In May 1997,
the Company presented the world premiere of Balseros, 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 Minutes Till Midnight in 1982. American premieres include Gioachino Rossini’s Bianca e Falliero and the
ÁREPVIZMWIHZIVWMSRSJ%PFIVXS*VERGLIXXM¸W'VMWXSforo Colombo.
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Florida Grand Opera // Florida Grand Opera
At the core of Florida Grand Opera’s mission is a
commitment to training emerging opera professionals and educating young people about opera
while embracing the diverse cultural heritage of the
South Florida community. Each year, established
education programs, including the School Dress
Rehearsal Program and the company’s education
festivals expose thousands of children and students
to opera’s many facets. Florida Grand Opera’s renowned artist training program, the Young Artist
Studio, nurtures gifted young singers and provides
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to move beyond their training at universities and
music conservatories into successful careers in the
professional opera world.
S t u dy G u i d e s / / M a g i c F l u t e
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©NICKU
Opera’s
Roots &
Development
Mozart.
Where did opera come from? What prompted composers to create it? Poets, musicians, architects, artists, philosophers, mathematicians, and many other
XLMROIVWLEHFIGSQISFWIWWIH[MXLEVIGVIEXMSRSJ
XLI +VIIO GYPXYVI HYVMRK XLI -XEPMER 6IREMWWERGI
In the 1500’s, a certain group of composers from
the Camerata Fiorentina, or Florentine Academy,
FIKERXSJSGYWSRXLIVITVSHYGXMSRSJ+VIIO(VEma. The Camerata believed that several factors
were extremely important in recreating these dramas: the sung text must be understood, the music
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dance, and most importantly, the music should explore and enhance the emotions being expressed.
The Camerata developed Western music’s earliest
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14
F l o r i d a G r a n d O p e r a / / O p e r a ’s R o o t s & D e v e l o p m e n t
Weber
Wagner
L’Orfeo. Following L’Orfeo’s success, the art form
spread rapidly amongst composers, artists, and poets. The Baroque form consisted of sung recitatives
by soloists which would move the plot or story line,
arias in which the soloist would explore an emotion, and choruses where the rest of the characters
commented on the action. Composers began to
create duets, trios, and other ensemble numbers
with multiple soloists, allowing for more character
interaction and more dynamic plot lines. As the
Classical period began, the chorus of an opera became more integral to the story, rather than merely providing commentary. Arias began to express
multiple emotions and more complex ideas and
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%PPSJXLIWIHIZIPSTQIRXWEVITVIWIRXMRXLI[SVOW
of Wolfgang Amadeus Mozart.
S t u dy G u i d e s / / M a g i c F l u t e
15
9RXMP XLI PEXI ¸W STIVEW ÁX MRXS ZIV] WTIGMÁG
GPEWWMÁGEXMSRWSTIVEWIVMEXLIRSFPIERHµWIVMSYW¶
genre, and opera buffa, the comic and low brow
genre. Mozart revolutionized opera as he began to
FPIRHXLIWIKIRVIWMRLMWPEXIV[SVOW-R8LI1EVriage of Figaro, buffo, or comic, servant characters
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characters often displayed more admirable qualities than the nobles. Mozart’s Don Giovanni is clasWMÁIHEWEHVEQQEKMSGSWSSVGSQMGHVEQE-XJIEtures lighthearted moments and comic scenes such
as Giovanni’s servant displaying the catalogue of his
master’s conquests to a jilted lover, but ends quite
dramatically with the womanizer being dragged to
Hell for his terrible debauchery.
Giuseppe Verdi composed operas during the Romantic period as harmonic language became more
varied and effective. Due to the concurrent developments in literary style, plots explored a greater
depth of emotion and action, and provided commentary on current events with more frequency.
As more regions chaffed under the oppressive rule
of foreign empires, composers sought to express
nationalistic themes with their art. Verdi endured
many struggles with government and church censors over his operas, because of their political overtones or, in Rigoletto’s case, portrayal of an abusive
and degenerate nobleman.
As opera developed even futher, national styles diZIVWMÁIHERHHIZIPSTIHXLIMVS[RGERSRW:IVHM
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F l o r i d a G r a n d O p e r a / / O p e r a ’s R o o t s & D e v e l o p m e n t
Mozart, and Rossini, among others, are considered
by scholars to be members of the Italian School of
operatic composition. Italian School composers
created highly melodic music which displays the
singers to the best of their abilities. The orchestra
accompaniment is usually secondary to the vocal
line, and as such, these operas are termed “Singer’s
Opera.” Conversely, the German School of Opera,
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Maria von Weber, Beethoven, and Wagner, emphasizes the power of the music as a whole instead of
displays by the vocalist. Weber’s opera Der Freischütz (The Marksman) MW GSRWMHIVIH XLI ÁVWX MQportant German Romantic opera, and is particularP][IPPORS[RJSVMXWYRIEVXLP];SPJ¸W+PIRWGIRI
Weber’s opera Euryanthe followed Der Freischütz
and was through-composed, blurring the distinctions between recitative and aria. This melding of
recitative and aria was enhanced and expanded by
6MGLEVH;EKRIV[LS[VSXIMRÂS[MRKERHIRHPIWW
QIPSHMIW;EKRIV¸WSTIVEWPMOITristan und Isolde,
Parsifal, and The Ring Cycle best exemplify the German focus on the effectiveness of the orchestra, vocalists, and poetry as a total production to create
the drama. The French School, founded by Lully
and developed by composers such as Meyerbeer,
Bizet, Gounod, and Massenet, is a balancing point
between the Italian and German ideologies. Instrumental support for the vocal line was more complex
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voice was always well displayed while still doing its
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S t u dy G u i d e s / / M a g i c F l u t e
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©BROADWAY
On Broadway!
The modern American
“Opera”
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Opera, Wicked, and RENT are often more familiar
to us than the vast majority of the operatic repertory. These musical dramas are heavily integrated
into pop culture and are usually synonymous with
&VSEH[E]ERH2I[=SVO'MX],EZI]SYIZIV[SRdered what inspired the creation of this unique art
form full of drama, music, and dance? Though the
modern musical’s inspiration comes from a variety
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lies at its heart.
Opera buffa, or ‘comic opera,’ was a response to opera seria, or ‘serious opera,’ during the 18th century.
During this time, audiences wanted a plot that they
could relate to and have fun watching.
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F l o r i d a G r a n d O p e r a / / O n B r o a d way ! T h e m o d e r n A m e r i c a n “ O p e r a ”
In response to this demand, composers began creEXMRK[SVOWXLEXMRGSVTSVEXIHHSQIWXMGGLEVEGXIVW
in funny situations. The music was lighthearted and
characters relatable, leaving audiences happy and
upbeat by the end of the performance. Some of the
QSWX [IPP ORS[R STIVE FYJJE EVI The Marriage of
Figaro by Mozart and The Barber of Seville by Rossini. In the late 19th century, British and American
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that mixed many genres of music, dance, and drama. These composers drew musical ideas from the
opera buffa idiom, but also included dance numbers and parody elements that were typical of burlesque shows. “Musical comedies” such as Cohan’s
Little Johnny Jones (1904) and Kern’s Nobody Home
X]TMÁIH XLMW KIRVI%W MR STIVE FYJJE SVHMnary, average characters were emphasized and
S t u dy G u i d e s / / M a g i c F l u t e
19
brought to life. The plots were simple and easy to
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acting played a major role in these productions in
order to bring the variety show to life.
In 1927, Oscar Hammerstein II and Jerome Kern
delivered a musical dealing with prejudice, and
tragic, undying love: Showboat. This musical was
revolutionary for a number of reasons. Showboat
was clearly distinguishable from the “musical
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¶QYWMGEPTPE]¶PMOISTIVEWIVME%PPSJXLIIPIQIRXW
were subservient to the play; the story was cohesive
and the integrated songs that contributed to the
action by establishing moods, unveiling characters,
or advancing the plot. Showboat dealt with heavy
IQSXMSRWERH[EWPMOIRSXLMRKXLEXLEHGSQIFIJSVI
it. It paved the way for musicals by allowing them to
deal with new subject matter. A few years later, Strike
Up the Band (1930) included social commentary on
war, capitalism, and North American politics.Since
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in many different directions. Because the music from
a “musical” is no longer popular music, composers
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Andrew Lloyd Weber has done so numerous times
in Jesus Christ Superstar (1971), Cats (1982), and
Phantom of the Opera F] MRGSVTSVEXMRK VSGO
beats and electric instruments in the orchestra.
Some composers, such as Jonathan Larson, have
even created entire musicals Rent (1994)
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F l o r i d a G r a n d O p e r a / / O n B r o a d way ! T h e m o d e r n A m e r i c a n “ O p e r a ”
YWMRK VSGO FERH MRWXVYQIRXEXMSR 8LIVI MW RS
longera “typical” sound for a musical, as the
repertory is as diverse as the composers who have
created it. New musicals explore all facets of the
human experience, social injustice, and worldly
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Though there is dancing, over the top acting, and
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operatic ancestor.
Many call the Broadway musical “American Opera.”
The musical, though primarily drawing from
operatic arts, was created through a conglomeration
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culture. Opera made use of drama, music, costumes,
and art to tell timeless stories that resound deep
within our souls, as many musicals aim to do today.
Many parallels can also be drawn between subject
matter of opera buffa and the musical comedy, as
well as opera seria and the musical play. Songs are
used to create drama, move the story forward, and
hopefully teach us something about our own lives.
The orchestra is used in both art forms to support the
singers and add depth to their words. And though
the acting and dancing used to be quite different
between and an opera and a musical, current trends
on Broadway and in opera houses are showing that
they are learning from each other’s successes. And
though they are learning and growing from each
other today, we must not forget the musical’s roots.
Without opera, the modern musical would never
have come to be.
S t u dy G u i d e s / / M a g i c F l u t e
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© FLORIDA GRAND OPERA
Close up with
Jeanette
Vecchione
Jeanette Vecchione
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F l o r i d a G r a n d O p e r a / / C l o s e u p w i t h Je a n e t t e Ve c c h i o n e
S t u dy G u i d e s / / M a g i c F l u t e
23
Starring as the Queen of the Night in the upcoming
production of Wolfgang Mozart’s The Magic Flute,
Jeanette Vecchione gives us a close up on her
journey as an opera singer. Although Vecchione
was initially committed to becoming a basketball
player in high school (even keeping the record in
the state of New York for the most three-pointers),
her former high school chorus teacher discovered
her singing an opera aria. After that, Vecchione
XVEMRIH JSV ÁZI QSRXLW ERH EYHMXMSRIH JSV8LI
Juilliard School, where Vecchione attended on a
full scholarship. See how her story unfolds.
As a high school student, you were an amazing
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TPE]MRKFEWOIXFEPPXSWMRKMRKSTIVE#
When my chorus teacher, Ellen Levine, encouraged
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shot. She said, “You are an opera singer! You need
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honest, opera was so foreign to me. I remember the
day I said a simple prayer: “God, if this is what you
want me to do, give me the desire for it; because
right now, I don’t see myself as an opera singer!”
But I decided to open my mind up to something new
and I started to really enjoy singing and learning
about the different stories and great singers. My
teacher gave me different types of music to study.
She gave me a CD of Maria Callas as well as the
arietta of Gilbert and Sullivan’s Pirates of Penzance
song Poor Wandering One. When I listened to the
'(SJ1EVME'EPPEWMX[EWFVIEXLXEOMRK7LIWERK
24
F l o r i d a G r a n d O p e r a / / C l o s e u p Je a n e t t e Ve c c h i o n e
with so much feeling and emotion, I wanted to be
PMOIXLEX-QMQMGOIH[LEX-LIEVHERHMXQEHIQI
so excited that my voice was able to reach the same
notes that she reached. Hence, we found out that I
was a coloratura soprano, the highest type of voice.
3RGI FEWOIXFEPP WIEWSR [EW SZIV Q] LIEVX VIEPP]
started to change. I realized that I didn’t want to play
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opera singer.
;LEX [IVI ]SYV ÁVWX VSPIW EW ER YTGSQMRK STIVE
star? How did you ready yourself for your debut?
While I was at The Juilliard School, I had a strong
desire to sing in Italy. So I found a vocal competition
and music festival in Riva del Garda, Italy. I was
extremely nervous to go there because I was only
21. However, I won 3rd place in the competition
and was invited to sing in their music festival. This
music festival was vital to the start of my career.
Once I graduated The Juilliard School in 2008, I
HMHR¸XVIEPP]ORS[[LEX-[EWWYTTSWIHXSHS-R
the beginning of 2009, I received a message from
an agent who met me during that festival in Italy.
She told me that I needed to come to Europe for
an audition. I travelled all over Europe auditioning
EXZEVMSYWSTIVELSYWIW3RISJQ]ÁVWXEYHMXMSRW
there was for the Vienna State Opera in Austria.
This was a very big deal. After singing for them three
times, they offered me the role of the Queen of the
Night for the following season. That was especially
amazing because I had started out singing the role
of Queen of the Night at Juilliard and was now
WMRKMRKMX[LIVI1S^EVXÁVWXGVIEXIHMX-[EW
S t u dy G u i d e s / / M a g i c F l u t e
25
so honored to be there and sing at a place with so
much respect and history for the opera, especially
the operas of Mozart. Since I didn’t have much
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vocal coaches as well as with my present teacher
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was a bit intimidating, so I prepared and studied
pronunciation as much as possible. After singing at
Vienna State Opera, I have sung the Queen of the
Night in many other theatres.
How do you prepare for a role now?
I prepare for a role in 3 ways: mentally, physically
and emotionally. I try to imagine myself doing the
role on stage with orchestra in front of people and
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and performances. I do a lot of running and jump
rope, and use outdoor benches as my exercise
equipment. Emotionally preparing for a role is
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WXYH] XLI FEGOKVSYRH XVERWPEXI IZIV]XLMRK ERH
understand the characters of the opera. I can try to
understand the characters better, and put 100% of
my dedication into that role that way.
Do you have a particular character, role, opera or
musical production that is your favorite and also
SRIXLEX]SY[SYPHSRIHE]PMOIXSTIVJSVQMR#
26
F l o r i d a G r a n d O p e r a / / C l o s e u p Je a n e t t e Ve c ch i o n e
I love Italian opera. My favorite opera is La traviata.
I hope one day I have the opportunity to sing it. The
story and the music are so in sync it’s incredible.
You can really understand the story if you truly
listen to the music, even if you don’t understand
the words. The emotions lie in the music and it’s a
celestial experience when you can open your ears
and listen directly to each instrumental and vocal
part and how they complement the storyline.
What other upcoming projects do you have?
-XMWMQTSVXERXJSVQIXSKMZIFEGOXSXLIGSQQYRMX]
and also venture out and explore other areas
of life. Other than opera engagements, I sing a
lot in churches, as well as in Italian-American
SVKERM^EXMSRWMRXLI2I[=SVOXVMWXEXIEVIE-EPWS
have sung at various schools for children. Some
OMHWEVIRSXI\TSWIHXSGPEWWMGEPQYWMGERHMX¸WRMGI
to share my experience with them and hopefully
inspire them to pursue their dreams. I am also
involved with planning musical events for adult
homes, nursing homes, Gideons International and
JSV GLMPHVIR [MXL HMWEFMPMXMIW QSVI WTIGMÁGEPP]
EYXMWQ-¸QLIEHMRKFEGOXS)YVSTIMR7ITXIQFIV
to participate in a competition in Toulouse, France,
as well as audition in opera houses nearby. In
3GXSFIV - [MPP FI WMRKMRK EX E FIRIÁX GSRGIVX JSV
children with autism in Brazil and give a masterclass at the music school of Florianopolis.
;LIVIHS]SYWII]SYVWIPJMRÁZI]IEVW#
S t u dy G u i d e s / / M a g i c F l u t e
27
;LIVIHS]SYWII]SYVWIPJMRÁZI]IEVW#
This is a good question. I have many goals for
XLI RI\X ]IEVW - [SYPH PMOI XS FI ÂYIRX MR languages: English, Italian, Spanish, Portuguese,
French and German. I am on my way to this goal.
Everywhere I sing, I go to a language school in that
country. I want a recording contract with a major
recording company, as well. I would love to sing the
Queen of the Night in all the major opera houses
in the world. My other goals include completing
a triathlon, and my ultimate goal would be to
build a type of “boys and girls” club incorporating
the performing arts and sports. It would be a
GSQQYRMX]FYMPHMRKJSVOMHWSJEPPEKIWEW[IPPEW
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
F l o r i d a G r a n d O p e r a / / C l o s e u p Je a n e t t e Ve c ch i o n e
;LEXEHZMGI[SYPH]SYPMOIXSKMZIXSSXLIVJYXYVI
opera singers?
1] EHZMGI XS JYXYVI STIVE WMRKIVW MW ÁVWX ERH
JSVIQSWX HS [LEX QEOIW ]SY LETT]8LMW MW QSWX
important. If you are happy, then you are successful.
Number two; be yourself and believe in yourself. Be
encouraged even when you do 50 auditions and
don’t receive anything, because all you need is that
SRIPMXXPIGVEGOMRXLIHSSV[LMGLGSYPHSTIRQER]
other doors.
%RH RYQFIV XLVII OIIT ]SYV QMRH STIR8LIVI
are many wonderful things in life, not just opera.
Remember to enjoy life and not forget about the
MQTSVXERXXLMRKWPMOIPSZIJEQMP]ERHJVMIRHW
S t u dy G u i d e s / / M a g i c F l u t e
29
© SINGING LIKE A PRO
The operatic
Voice
Professional singer
30
F l o r i d a G r a n d O p e r a / / T h e O p e r a t i c Vo i c e
S t u dy G u i d e s / / M a g i c F l u t e
31
3TIVE WMRKIVW EVI GPEWWMÁIH MR X[S HMJJIVIRX [E]W
*MVWXXLI]EVIMHIRXMÁIHEWWSTVERSQI^^SWSTVEno, tenor, etc., based upon their singing range. Secondly, they are categorized based on characteristics
of their sound. Type of voice is often referred to
with the German word Fach (plural Fächer), which
means “subject” or “speciality.” A singer’s fach deXIVQMRIW[LEXVSPIWXLI]EVIQSWXPMOIP]XSTIVJSVQ
Women’s voices are grouped (from high to low) into
soprano and mezzo-soprano ranges. Men’s voices
are grouped into tenor, baritone, and bass by range.
Common additional descriptive words include coloratura, lyric, and dramatic.
Soprano Fächer
Soubrette Soprano:
This soprano has a voice with the lightest weight
and enough agility to handle coloratura passages
(vocal runs of many fast notes). She will not typically
sing above a high C. A soubrette is also referred to
in German as a “Character Soprano.” Her roles are
frequently the maid or comic relief of the opera.
32
F l o r i d a G r a n d O p e r a / / T h e O p e r a t i c Vo i c e
Coloratura Soprano:
%GSPSVEXYVEWSTVERSMWQEVOIH[MXLKVIEXEKMPMX]ERH
a much higher range than a soubrette. Depending
on the weight of her voice, the soprano may be
additionally described as a lyric coloratura with
medium weight and depth, or a dramatic coloratura
with the fullest sound and a brassy, ringing quality.
Lyric Soprano:
0]VMGWSTVERSWEVIX]TMÁIHF]EREFMPMX]XSWMRKPIKEto (in a smooth and connected line) with a pure and
beautiful sound. Many of a lyric soprano’s roles are
the love interests of their opera, so a soprano of this
voice type must encompass the innocence and vulnerability written into their music. Lyric sopranos
QE]EPWSKVS[MRXSEGPEWWMÁGEXMSRORS[REWWTMRto, which in Italian means “pushed.” This sound
is larger than a standard lyric soprano and can cut
across a larger orchestra.
Dramatic Soprano:
A dramatic soprano has a full and rich sound with
power that can carry across the largest opera orGLIWXVEW8LIMVXSRIMWSJXIRHEVOIVXLERSXLIVWSTVERSW (VEQEXMG WSTVERSW EVI EPWS QEVOIH [MXL
great stamina and endurance.
S t u dy G u i d e s / / M a g i c F l u t e
33
Mezzo-Soprano Fächer
Coloratura, Lyric, and dramatic mezzo-sopranos
have similar vocal characteristics to their soprano
counterparts, but spend more of their time singing
in a lower tessitura or range of their voice. Mezzo-soprano voices are typically more mellow and
rich in their sound than soprano voices.
Contralto:
8LI GSRXVEPXS JEGL JIEXYVIW E WMKRMÁGERXP] PS[IV
VERKIERHEZIV]HEVOVMGLXSRI%GSRXVEPXSMWSRI
of the rarer female voice types due to its range.
Tenor Fächer
Comic Tenor:
The comic tenor sings roles that require acting
rather than exquisitely beautiful singing. His arias
QE]FI[VMXXIRMRETEXXIVSVWTIIGLPMOIWX]PIERH
do not feature the demands of a full lyric melody.
Lyric Tenor:
Similar to the other lyric voices, a lyric tenor must
WMRK [MXL FIEYX] ERH GSQQERH FSXL ÂI\MFMPMX]
of coloratura passages and musical phrasing of a
legato line.
34
F l o r i d a G r a n d O p e r a / / T h e O p e r a t i c Vo i c e
Heldentenor:
Meaning “heroic tenor” in German, a Heldentenor
features a richer and more robust sound than the
lyric tenor. In his middle range, a heldentenor may
sound very similar to a baritone in color and weight.
Baritone Fächer
Lyric baritones and dramatic bass-baritones feature
the same characteristics of lyric and dramatic voices.
A lyric baritone has a sweeter, mellower sound,
while a dramatic bass-baritone has more comfort
and strength in his lower range as well as enough
power to sing over a large orchestra.
Cavalier Baritone:
The cavalier baritone has a brassy quality to his
voice and is capable of singing both lyric and
dramatic passages. This voice is very similar to the
Verdi Baritone, discussed more in-depth in the next
section, but the Verdi Baritone usually sings a much
higher tessitura than the cavalier baritone.
Bass Fächer
&EWWIW EVI EPWS GPEWWMÁIH EW P]VMG SV HVEQEXMG EW
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.
S t u dy G u i d e s / / M a g i c F l u t e
35
The
Magic Flute
© ST. PETERSBURG OPERA
(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
Vienna, at the Freihaus-Theater auf der
Wieden, September 30th, 1791. The liFVIXXSMWF])QERYIP7GLMOERIHIV7ITtember 1, 1751- September 21, 1812)
[VMXXIR EJXIV E FSSO SJ SVMIRXEP JEMV]tales. The source story was called Lulu,
or The Magic Flute.
Magic Flute’s premiere Playbill
36
Florida Grand Opera // The Magic Flute
S t u dy G u i d e s / / M a g i c F l u t e
37
© FLORIDA GRAND OPERA
Cast &
Characters
Qeen of the Night
Jeanette Vecchionee
coloratura soprano
A beautiful evil queen
and Pamina’s mother.
Tamino
Andrew Bidlacke
tenor
bariton
Jonathan G. Michie
Jordan Bisch
in love with pamina.
The Queen’s clumsy
bird catcher.
Highest priest of
Isis and Osiris.
A handsome prince
bass
Monostatos
Pamina
Papagena
Three Ladies
soprano
soprano
two sopranos,
mezzo soprano
Sarasreo’s prisoner.
Sarastro. He is in love with Pamina.
Two Armed Man
tenor, bass
Florida Grand Opera // Cast & Characters
Sarastro
bass
A moor and chief servant of
38
Papageno
Girl who is disguised as
an old woman and transforms into a beautiful
female bird catcher.
Servant to the queen
of the night.
Three Priests
Three Boys
7TIEOIV
tenor, two basses
bass-baritone
bass-baritone
S t u dy G u i d e s / / M a g i c F l u t e
39
Act 1
Scenes from The Magic Flute
8LIÁVWXWGIRIGYVXEMPWXS8EQMRS¸WGVMIWJSVLIPTEW
he is pursued by a serpent. As he falls unconscious,
the three ladies for the Queen of the Night arrive
ERHOMPPXLIWREOI8LI]EVIUYMXIXEOIR[MXLXLI
handsome young man, and each vies to stay with
LMQERHXV]XSGSRZMRGIXLISXLIVWXSVITSVXFEGO
to the Queen. Eventually, they all unwillingly
leave together.
8EQMRS E[EOIW HMWSVMIRXIH ERH Q]WXMÁIH F]
XLI WMKLX SJ XLI HIEH WREOI ,I WIIW WSQISRI
approaching and hides. The stranger sings of his
job as a bird catcher (Der Vogelfänger bin ich ja)
and longs for a net to entangle girls with so that
he can marry the one he chooses When Tamino
inquires who the stranger is, Papageno explains
XLEXLIQEOIWLMWPMZMRKFEVXIVMRKFMVHWXSPEHMIW
40
© DOUGLAS HAMER LYRIC OPERA OF KANSAS CITY
8EOIRJVSQLXXT[[[TSZFGGETHJWÂYXICWXYH]CKYMHITHJ
Synopsis
Florida Grand Opera // Synopsis
SJ XLI 2MKLX MR I\GLERKIH JSV JSSH ERH HVMRO
8EQMRSEWWYQIW4ETEKIRSMWLMWVIWGYIVERHEWOW
LS[LIGSYPHLEZIOMPPIHXLIWIVTIRX[MXLSYXER]
weapons. Papageno boasts that he needs none: a
strong squeeze of his hand is more effective than
any weapon.
The three ladies return and scold Papageno for
XIPPMRKPMIW8LI]XIPP8EQMRSXLEXXLI]LEZIOMPPIH
XLI WREOI RSX 4ETKIRS 8LI XLVII [SQIR WGSPH
Papageno and tell him the Queen is sending him
water instead of wine, a stone instead of bread and
TEHPSGOJSVLMWQSYXLMRWXIEHSJW[IIXÁKW8LI
three ladies then show Tamino a portrait of the
Queen’s daughter, Pamina. Tamino falls instantly
MRPSZI(MIW&MPHRMWMWXFI^EYFIVRHWGL}R
S t u dy G u i d e s / / M a g i c F l u t e
41
© DOUGLAS HAMER LYRIC OPERA OF KANSAS CITY
Suddenly, the Queen appears and informs Tamino
XLEX4EQMRELEWFIIROMHRETTIHF]ERIZMPHIQSR
Sarastro. The Queen urges Tamino to rescue her
beloved daughter and promises that if he succeeds,
Pamina will be his forever (O zittre nicht, mein
lieber Sohn!).
After this, the Queen leaves. Papageno still has
LMWQSYXLTEHPSGOIHWLYXERH8EQMRSMWYREFPI
to help him (Quintet: Hm hm hm hm). The three
PEHMIWVIQSZIXLIPSGOQEOMRK4ETEKIRSTVSQMWI
to never tell lies again. They then give Tamino
E QEKMG ÂYXI [SVXL QSVI XLER KSPH SV GVS[RW
which will protect him on his quest and bring love
and happiness to humans.
42
Florida Grand Opera // Synopsis
Papageno is reluctant of going anywhere near
7EVEWXVS [LS MW WYVI XS LEZI LMQ TPYGOIH ERH
roasted and fed to the dogs. However, the ladies
insist that Papageno accompany Tamino, and they
give him a set of magical bells to protect him,
then send the young men off, guided by three
mysterious spirits.
At Sarastro’s palace, Pamina is dragged in after
her latest attempt to escape. She was left alone
with the brutal Monostatosas when Papageno,
who has been sent on ahead as a scout, arrives
Papageno and Monostatos see one another, and
each is convinced that the other is the devil, and
1SRSWXEXSWÂIIW
S t u dy G u i d e s / / M a g i c F l u t e
43
The spirits leave, advising him to be constant,
patient and discreet. Tamino tries to enter the
ÁVWX X[S XIQTPIW FYX MW VIJYWIH EHQMXXERGI ,I
ÁREPP] XVMIW XLI HSSV SJ XLI 8IQTPI SJ ;MWHSQ
A priest appears and tells him that he has been
duped; Sarastro is not an evil villain as depicted by
XLI5YIIR8EQMRSEWOWMJ4EQMREMWEPMZIFYXXLI
priest says he is sworn not to tell him.
An invisible chorus assures him that she is
EPMZI 3ZIVGSQI [MXL KVEXMXYHI 8EQMRS XEOIW
LMWÂYXISYXERHTPE]WMX;MIWXEVOMWXRMGLXHIMR
Zauberton). He hears the sound of Papageno’s
TMTIW ERH VYWLIW SJJ XS ÁRH LMQ 4ETEKIRS ERH
4EQMRE JSPPS[ XLI WSYRH SJ 8EQMRS¸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
© DOUGLAS HAMER LYRIC OPERA OF KANSAS CITY
When she learns that Papageno has no wife she
assures him that Heaven will soon send him a girl,
and they sing an ode to love (Bei Männern, welche
Liebe fühlen). The two then leave Sarastro’s
palace. Meanwhile, the three spirits lead Tamino
to a grove where the temples of Reason, Natre and
Wisdom are standing.
8IVVMÁIH 4ETEKIRS EWOW [LEX XLI] WLSYPH WE]
4EQMRE EWWYVIW LMQ XS WTIEO XLI XVYXL IZIR
though it may be a crime.
8LIJVMKLXIRIHTEMVMWXEOIRMRXSGYWXSH]4EQMRE
I\TPEMRW XS 7EVEWXVS XLEX WLI ÂIH LMW TEPEGI MR
order to escape the attentions of Monostatos.
Sarastro reassures her, but insists that she must
stay with him and be guided by a man rather than
have her happiness entrusted to her proud mother.
Monostatos arrives with another prisoner, Tamino.
8EQMRSERH4EQMREQIIXIEGLSXLIVJSVXLIÁVWX
time and embrace. Monostatos expects Sarastro
to punish the young man, but instead Sarastro has
Monostatos punished.
The chorus praises Sarastro’s wisdom as he orders
Tamino and Papageno brought into the temple to
FIKMRXLIMVXVMEPWSJTYVMÁGEXMSR
S t u dy G u i d e s / / M a g i c F l u t e
45
© DOUGLAS HAMER LYRIC OPERA OF KANSAS CITY
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),
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.
Act 2
46
Florida Grand Opera // Synopsis
8LI TVMIWXW ERRSYRGI XLI ÁVWX XVMEP E XVMEP SJ
silence. The two young men will be tempted by
FIEYXMJYP[SQIRFYXQYWXXLI]RSXWTIEOXSXLIQ
&I[ELVIXIYGLZSV;IMFIVX‚GOIR8LVIIFIEYXMJYP
ladies appear and try to persuade them to abandon
their quest, but the young men persevere, despite
S t u dy G u i d e s / / M a g i c F l u t e
47
some lapses on Papageno’s part. Meanwhile, the
escaped Monostatos creeps in and gazes upon the
sleeping Pamina (Alles fühlt der Liebe Freuden).
When the Queen of the Night appears, he hides
himself and watches in the shadows as Pamina
tells her mother that Tamino is now with Sarastro.
The Queen gives Pamina a dagger, saying she
[MPP HMWS[R LIV YRPIWW WLI OMPPW 7EVEWXVS (IV
,}PPI6EGLIOSGLXMRQIMRIQ,IV^IR4EQMREMW
ETTEPPIHERHGSRÂMGXIH
After the Queen vanishes, Monostatos tries to
FPEGOQEMP 4EQMRE F] XLVIEXIRMRK XS VIZIEP XLI
murder plot unless Pamina becomes his lover. She
refuses and is saved by Sarastro’s arrival. When
Pamina begs Sarastro not to punish her mother,
Sarastro reassures her that he is not vengeful (In
HMIWIRLIMP¸KIR,EPPIROIRRXQERHMI6EGLIRMGLX
Meanwhile, the trials of Tamino and Papageno
move forward. For their next trial, they are again
told that they must once again remain silent.
However, the inveterate chatterbox Papageno falls
into conversation with an old woman – actually the
lovely young Papagena – who brings him water.
After she disappears, the three spirits appear,
bringing food, Papageno’s magical bells and
8EQMRS¸W ÂYXI 4EQMRE LIEVW 8EQMRS¸W ÂYXI ERH
WIIOW LMQ SYX 7LI EXXIQTXW XS XEPO XS LMQ FYX
since he is still undergoing the trial of silence,
he sadly refuses to answer her. Pamina leaves
LIEVXFVSOIR%GLMGLJ‚LPWIWMWXZIVWGL[YRHIR³
)[MKLMRHIV0MIFI+P‚GO
48
Florida Grand Opera // Synopsis
With two trials behind him, Tamino still has to
YRHIVXEOI X[S QSVI HERKIVSYW XVMEPW 7EVEWXVS
then bring Pamina and Tamino together to say a
ÁREP JEVI[IPP 7EVEWXVS WYKKIWXW XLEX MJ8EQMRS MW
worthy, the gods will protect him and they will
meet again.
Left behind, Papageno has started to feel lost,
EFERHSRIH ERH JVMKLXIRIH 8LI 7TIEOIV SJ XLI
Brotherhood (priests) tells him that although he
has failed his test he won’t be punished, though
he will never be among the “Initiated”. Papageno
PSSOW YRGSRGIVRIH ERH WE]W XLEX EPP LI HIWMVIW
at the moment is a glass of wine – a wish that is
instantly granted. Papageno realizes of his other
desire, a wife, and starts to play his magic bells
and sings of his longing for a wife (Ein Mädchen
oder Weibchen wünscht Papageno sich!). Almost
MRWXERXP]XLISPH[SQERVIETTIEVWEWOMRKLMQXS
promise to be faithful to her, the alternative being
to remain alone for the rest of his life. Papageno
agrees, that he will love the old woman faithfully,
and the old woman is transformed into the
enchanting young Papagena.
As Papageno rushes towards her, Papagena is
XEOIRE[E]F]XLITVMIWXW8LIWGIRIRS[GLERKIW
and the three spirits are seen welcoming the
ETTVSEGLSJHE[RERHSJ[MWHSQEQSRKQEROMRH
&EPH TVERKX HIR 1SVKIR ^Y ZIVO‚RHIR 8LI
three spirits then notice Pamina, out of her mind
[MXLKVMIJERHVIEH]XSOMPPLIVWIPJ8LI]WXSTLIV
assuring her that Tamino loves her. The spirits
XLIRXEOILIVXSLMQ
S t u dy G u i d e s / / M a g i c F l u t e
49
© DOUGLAS HAMER LYRIC OPERA OF KANSAS CITY
8EQMRS EFSYX XS FIKMR XLI ÁREP XVMEPW MW RS[
EPPS[IHXSWTIEOXS4EQMRE8LIVIYRMXIHPSZIVW
express their joy (Tamino mein! O Welch ein
+P‚GOERH4EQMRETVSQMWIWXSWXE]F]8EQMRS¸W
side and to lead him through the trials. The lovers
EVIXLIRF]XLIQEKMGÂYXI[LMGLLEHFIIRGEVZIH
F] 4EQMRE¸W JEXLIV JVSQ E XLSYWERH ]IEV SPH SEO
(Wir wandeln durch des Tones Macht).
The couple now endure the Trials of Fire and
Water together, and with the music of the magic
ÂYXIEVIWEJIP]EFPIXSTEWWXLVSYKL
50
Florida Grand Opera // Synopsis
Meanwhile, Papageno pines for his lost Papagena
;IMFGLIR 8mYFGLIR QIMRI 7GL}RI ERH
threatens to hang himself. The three spirits
persuade him to play his magic bells. Papagena
appears, and the delighted pair, stammer with
happiness (Pa-pa-pa, pa-pa-pa, Papagena!)
The Queen of the Night, Monostatos, and the
three ladies try to storm Sarastro’s temple and free
Pamina so Monostatos can have her for his wife,
but they are destroyed by Sarastro’s forces of light.
Sarastro welcomes the young lovers at the chief
temple, and all rejoice and sing praises of Tamino
and Pamina.
S t u dy G u i d e s / / M a g i c F l u t e
51
©.CLASSICAL
8EOIRJVSQLXXT[[[STIVEP]VEGEQIHME8EF0IEVR303C1*C)C[IFTHJ
52
The Composer
Wolfgang Amadeus
Mozart
(1756-1791)
Mozart
Florida Grand Opera // The Composer
S t u dy G u i d e s / / M a g i c F l u t e
53
Mozart was born January 27, 1756 in Salzburg,
Austria. At an early age, Wolfgang displayed great
genius. At the age of three, young Wolfgang began
OI]FSEVHPIWWSRW
&]ÁZI]IEVWSPH
he composed the
ÁVWXSJ[LEX[SYPH
become over 600
compositions.
&] ÁZI ]IEVW SPH LI GSQTSWIH XLI ÁVWX SJ [LEX
would become over 600 compositions. Not wanting
XLMWWTEVOPMRKXEPIRXXSKSXS[EWXI1S^EVX¸WJEXLIV
and his sibling set off on a series of long European
tours. Young Mozart and his sister, Maria Anna
RMGOREQIH2ERRIVPTPE]IHMRGSYVXWJSVTVMRGIW
OMRKWERHEVGLFMWLSTW³IZIR1EVMI%RXSMRIXXIXLI
future Queen of France. Gifted with an amazing ear
and a sharp mind, Mozart astounded listeners by
repeating long pieces of music he heard only once.
Gifted with an amazing ear and a sharp
mind, Mozart astounded listeners by
repeating long pieces
of music he heard
only once.
,I[VSXILMWÁVWXW]QTLSR]F]XLIEKISJERH
LMW ÁVWX STIVE F] ;LMPI 1S^EVX ERH 2ERRIVP
were on tour in Paris, their mother died. Mozart,
now a young man, returned to Salzburg where he
FIGEQI GSYVX SVKERMWX ,I PEXIV PIJX XS WIIO LMW
musical fortune in Vienna and there met his future
wife, Constanze Weber, a singer. Mozart dared to
leave the security of composing for wealthy patrons,
preferring the freedom and creativity that selfemployment provided.
54
Florida Grand Opera // The Composer
He built a highly successful career as a composer,
performer and teacher, and even went through
bouts of poverty. In 1791, (the year of his untimely
death at the age of 35) Mozart wrote The Magic
Flute and even conducted it on opening night. This
fanciful opera, ringing with universal truths, was an
instant hit with the middle class crowd in Salzburg.
It remains one of Mozart’s most popular operas.
There are many myths, misconceptions and ruQSVW EFSYX 1S^EVX¸W PMJI 2SX QER] ORI[ EFSYX
the private inclinations of the composer. It was
often thought that composition came effortlessly to him, yet Mozart indicated otherwise. “It is
EQMWXEOIXSXLMROXLEXXLITVEGXMGISJQ]EVXLEW
However, Mozart will become easy to me. I assure you, dear friend, no
be commemorated one has given so much care to the study of comas one of the most
position as I. There is scarcely a famous master
profound and impressionable marks on MR QYWMG [LSWI [SVOW - LEZI RSX JVIUYIRXP] ERH
Western music. diligently studied.”
,I[EWETVSPMÁG[VMXIVERHQER]SJLMWGSRXIQporaries, including Josef Haydn and the young
Ludwig van Beethoven, held him in the highest regard. His letters also reveal a complex personality
³ STMRMSREXIH WSQI[LEX GSRGIMXIH ERH HMJÁGYPX
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
S t u dy G u i d e s / / M a g i c F l u t e
55
©PHOTOGRAPHERS DIRECT
)\GIVTXJVSQLXXTWJSTIVEGSQ7ER*VERGMWGS3TIVEQIHME)HYGEXMSR6IWSYVGI1EXIVMEPW1EKMG*PYXI7GLMOERIHIV&MSTHJ
Librettists
Emanuel
7GLMOERIHIV
(1751-1812)
7GLMOERIHIVGMVGE
56
Florida Grand Opera // Librettists
S t u dy G u i d e s / / M a g i c F l u t e
57
)QERYIP.SLERR.SWITL7GLMOERIHIV[EWFSVRSR
September 1, 1751 in Straubing, Germany and was
an impresario, dramatist, actor singer and comTSWIV8LSYKL PMXXPI MW ORS[R SJ LMW PMJI MR +IVQER]7GLMOERIHIV[EWZIV][IPPORS[RMR:MIRRE
(especially among the middle class audiences that
he endeavored to attract to the theatre).
2SXSRP][EW7GLMOERIHIVJEQSYWJSVLMW7LEOIWTIEVMER VSPIW ORS[R JSV LMW I\GIPPIRX TSVXVE]EP
of Hamlet) he was also adept at performing the
lowest of comedy – and often did. He did not hesMXEXI XS QEOI YWI SJ WTIGXEGYPEV WTIGMEP IJJIGXW
XS TYPP MR GVS[HW8LI XIVQµ7GLMOERIHIVIM¶ [EW
coined to describe those impressive productions.
-R 7GLMOERIHIV HMVIGXIH E XVEZIPing theatre troupe (the troupe visited Salzburg in
1780), for which he also wrote plays and librettos.
%JXIVHMVIGXMRKWIZIVEPSXLIVGSQTERMIWLIÁREPly settled at the Freihaus-Theater auf der Wieden where he assembled one of the most talented
groups of singers in Vienna. At this theatre he produced his own plays and commissioned settings
of his operas and Singspiel librettos (such as The
Magic Flute).
58
Florida Grand Opera // Librettists
2SXSRP][EW7GLMOEReder famous for his
7LEOIWTIEVMERVSPIW
ORS[RJSVLMWI\cellent portrayal of
Hamlet) he was also
adept at performing
the lowest of comedy
– and often did.
)QERYIP 7GLMOERIHIV TIVLETW SRI SJ 1S^EVX¸W
best friends, made several entrances and exits
during the composer’s life. One such entrance led
to the composition of The Magic Flute in late 1791.
The opera’s exotic subject and the timing of its
premiere – only months before Mozart’s death –
could not have been more dramatic. It was an immediate hit and success, and went on to become
SRISJ1S^EVX¸WQSWXIRHYVMRK[SVOW
7GLMOERIHIVHMHR¸XKEMRLMKLEQSYRXWSJWYGGIWW
as he did with The Magic Flute (he gave 223 repeat
performances in the production as Papageno).
4IVLETW XLI WXEXYI SJ 4ETEKIRS XLEX 7GLMOERIHer had installed over an entrance to the Theater
EYJHIV;MIR[EWEREGORS[PIHKQIRXSJEHIFXSJ
7GLMOERIHIV¸WVMWI gratitude to Mozart.
from itinerant entertainer to Vienna’s
QSWXLMKLVEROMRK
MQTVIWEVMSQEOIW
quite a story. Certainly, he was one of the
most talented and
MRÂYIRXMEPXLIEXVI
men of his age. In his
lifetime, he wrote 50
librettos and built the
Theater an der Wien
MRQEOMRKYWISJ
an Imperial license he
had obtained 15 years
earlier), which still
stands today.
7GLMOERIHIV¸WVMWIJVSQMXMRIVERXIRXIVXEMRIVXS:MIRRE¸WQSWXLMKLVEROMRKMQTVIWEVMSQEOIWUYMXI
a story. Certainly, he was one of the most talented
ERHMRÂYIRXMEPXLIEXVIQIRSJLMWEKI-RLMWPMJItime, he wrote 50 librettos and built the Theater
ER HIV;MIR MR QEOMRK YWI SJ ER -QTIVMEP
license he had obtained 15 years earlier), which
still stands today. According to the New Grove
Dictionary, the Theater an der Wien was “the most
lavishly equipped and one of the largest theatres
SJMXWEKI¶-XMWGPIEVXLEX7GLMOERIHIV¸WJEQIERH
JSVXYRIGEQIXLVSYKLLEVH[SVOERHEXLSVSYKL
understanding of his audience.
S t u dy G u i d e s / / M a g i c F l u t e
59
)\GIVTXJVSQLXXTETTOYLJSVKEVXMGPIW7MRKWTMIPLXQP
60
© LIVERPOOL DAILY POST
So what is
Singspiel?
The Magic Flute, Liverpool Empire
Florida Grand Opera // So what is Singspeil?
S t u dy G u i d e s / / M a g i c F l u t e
61
When the curtain goes up on The Magic Flute, one
SJ XLI ÁVWX XLMRKW [I RSXMGI SRGI XLI SZIVXYVI MW
ÁRMWLIH MW XLI HMEPSKYI=SY [SR¸X LIEV XLI WIGco or “dry” recitative (the music that connects the
opera’s arias, ensembles and choruses) that we
are used to hearing in many of Mozart’s other operas (Don Giovanni, The Marriage of Figaro, Così
fan tutte), where the recitative is accompanied by a
harpsichord. Here, the musical numbers are conRIGXIHF]TPEMRWTSOIRHMEPSKYI
Literally translated,
Singspiel means
“song-play.” It
loosely translates to
“musical comedy,”
WTIGMÁGEPP]EFVERH
of German comic
opera that had its
heyday in the late
18th century.
In the latter part of the 18th century, the Singspiel
underwent a transformation. Essentially, the Singspiel split into two branches. In northern Germany, the Singspiels of C.F. Weisse and Johann Adam
,MPPIVLIPHW[E]WXVSRKP]MRÂYIRGIHF]XLI*VIRGL
opéra comique, from which Weisse mined most of
his libretti.
The Magic Flute
really transcended the Singspiel
genre. Mozart himself did not call it a
Singspiel, rather a
“Grosse Oper,” or
“grand opera.”
%FHYGXMSR[EWRIMXLIV1S^EVX¸WÁVWX7MRKWTMIPRSV
LMWPEWX,MWÁVWX[EW&EWXMIRYRH&EWXMIRRI[LMGL
Mozart composed in the French opéra comique
style at the ripe age of 12. A short one-act SingWTMIPGEPPIH8LI-QTVIWEVMSTVIGIHIH1S^EVX¸WÁREP
[SVO JSV XLI XLIEXIV ERH WSQI WE] XLI GVS[RMRK
achievement of his career. The Magic Flute really
transcended the Singspiel genre. Mozart himself
did not call it a Singspiel, rather a “Grosse Oper,”
or “grand opera.” Although it retains Singspiel’s
comedic origins with the character of Papageno, it
adds some unprecedented sociological and philosophical weight in Tamino and Pamina’s journey toward enlightenment. tained musical numbers and
EVIGSRRIGXIHF]WTSOIRHMEPSKYI
That’s because The Magic Flute is a Singspiel. Literally translated, Singspiel means “song-play.” It
PSSWIP]XVERWPEXIWXSµQYWMGEPGSQIH]¶WTIGMÁGEPP]
a brand of German comic opera that had its heyday in the late 18th century.
)EVP]SR7MRKWTMIPPMOIMXWGSRXIQTSVEVMIW*VIRGL
opéra comique, Italian opera buffa, English ballad
opera and German Singspiel) was a decidedly lower-brow entertainment. It featured light, farcical
topics. The texts borrowed heavily from popular
entertainment or from the common vernacular and
the music was very simple that anyone could sing
(because the actors who were to sing it typically
had little or no musical training). Scores were used
MRREXMSREPMWXMGJSPOWSRKERHSJGSYVWIMRXLIHMElogue between the musical numbers.
62
Florida Grand Opera // So what is Singspeil?
In Southern Germany, however, the predominant
MRÂYIRGI GEQI JVSQ -XEP]¸W QSVI ZMZEGMSYW ERH
virtuosic opera buffa. In 1778, a new National Theater built by Austrian Emperor Josef II opened in
Vienna specializing in this sort of Singspiel. Four
years later, Josef II’s theater saw the world premiere of Wolfgang Amadeus Mozart’s The Abduction from the Seraglio.
S t u dy G u i d e s / / M a g i c F l u t e
63
The Magic Flute and Beethoven’s Fidelio are
considered the crowning glories of Singspiel,
which then led the way forward to the operas
of Carl Maria von Weber, Heinrich Marschner,
Richard Wagner and Richard Strauss. Singspiel,
once considered the”lowbrow” 18th century
musical entertainment, eventually gave birth to
German opera.
Singspiel Timeline
Singspiel, once
considered the”lowbrow” 18th century
musical entertainment, eventually
gave birth to German opera.
_Bastien und Bastienne
Wolfgang Mozart
_Die Jagd (The Huntsman)
Johann Adam Hiller Zaïde – Wolfgang Mozart
_Die Entführung aus dem Serail (The Abduction
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?
S t u dy G u i d e s / / M a g i c F l u t e
65
© GNOMELOOK
Excerpt from http://www.bslopera.com/images/Magic_Flute_Study_Guide.pdf
Freemasonry,
The Founding Fathers and,
The Magic Flute
Freemason’s symbol
66
F l o r i d a G r a n d O p e r a / / Fr e e m a s o r y
S t u dy G u i d e s / / M a g i c F l u t e
67
Freemasonry is an ancient secret order devoted to
the moral development of individuals. Its roots are
in the Judeo-Christian tradition and its symbols
dervie from the building, destruction and reconstruction of the Temple of Jerusalem. However,
even today there is still debate over the actual date
and location of the origins of modern FreemasonV]7SQILMWXSVMERWHEXIMXFEGOXSXLIJSVQEXMSRSJ
fraternal organizations as an outgrowth of medieval stonemason guilds in the 1200s and others see
XLIÁVWXWMKRMÁGERXIZIRXMRQSHIVR*VIIQEWSRV]
EWXLIJSVQEXMSRSJXLIÁVWX+VERH0SHKIMR0SRdon in 1717.
Freemasons insist they are not a religion but a
LERHQEMHIRXSVIPMKMSR[LMGL[MPPQEOITMSYWSV
serious persons better members of their churches. Nevertheless, at various times in the past, Freemasons have been persecuted by established religions. By the 18th century, particularly in Catholic
countries such as Italy and Austria, Freemasonry
and the church were on a collision course. During
the course of the Enlightenment and the American and French Revolutions, certain concepts of
*VIIQEWSRV][IVIXEOIRYTF]XLITSPMXMGEPPIEHIVW
“Liberty , Equality, Fraternity,” was the rallying cry
of the French Revolution and came from a triad of
Masonic principles.
Freemasonry played an interestring role in the
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
F l o r i d a G r a n d O p e r a / / Fr e e m a s o r y
Freemasonry is
an ancient secret
order devoted
to the moral
development of
individuals.
Almost every president from George Washington
XS %RHVI[ .EGOWSR [EW E *VIIQEWSR I\GITX JSV
John Adams and John Quincy Adams). Some of
XLIQ TEVXMGYPEVP] HIMWXW PMOI 8LSQEW .IJJIVWSR
QE] LEZI LEH TLMPSWSTLMGEP GSRÂMGXW WMRGI *VIImasons profess absolute allegiance to a supernatYVEPHIMX][LIVIEW.IJJIVWSRPMOIQSWXSJXLITLMlosophers of his time, was interested in natural law,
the natural sciences and the rule of reason.
&SXL;SPJKERK1S^EVXERH)QERYIP7GLMOERIHIV
were Freemasons, and used Freemasonry princiTPIW[LMPI[VMXMRK8LI1EKMG*PYXI%QSRKXLIOI]
principles to be considered was: Tamino to meet
“on level” with other men, the men who gathered
in the “Lodge”(as Freemasons are all equal and on
the same level, regardless of social status or occuTEXMSR1S^EVXERH7GLMOERIHIVHVI[JVSQSXLIV
WSYVGIWEW[IPPZEVMSYWI\SXMGXEPIWXLEX[IVIÂSEXing around at the time, and used in other, less distinguished extravaganzas. It was probably Mozart’s
MHIEPMWQEWQYGLEW*VIIQEWSRV]MXWIPJXLEXXSSO
over as the moral principle of the opera. Nevertheless, most productions of The Magic Flute beBoth Wolfgang Mozart and Emanuel tween 1800 and 1950 had an overwhelmingly large
7GLMOERIHIV[IVI amount of Freemasonry in their décor, costumes,
Freemasons, and
and symbolism. Mozart despised the patronage
used Freemasonry
principles while writ- system (a system of servitude) under which he laing The Magic Flute. bored for most of his career.
S t u dy G u i d e s / / M a g i c F l u t e
69
© TRINITYLODGE
As a musician, he felt as though he was treated as
a servant. If the aristocratic rulers (the Archbishop
of Salzburg, Emperor Joseph II, various counts and
HYOIWWEMHµ.YQT¶1S^EVXGSYPHYWYEPP]SRP]EWO
“How high?” Prior to the early 19th century, the age
of Ludwig van Beethoven and Giaochino Rossini,
musicians were craftsmen, just as a servant might
have been. The Magic Flute[EW1S^EVX¸WÁVWXERH
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
FluteVIÂIGX1S^EVX¸WZMWMSRWJSVEWSGMIX]MR[LMGL
all persons are created equal, and truth and goodness always triumph over deception and evil.
-XMWÁXXMRKXLIVIJSVI
that the themes in
The Magic FluteVIÂIGX
Mozart’s visions for
a society in which all
persons are created
equal, and truth and
goodness always triumph over deception
and evil.
George Washington
70
F l o r i d a G r a n d O p e r a / / Fr e e m a s o r y
S t u dy G u i d e s / / M a g i c F l u t e
71
Excerpt from http://www.operalyra.ca/media/Tab-Learn/OLO_MF_E_web.pdf
© ACTIVE MUSICIAN
Mozart’s
Music
Score from The Magic Flute
72
F l o r i d a G r a n d O p e r a / / M o z a r t ’s M u s i c
S t u dy G u i d e s / / M a g i c F l u t e
73
Mozart is the greatest composer of all. Beethoven created his music, but the music of Mozart is of such purity
and beauty that one feels he merely found it – that it has
always existed as part of the inner beauty of the universe
waiting to be revealed.
–Albert Einstein
Wolfgang Amadeus Mozart’s music is an example
of true classical style, as is the music of Christoph
;MPPMFEPH +PYGO .SWITL ,E]HR ERH 0YH[MK ZER
Beethoven. The classical period lasted from 17501820 and was noted for clarity, balance and expressive qualities achieved through tension and
release with the prominence of melody. And yet
Mozart’s legacies as a composer also include the
creation of complex and sophisticated textures
XLEX PSSO JSV[EVH XS XLI XYVFYPIRGI ERH TEWWMSR
of romanticism. Besides operas he also wrote piano concertos, piano sonatas, dances, symphonies,
string quartets and religious music such as masses
1S^EVX LEH XS QEVOIX LMW GVEJX ERH PMOI LMW GSRtemporaries, 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 Figaro is perhaps the most popular of all the Mozart
operas and it has never dropped out of the stanHEVHVITIVXSMVIWMRGIMXWÁVWXTIVJSVQERGI
74
F l o r i d a G r a n d O p e r a / / M o z a r t ’s M u s i c
More than 200 years
after his death we
are still fascinated by this musical
genius, and we hear
his music in movies,
advertisements and
on television.
Mozart’s legacies as a
composer also include
the creation of complex
and sophisticated texXYVIWXLEXPSSOJSV[EVH
to the turbulence and
passion of romanticism.
.YWX EW 1S^EVX¸W QYWMG VIEGLIH FEGO XS +ISVKI
Handel, Johann Bach and the high Baroque, it
also reached forward to Beethoven and the age of
romanticism. In this opera we can hear that full
spectrum of musical achievement.
More than 200 years after his death we are still
fascinated by this musical genius, and we hear his
music in movies, advertisements and on television.
The 250th anniversary of his birth in 2006 brought
about much publicity for Mozart, even giving way
JSV NMKWE[ TY^^PIW TIVJYQI QMPOWLEOIW ERH E
chocolate named after him.
S t u dy G u i d e s / / M a g i c F l u t e
75
© SMARTHISTORY
© ILEANA COTRUBAS
Excerpt from http://www.operalyra.ca/media/Tab-Learn/OLO_MF_E_web.pdf
76
The age of
Enlightenment
Wright of Derby, The Orrery, 1765
Florida Grand Opera // The age of Enlightenment
S t u dy G u i d e s / / M a g i c F l u t e
77
Wolfgang Amadeus Mozart was born in the midHPISJEGIRXYV]ÁPPIH[MXLGLERKI8LI%KISJ)Rlightenment, also called The Age of Reason, was
a turbulent time of revolutionary religious, social
ERHWGMIRXMÁGXLSYKLX2I[MRZIRXMSRWERHXVERWformations changed how families made their living. In the 17th century Galileo Galile’s observaXMSRW SJ XLI QSSR ERH .YTMXIV XLVSYKL XLI ÁVWX
telescope determined that the universe was guided by mathematical principles. Sir Isaac Newton
explained universal gravitation and developed
XLVIIPE[WSJQSXMSR;VMXIVWXLMROIVWERHTLMPSWophers such as Jean-Jacques Rousseau, Voltaire,
David Hume, Jonathon Swift and Mary Wolstonecraft questioned the nature of social justice and
human identity.
The idea that humans were born sinful in a
god-centered universe, was giving way to a view
that people are born with “inalienable rights,” naturally good, in a universe governed by reason, rather than simple faith. The notion of Utopia seemed
SFXEMREFPI :SPXEMVI¸W [SVO 'ERHMHI HITMGXIH E
scenario in “the best of all possible worlds.” The
struggle to reconcile these visions of the world
SJXIR XSSO TPEGI [MXLMR SRI MRHMZMHYEP EW [IPP EW
in society at large. Newton, devoutly religious, believed that although the planets followed a mathematically determined route, it was God who set
XLITPERIXWMRQSXMSRMRXLIÁVWXTPEGI
78
Florida Grand Opera // The age of Enlightenment
The Age of Enlightenment, also called
The Age of Reason,
was a turbulent time
of revolutionary
religious, social and
WGMIRXMÁGXLSYKLX
New inventions revolutionized the way people
lived. Traditionally a rural agricultural society,
Europe gradually became more industrius and
urban during the 18th century. Although the
Industrial Revolution had not yet begun, there
were signs that change was afoot.
Times were also changing for women. Although
they did not yet have property rights, women were
becoming educated in the arts. Upper-class women
learned to paint, draw, sing and play music. Women
of lower classes began lives of never-ending
toil in factories as family structures changed
to accommodate an industry-based economy.
There is no stronger statement from the Age of
Reason than the resulting American Declaration
of Independence and the American Revolution
(1775-1783). The French Revolution (1789-1799)
was springboarded through monumental changes
XEOMRK TPEGI MR )YVSTI ³ XLI RI[ FIPMIJ NYWXMÁIH
XLEXXLIFVIEOHS[RSJGPEWWWXVYGXYVIERHVIWTIGX
for the monarchy in both countries. Canada
experienced its own upheaval at the time, with the
end of the Seven Years’ War resulting in Canada
becoming exclusively British (1763). Some of this
WSGMEP XYVQSMP MW VIÂIGXIH MR XLI WXSV]PMRI SJ The
Magic Flute.
S t u dy G u i d e s / / M a g i c F l u t e
79
© CLIPART
Many interpreters have suggested the the Queen of
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.
He ruled absolutely, but only in reference to
reason, justice and truth. Using the opera as a
vehicle of thought, Mozart discussed some of the
most contentious and topical issues of his time.
Using the opera as a
vehicle of thought,
Mozart discussed
some of the most
contentious and topical issues of his time.
Writing of the Declaration of Indepence
80
Florida Grand Opera // The age of Enlightenment
S t u dy G u i d e s / / M a g i c F l u t e
81
© FLORIDA GRAND OPERA
Excerpt from http://www.operalyra.ca/media/Tab-Learn/OLO_MF_E_web.pdf
Mozart’s
Unconventional Heroine
Pamina
Liseth Orepesa as Pamina
82
F l o r i d a G r a n d O p e r a / / Pa m i n a
S t u dy G u i d e s / / M a g i c F l u t e
83
What made Pamina different from Wolfgang
Mozart’s other heroines?
Pamina is not the heroine in the sense of Mozart’s
S[R*MSVHMPMKMSV'SRWXER^I8LIIPIZEXIHHIÁERGI
[LMGL ÁRHW XLI GSPSVEXYVE YXXIVERGI MR µ'SQI
scoglio” and “Martern aller Arten” would be
quite atypical of Pamina. That particular aspect
SJ HIÁERGI MR The Magic Flute transferred to the
antagonist, the Queen of the Night, whose extreme
coloratura arias are the real parallel of those
compared to Fiordiligi and Constanze.
However, Pamina is far from helpless. It is she who
ÁREPP] XEOIW GSQQERH I\TPEMRW XS 8EQMRS XLI
SVMKMR SJ XLI QEKMG ÂYXI ERH SJJIVW XS PIEH LMQ
She is the hero’s comrade and she is not the usual
feminine role that is dangled in front of the hero
urging him onwards. The play between the two
characters shows two opposite situations. Tamino
is shown trying to be a conventional romantic
hero while Pamina tries to overcome the usual
heroine stereotype. The opera shows growth of
Pamina’s character. The idea of a woman to be able
to share her life equal to a man is a contribution
from the early German Romantics. It is, in fact, a
new facet which helped the rise of the feminism
in the late 19th century. In The Magic Flute, the
concept of the waiting heroine captured and in
RIIH SJ VIWGYI MW ÁVWX TVIWIRXIH ,S[IZIV PEXIV
on, Pamina transforms from a silly girl to a woman
during the course of the opera.
84
F l o r i d a G r a n d O p e r a / / Pa m i n a
Pamina is the hero’s
comrade and she is
not the usual feminine role.
The idea that Pamina is not just content to be
chained to her situation is thought of to be a
novelty in The Magic Flute. The hero doesn’t just
gain the simple maiden that he assumes her to
be. Mozart presents this through Act 1, when he
portrays Tamino off to search for her, but Papageno
arrives in the middle of Monostatos’s seduction
and accidently rescues her, instead of Tamino.
0EXIVMRXLIWSRKµ%GLMGLJ‚LPW¶³LIVÁVWXWSPSMR
XLISTIVE³4EQMREWXVMOIWETVSJSYRHERHTPERKIRX
note of almost unbearable grief and Mozart gives
LIVXLEX+QMRSVQYWMG[LMGLWIIQWXSFVIEOSYX
of every 18th convention into the musical idiom.
When Pamina exits, having sung solo in the opera
³4EQMREWXVMOIWETVSJSYRHERHTPERKIRXRSXISJ
almost unbearable grief and Mozart gives her that
+QMRSVQYWMG[LMGLWIIQWXSFVIEOSYXSJIZIV]
18th convention into the musical idiom. When
4EQMRE I\MXW LEZMRK WYRK XLI ÁREP VITIXMXMSR SJ
“im Tode sein,” she is about to commit suicide.
8LIVI MW RS HIÁERGI MR LIV EVME RS GSPSVEXYVE
simply despair and the longing to be at rest. Her
despair is as deep as her love. Mozart has given
LIVXLIFPIEOIWXQYWMGERHWSQISJXLIKVIEXIWXLI
ever wrote, outside the “Requiem.”
Nothing better demonstrates the originality of The
Magic Flute than through Pamina’s character, which
MW IUYEP XS 8EQMRS YRPMOI XLI HIZSXIH [SQIR
of Romantic opera whose love usually becomes
either an embarrassment or an excuse for suicide.
The passive heroine has become active, holding a
special place with Mozart’s heroines.
S t u dy G u i d e s / / M a g i c F l u t e
85
)\GIVTXJVSQ7XYGOI]4VMWGMPPEµ0MKLX(MWTIPW(EVORIWW+IRHIV6MXYEPERH7SGMIX]MR1S^EVX¸Wµ8LI
Magic Flute.””Journal of Feminist Studies in Religion. Vol. 11, No. 1. Spring 1995, pp. 5-39.
86
Florida Grand Opera // Gender in The Magic Flute
© AUSTRALIA OPERA
Gender in
“The Magic
Flute”
The Magic Flute, one of Mozart’s most popular operas
S t u dy G u i d e s / / M a g i c F l u t e
87
The issue of gender and the idea of women is
brought up multiple times in this classic opera.
At one point, Sarastro, upon hearing that Tamino
learned from the Queen of the Night that the
temple was evil, exclaims, “A woman does little,
chatters a lot, and you, a boy, believed the wagging
tongue!” The Queen of the Night is called arrogant
for challenging male power.
Her particular offense consists of trying to win
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belongs to Sarastro. We learn in Act 2 that the SunCircle originally belonged to Pamina’s father. When
he died he bequeathed all he had to the Queen and
Pamina, but gave the Sun-Circle to Sarastro and
the temple initiates. “Sarastro will use it as manfully
EW - LEZI HSRI¶ XLI H]MRK QER XSPH LMW [ÁIµ(S
not try to understand things beyond the grasp of
woman’s mind. It is your duty to place yourself and
your daughter under the leadership of wise men.”
(Act 2, Scene 8).
88
Florida Grand Opera // Gender in The Magic Flute
In this one religious symbol, the Sun-Circle
are joined by the twin values of wisdom and
masculine power. The Sun-Circle, property of
men, symbolizes the masculine half of the sunmoon duality. To own it one must be wise, which,
was only considered to be in the power of men.
In the view of the temple, a woman’s mind could
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and trying to do so would mean threatening the
patriarchical structures of power.
The Queen of the Night and indeed all women
belonging to her realm embody an inferior, if
not downright evil, morality. Sarastro, possessor
of the Sun-Circle, embodies all the enlightened
divine traits that secular and mystical traditions
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Therefore, in Sarastro’s temple, light is preferred
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is welcomed after night. Women, associated with
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FIGEYWIXLI]PEGOVIEWSR¸WPMKLXERHFIGEYWIXLI]
IQFSH] E HIKIRIVEXI QSVEPMX] PEGOMRK GSRXVSP SJ
their senses and passions.
S t u dy G u i d e s / / M a g i c F l u t e
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© AUSTRALIA OPERA
Class in the
“The Magic
Flute”
The Magic Flute Australia
“It is really a shame that I cannot stop chattering.”
– Papageno (Act 2, Scene 5) Papageno reveals
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TVIGMWIP] PMOI XLI XIQTPI¸W GSRWXVYGXMSR SJ XLI
feminine. He too is unable to control his tongue.
The temple’s religion sets a parallel between all
women and men of lower classes: the inability
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dramas during the 18th century represented this
class difference by contrasting the noble hero with
his comic servant. In the dramatic era of tradition
in which The Magic Flute stands, the hero of the
play went on his adventures accompanied always
by a peasant man who provided entertainment as
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with ribald humor and was adept with obscene
gestures. Papageno plays this bawdy simpleton in
relation to Tamino.
90
Florida Grand Opera // Class in The Magic Flute
As capitalism developed during the 18th century,
class distinctions became more pronounced.
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Elites assigned lower classes the vices of sensuality,
ignorance, superstition and credulity. Papageno’s
inability to control his impulses, his gullibility and
his sensuality dramatize the differences that elite
classes of the 18th century that were perceived.
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initiated and profane in mysterious religions
since antiquity. As the mysterious traditions
were rediscovered by Europeans during the
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the difference between privileged and pauper;
until the 18th century, Freemasonry consisted of
men primarily from the ruling classes.
S t u dy G u i d e s / / M a g i c F l u t e
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© AUSTRALIA OPERA
Race in the
“The Magic
Flute”
Monostatos, in The Magic Flute
If Papageno is the lower-class male version
of a “feminine” chatterbox, then Monostatos,
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“feminine” vice. In the character of Monostatos
we see that the gendered cosmos of light and
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PMRIWSJVEGI8LIGEXIKSV]SJQIRMWFVSOIRHS[R
according to men who are faithful and men who
are treacherous, with deception and betrayal
assigned to Monostatos and to the metaphorical
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Monostatos, throughout the opera, portrayed
himself unworthy of the masculine sun religion by
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commits treason by leaving the temple and joining
the Queen’s forces should surprise no one.
92
Florida Grand Opera // Race in The Magic Flute
In the character of
Monostatos we see
that the gendered
cosmos of light and
HEVORIWWMR7EVEstro’s temple also
divides along lines
of race.
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are not human,” says Sarastro, “they are both evil.”
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since she rules the night, and the slave because
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through their outward choices the true nature that
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Renaissance literature was considered lecherous
as well as treasonous. By the time Monostatos
appeared on the stage, therefore, the practice of
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lust was well entrenched in European minds. His
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inability to progress toward enlightenment. Pamina
by contrast, is white both bodily and symbolically.
She changes over the course of the opera, leaving
her original loyalty (to her mother, the Queen) and
moves toward the masculine temple.
S t u dy G u i d e s / / M a g i c F l u t e
93
The Magic Flute was
composed in 1791
+VYR&IVREVHERH;IVRIV7XIMR8LI8MQIXEFPIWSJ,MWXSV]%,SVM^SRXEP0MROEKISJ4ISTPIERH)ZIRXW2I[=SVO7MQSR
7GLYWXIVTT
What else happened in
that year?
History_Politics
94
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_French Constitution passed by French
National Assembly
C(YXGLTVMRGI;MPPIQ*VIHIVMOQEVVMIWLMWRMIGI
TVMRGIWW*VIHIVMOE0SYMWI;MPLIPQMRESJ4VYWWME
_King Louis XVI caught trying to escape the
French Revolution
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its approval
_Congress establishes U.S. Mint
_Danish navigator Vitus Jonas Bering
HMWGSZIVW%PEWOE
_Battle at Wabash: Native Americans assault GenIVEP7X'PEMVERHOMPPWSPHMIVW
Florida Grand Opera // What else happened that year?
Literature_Theater _Ann Radcliffe – The Romance of the Forest
_Elizabeth Inchbald – A Simple Story
_Olympe de Gouges, Declaration of the Rights of
Women and the Female Citizen
_Thomas Paine – The Rights of Man
Religion_Philosoph_ C,IMRVMGLZSR8VIMXWGLOI+IVQER
Learning historian, dies (1834)
_Five annual Nobel prizes established for those
who during the preceding year
WLEPPLEZIGSRJIVVIHXLIKVIEXIWXFIRIÁXWSRQEROMRHMRXLIÁIPHWSJTL]WMGWTL]WMSPSK]ERHQIHMcine, chemistry, literature, and peace
S t u dy G u i d e s / / M a g i c F l u t e
95
Visual Arts _James Barry: The Tames (or Triumph
of Navigation)
_Théodore Géricault, French painter, born, pioneer of the Romantic movement (dies 1824)
_Jean-Baptiste Descamps, French painter of village scenes, dies (born 1714)
Music _Carl Czerny, composer, born (dies 1857)
_Joseph Haydn: Symphony No. 95 in C minor
_Giacomo Meyerbeer, composer, born, (dies 1861)
_Wolfgang Mozart: La Clemenza di Tito, K. 621
_ Wolfgang Mozart: Clarinet Concerto in A Major,
K. 622
_Wolfgang Mozart: Requiem, K. 626
96
Florida Grand Opera // What else happened that year?
Science_Technology_ _Luigi Galvani, publishes his discoveries in “aniGrowth mal electricity” (Galvanism)
_Titanium is discovered in ilmenite in Cornwall,
England, by local amateur geologist
Rev. William Gregor.
_Pierre Prévost shows that all bodies radiate heat,
no matter how hot or cold they are.
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steamboat
_Johann Franz Encke, German chemist and physicist,
born (dies 1865)
Daily Life C*MVWX&EROSJ9RMXIH7XEXIWGLEVXIVIH
C:IVQSRXEHQMXXIHEWXLWXEXIÁVWXEHHMXMSRXS
the 13 colonies)
_First Catholic college in the United States,
Georgetown University , opens
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1-way street
S t u dy G u i d e s / / M a g i c F l u t e
97
References
&IVO1*1ZERHIR8LIQEKMGÂYXI!(MI
>EYFIVÂ}XIEREPGLIQMGEPEPPIKSV]0IMHIR&VMPP
&YGL(EZMH.SWITL1EKMGÂYXIW
IRGLERXed forests: the supernatural in eighteenth-century
musical theater. Chicago: University
of Chicago Press.
Cherlin, Michael, Filipowicz, Halina, and Rudolph,
Richard. The Great Tradition and Its Legacy: The
Evolution of Dramatic and Musical Theatre in
Austria and Central Europe. Volume 4: Austrian
and Habsburg Studies. Canada:
&IVKLELR&SSOW
)GOIPQI]IV.YHMXL%ERH;SPJKERK%QEHIYW1Szart. 1991. The cultural context of Mozart’s Magic
ÂYXIWSGMEPEIWXLIXMGTLMPSWSTLMGEP0I[MWXSR
98
Florida Grand Opera // References
Evenden, Michael. 1999. Silence and selfhood: the
HIWMVISJSVHIVMR1S^EVX¸W1EKMG*PYXI2I[=SVO
P. Lang.
Grun, Bernard, and Werner Stein. The Timetables
SJ ,MWXSV] % ,SVM^SRXEP 0MROEKI SJ 4ISTPI ERH
)ZIRXW2I[=SVO7MQSR
7GLYWXIV
,IRV] .EGUYIW .EGO 'EMR ERH &VMKMXXI 1EWWMR
1S^EVX XLI JVIIQEWSR XLI QEWSRMG MRÂYence on his musical genius. Rochester, VT: Inner
Traditions.
,SRSPOE /YVX ERH 6IMRLEVH + 4EYP] 4ETEKIRS)QERYIP7GLMOERIHIVQERSJXLIXLIEXIV
in Mozart’s time. Portland, Or: Amadeus Press.
S t u dy G u i d e s / / M a g i c F l u t e
99
Hunter, Mary Kathleen. 2008. Mozart’s operas: a
companion. New Haven, CT: Yale University Press.
Keefe, Simon P. 2003. The Cambridge companion to Mozart. Cambridge: Cambridge University
Press.
Landon, H. C. Robbins. 1988. 1791, Mozart’s last
]IEV2I[=SVO7GLMVQIV&SSOW
100
Florida Grand Opera // References
Levey, Michael. “Aspects of Mozart’s Heroines.”
Journal of the Warburg and Courtauld Institutes.
Vol. 22, No 1/2 (January-June, 1959), pp. 132-156.
1S^EVX ;SPJKERK %QEHIYW )QERYIP 7GLMOERIHIVERH'EVP0YH[MK+MIWIGOI8LI1EKMG
ÂYXI0SRHSR.'EPHIV
7XYGOI] 4VMWGMPPEµ0MKLX (MWTIPW (EVORIWW +IRder, Ritual, and Society in Mozart’s “The Magic
Flute.””Journal of Feminist Studies in Religion.
Vol. 11, No. 1. Spring 1995, pp. 5-39.
S t u dy G u i d e s / / M a g i c F l u t e
101
THIS STUDY GUIDE WAS
WRITTEN AND PRODUCED BY:
Written and produced by:
Florida Grand Opera
Education Department
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Miami, FL, U.S.A. 33122
Tel: (305) 854-1643
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Copyright ©2012 by Florida Grand Opera (FGO)
All rights reserved by FGO.
No part of this publication may be reproduced
without prior permission from FGO.
Kevin Mynatt
Managing Director
Florida Grand Opera
Ramon Tebar
Music Director
Florida Grand Opera
Cerise Sutton
Director of Education
Florida Grand Opera
Jeffrey Williams
Consultant/Writer
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
S t u dy G u i d e s / / M a g i c F l u t e
103
Florida Grand Opera gratefully recognizes
the following donors who have provided
support of its education programs.
Study Guide
2012 / 2013
MIAMI BEACH
Batchelor
Foundation Inc.