Opera
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An opera is a combination of music and theatre, where a story is dramatized through music.
The story is told by the solo singers and the chorus, accompanied by a pit orchestra in an Opera
House with sets, lighting and costumes.
Operas are mostly based on myths, legends or plays are and usually in two or three separate acts.
Most operas are sung in their original language of composition, which is generally in Italian, French
or German.
Operas are broadly divided into three types: Opera Seria (serious opera), Opera Buffa (comic opera)
and Singspiel (literally a “sung play” - similar to comic opera but with spoken dialogue).
Traditionally operas contain four different types of musical numbers: Recitatives, Arias, Choruses
and Instrumental Music.
Recitative: A recitative (from the word “recite”) was sung quickly, almost as if the words were being
spoken. There are no bar lines in recitative because there is no regular beat. The singer is accompanied
just by a few supporting chords, usually on harpsichord, with many words sung over each chord.
Recitatives were often used to “get through” the telling of the story. Usually, once the story gets to a
climactic or emotional point, an aria would begin. When a recitative is accompanied by only a keyboard
instrument (usually harpsichord) it is called “recitativo secco” (dry recitative). If the orchestra joins in it
is then called “recitativo accompagnato” (accompanied recitative).
Aria: An aria is a song in which a character may share his or her feelings with the audience and fellow
characters. Occasionally this can be done in an ensemble with two or more singers and then the aria
becomes a duet, trio, quartet, etc. Arias have more musical interest than a recitative and are often
musically dramatic. Arias were usually in what we call “ABA” form or “Da Capo” form. There is a
main section, then a middle different/contrasting section, followed by the main section repeated (“Da
Capo” means: “back to the beginning”). In the Da Capo section the singer usually improvised, adding
many embellishments and ornaments. The aria gave performers the opportunity to show off their
virtuosity.
Chorus: The Opera Chorus is generally an SATB chorus which as well as playing an acting role (often
as townsfolk or onlookers) also sings, mainly commenting on the action taking place, and thereby
telling the story too.
Instrumental Music: this includes any music which is played by the orchestra alone, without singing.
This may include dance music, wedding music and the overture (played before the curtain rises and
sometimes containing some of the themes heard later in the opera).
After the librettist writes the words for the opera (the libretto) the composer composers the music. The
stage director is the person responsible for bringing an opera to life on the stage. The stage director
decides how best to tell the story dramatically so that all the action fits with the music. The
choreographer is responsible for creating any dance sequences necessary, and the music director or
conductor instructs and directs the musicians. The conductor paces the performance and keeps all the
elements in sync during the performance. During rehearsals, a pianist plays the orchestra part (orchestral
reduction) and is called the répétiteur. The répétiteur and vocal coaches also work with the solo singers
to help them learn their parts, while the chorus master rehearses the chorus.
Opera is thought to be the single greatest art form because it combines many artistic disciplines into
one: singing, instrumental playing, acting, dancing, and design (costumes, props, scenery, lighting).
The talents of many different artists are needed to create opera: composers, librettists, singers, dancers,
actors, designers, instrumentalists, orchestrators, répétiteurs, painters, technicians, costumers,
seamstresses, wigmakers, hairdressers, cosmetologists, carpenters, electricians, sound engineers,
linguists, managers, projectionists, and producers.
Wolfgang Amadeus Mozart (1756-1791)
The Magic Flute (Die Zauberflöte, K. 620) is an opera in two acts by Mozart to a German libretto
by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form that includes both
singing and spoken dialogue. The work premiered in on 30 September 1791 at Schikaneder’s
theatre in Vienna, the Freihaus-Theater auf der Wieden. Mozart conducted the work with
Schikaneder playing the role of Papageno, while the role of the Queen of the Night was sung by
Mozart’s sister-in-law, Josepha Hofer.
The orchestra for the work consists of 2 flutes (one doubling on piccolo), 2 oboes, 2 clarinets
(doubling basset horns), 2 bassoons, 2 horns, 2 trumpets, 3 trombones (a/t/b), timpani and strings.
In addition Papageno’s magic bells were played by a keyed glockenspiel, usually substituted
nowadays by the celesta. In addition, the work calls for a four-part chorus.
List of Characters
Tamino, an Egyptian Prince
Papageno, a bird-catcher
Pamina, daughter of the Queen of the Night
The Queen of the Night
Sarastro, High Priest of Isis and Osiris
Three Ladies, in attendance on the Queen of the Night
Monostatos, a Moor in the service of Sarastro
Papagena
Tenor
Baritone
Soprano
Soprano (coloratura)
Bass
Two Sopranos & Mezzo-Soprano
Tenor
Soprano
Three boys (spirits), Speaker of the Temple, Three priests, Two armoured men, Three slaves &
Chorus
Synopsis of the Magic Flute
A young prince named Tamino, out hunting in the forest, has strayed into the mountains and is
being pursued by a dragon. He has no more arrows in his quiver, and, expecting to die, he faints. As
he collapses, the Three Ladies of the Queen of the Night appear with huge spears and kill the
dragon. The Ladies find the prince so handsome they are reluctant to leave, but finally go off to
report to the Queen.
In wanders Papageno, The Birdcatcher. Tamino awakens and Papageno introduces himself and
explains that in exchange for food and wine he catches birds for the Queen of the Night. Tamino
spies the dead dragon. “Did you save my life by killing that monster over there?” Papageno, seeing
that the dragon is truly dead, replies, “Of course!”
No sooner is the boast out of Papageno’s mouth than the Three Ladies reappear, scold him for
lying, and place a padlock on his mouth. They then present Tamino with a miniature portrait of the
Queen’s beautiful daughter, Pamina. They tell him that she has been kidnapped by the evil Sarastro.
The sky suddenly grows dark, and The Queen appears. She sorrowfully sings of her daughter’s
abduction, and then turns to the prince, saying “I appoint you to rescue my daughter! If you
succeed, you may have her hand in marriage.” Tamino, already smitten by the princess’s portrait,
eagerly agrees to find and rescue her. Papageno is to accompany him. Before leaving on their quest,
The Ladies and The Queen present them with a magic flute and a set of magic bells to keep them
safe.
Meanwhile, Pamina is a prisoner in Sarastro’s Temple grounds, where she is tormented and
threatened by her guard, the ugly Monostatos. The Queen enters Pamina’s quarters and orders
Monostatos to leave Pamina alone. The Queen then demands that Pamina prove her love to her
mother by killing Sarastro with a dagger. Pamina is horrified, but the Queen thrusts the dagger into
her hand and leaves.
Approaching Sarastro’s mountain retreat, Tamino and Papageno have become separated. Papageno
comes upon Pamina, and recognizes her from her portrait. He tells her that she is to be rescued by
Prince Tamino, who has fallen in love with her. Pamina, who is desperately lonely, is happy to hear
that she is loved. Papageno tells her he too is lonely and wishes he could find a wife.
Tamino now approaches the Temple grounds and is confronted by a priest (actually Sarastro
himself), who confuses him by asserting that Sarastro is not evil but a wise and just leader. Pamina,
he says, is not a prisoner; Tamino must wait until he learns the real story behind her separation from
her mother. Furthermore, before Tamino can proceed, he must undergo certain trials to prove his
courage and steadfastness.
In lonely desperation, Tamino plays upon his magic flute, which has the power to make the beasts
of the forest dance. In response, he hears the sounds of Papageno’s magic bells in another part of
the Temple. Papageno and Pamina are still trying to find their way to join Tamino when they are
accosted by Monostatos. As he threatens to tie them up, Papageno plays his magic bells, which put
such a spell on Monostatos that he hops off dancing a jig.
Finally, Tamino joins them, but Monostatos re-enters with Sarastro and lays bare not only their
attempt to escape, but also Pamina and her mother’s plot to assassinate Sarastro. Sarastro, however,
sees through Monostatos’s scheming and banishes him from the Temple forever.
Pamina begs Sarastro to believe that she could have never brought herself to kill him. She also begs
forgiveness for her mother’s impulsive plotting, and not to seek revenge. Sarastro replies that
revenge has no place in his realm.
Before Tamino and Pamina can finally be together, Tamino (and Papageno) must undergo certain
trials: of silence, then fire, then water. Pamina comes upon Tamino when he has been sworn to
silence and does not answer her pleading. She sings of desperate sadness; devastated, she wanders
off.
Papageno has utterly failed his test of silence and fortitude, but in comes an old crone who
persuades him that she could be his faithful wife. As Papageno contemplates life married to an old
woman, she throws off her cloak and reveals that she is the lovely Papagena, the perfect wife for
him. But Sarastro whisks her away.
Tamino, having passed the test of silence, is reunited with Pamina, who now determines to
accompany him through the two final tests of fire and water. Together they go through the
terrifying initiations, Pamina leading the way and Tamino playing his faithful flute.
Papageno is desperate to find his Papagena again. Just as he despairs, she appears, and together they
plan their life together with lots of children. Monostatos, now siding with the Queen of the Night
and her Ladies, leads the group into the Temple stronghold to destroy Sarastro, but they are
defeated and banished. Sarastro joins Pamina and Tamino as the people praise Isis and Osiris, the
triumph of courage, virtue and wisdom.
Synopsis in Full
Act 1
Scene 1: A rough, rocky landscape
Tamino, a handsome prince who is lost in a distant land, is being pursued by a serpent and asks the gods to
save him (quartet: "Zu Hilfe! Zu Hilfe!" / “Oh help me! Protect me!”). He faints, and three ladies, attendants
of the Queen of the Night, appear and kill the serpent. They admire Tamino for his handsomeness and youth.
Each of the ladies tries to convince the other two to leave to tell their mistress about the young prince. After
arguing, they reluctantly decide to leave together.
Tamino wakes, hears someone approaching and hides. Papageno enters, dressed entirely in the plumage of
birds. He describes his happy life as a bird-catcher, but also complains of his longing for a wife (aria: "Der
Vogelfänger bin ich ja" / “I am the bird-catcher”). Tamino emerges and introduces himself to Papageno,
who he initially thinks may have killed the serpent. Papageno is only too happy to take the credit – he claims
that he strangled the monster with his bare hands. The three ladies suddenly reappear and instead of his daily
meal of wine, sweet figs and cakes, they bring Papageno water, a stone and a padlock which they place over
his mouth as a warning not to lie. They tell Tamino that it was they who saved him from the serpent and give
him a portrait of the Queen of the Night's daughter Pamina. The ladies leave and Tamino gazes on the
portrait, falling instantly in love with Pamina (aria: "Dies Bildnis ist bezaubernd schön" / "This image is
enchantingly lovely").
The ladies return and tell Tamino that Pamina has been captured by an evil sorcerer, Sarastro, and that her
mother longs to see her again. Tamino swears that he will rescue Pamina. The Queen of the Night herself
appears and tells Tamino that Pamina will be his wife if he can rescue her from Sarastro (Recitative and aria:
"O zittre nicht, mein lieber Sohn" / "Oh, tremble not, my dear son!"). After the Queen leaves, the ladies
remove the padlock from Papageno's mouth, warning him not to tell any more lies. They give Tamino a
magic flute, which will protect him on his journey and has the power to change sorrow into joy. They tell
Papageno to accompany Tamino on his rescue-mission and present him with some magic bells for protection
– the bells will bring great happiness to anyone who hears them. The ladies introduce three child-spirits, who
will guide Tamino and Papageno to Sarastro's temple. Together Tamino and Papageno set forth (Quintet:
"Hm! Hm! Hm! Hm!").
Scene 2: A room in Sarastro's palace
Pamina, her hands bound, is brought in by Sarastro's slaves. Monostatos gloats that she is in his power. He
orders the slaves to untie her and leave them together. Papageno, sent ahead by Tamino to help find Pamina,
enters (trio: "Du feines Täubchen, nur herein! / “You, fine dove, come on in”). Monostatos and Papageno are
each terrified by the other's strange appearance and Monostatos flees. Papageno announces to Pamina that
her mother has sent Tamino to save her. Pamina rejoices to hear that Tamino is in love with her. She offers
sympathy and hope to Papageno, who longs for a wife. Together they reflect on the joys and sacred duties of
marital love (duet: "Bei Männern welche Liebe fühlen" / “The man who feels sweet love’s emotion”).
Scene 3: A grove
The three child-spirits lead Tamino to Sarastro's temple, promising that if he remains patient, wise and
steadfast, he will succeed in rescuing Pamina. Tamino approaches the left-hand entrance and is denied access
by priests from within. The same happens when he goes to the entrance on the right. But from the entrance in
the middle, a speaker appears and lets Tamino in. The speaker tells Tamino that Sarastro is benevolent, not
evil, and that he should not trust the Queen of the Night. He leaves, instructing Tamino to trust in wisdom.
Outside the temple, Tamino longs for the night to end and to find Pamina. Voices from within the temple
reassure Tamino that Pamina is alive. Tamino plays his magic flute. Animals appear and dance, enraptured,
to his music. Tamino hears Papageno's pipes and hurries off to find him.
Papageno and Pamina are trying to find Tamino when they are captured by Monostatos and his slaves.
Papageno plays his magic bells, and Monostatos and his slaves begin to dance, mesmerised by the beauty of
the music ("Das klinget so herrlich" / “That sounds so wonderful”). Papageno and Pamina hear the sound of
Sarastro's retinue. Papageno is frightened and asks Pamina what they should say. She answers that they must
tell the truth. Sarastro enters, with a crowd of followers who hail his wisdom and justice (chorus: “Es lebe
Sarastro, Sarastro lebe” / “Long live Sarastro, Sarastro live”).
Pamina falls at Sarastro's feet and confesses that she tried to escape because Monostatos had forced his
attentions on her. Sarastro receives her kindly and assures her that he wishes only for her happiness. But he
refuses to return her to her mother, whom he describes as a proud, headstrong woman, and a bad influence
on those around her.
Monostatos brings in Tamino. The two lovers see one another for the first time and embrace, causing
indignation among Sarastro's followers. Monostatos tells Sarastro that he caught Papageno and Pamina
trying to escape and demands a reward. Sarastro, however, punishes Monostatos for his lustful behaviour
toward Pamina, and sends him away. He announces that Tamino must undergo trials of wisdom in order to
become worthy as Pamina's husband. The priests declare that virtue and forgiveness will sanctify life
("Wenn Tugend und Gerechtigkeit" / “If virtue and justice”).
Act 2
Scene 1: A grove of palms
The council of priests of Isis and Osiris, headed by Sarastro, enters to the sound of a solemn march. Sarastro
tells the priests that Tamino is ready to undergo the ordeals that will lead to enlightenment. He explains that
he seized Pamina from her mother so that she could be united with Tamino – he plans for the couple to
eventually take over from him as rulers of the temple. He praises the gods Isis and Osiris, asking them to
protect Tamino and Pamina (Aria: "O Isis und Osiris").
Scene 2: The courtyard of the Temple of Ordeal
Tamino and a frightened Papageno are led in by two priests. The priests ask Tamino what he seeks; he says
that they are searching for enlightenment, wisdom and love, for which they will risk their lives and undergo
every trial. Papageno declines the trials at first, saying that he doesn't care much about wisdom or
enlightenment, and only wants sleep, food and wine, and a pretty woman. One of the priests tells Papageno
that Sarastro may have a woman for him if he undergoes the trials: she is called Papagena and is young and
beautiful – a perfect wife for Papageno.
The priests advise Tamino and Papageno of the dangers ahead of them, warn them of women's wiles and
swear them to silence (Duet: "Bewahret euch von Weibertücken" / “Preserve you from women’s pitfalls”).
The three ladies appear. They are shocked that Tamino is now an ally of Sarastro and tempt Tamino and
Papageno to speak. (Quintet: "Wie, wie, wie") Papageno cannot resist answering the ladies, but Tamino
remains aloof, angrily instructing Papageno not to listen to the ladies' threats and to keep quiet. Seeing that
Tamino will not speak to them, the ladies withdraw in confusion.
The priests congratulate Tamino for successfully passing the first test, while warning him that there are many
challenges still to come.
Scene 3: A garden, Pamina asleep
Pamina is asleep. Monostatos approaches and gazes upon her with rapture. (Aria: "Alles fühlt der Liebe
Freuden" / “All the world is full of lovers”) He is about to kiss the sleeping Pamina, when the Queen of the
Night appears. Pamina wakes and tells her mother that Tamino is aspiring to join Sarastro's brotherhood and
to gain enlightenment. The Queen is furious and reveals her true plan: she gives Pamina a dagger, ordering
her to kill Sarastro with it and threatening to disown her if she does not. (Aria: "Der Hölle Rache kocht in
meinem Herzen" / "Hell's vengeance boils in my heart"). She leaves, and Pamina declares that she will
not do as her mother asked. Monostatos returns and tries to force Pamina's love by threatening to reveal the
Queen's plot, but Sarastro enters and drives him off. Pamina begs Sarastro to forgive her mother and he
reassures her that revenge and cruelty have no place in his domain (Aria: "In diesen heil'gen Hallen" / “In
these holy portals”).
Scene 4: A hall in the Temple of Ordeal
Tamino and Papageno are led in by priests. They are reminded that they must remain silent. Papageno
complains of thirst. An old woman enters and offers Papageno a cup of water. He drinks and, although it is
forbidden, he engages the woman in conversation and asks how old she is. She replies that she is eighteen
years and two minutes old. Papageno teasingly asks whether she has a boyfriend. She replies that she does
and that his name is Papageno. She disappears as Papageno asks for her name, and the three child-spirits
bring in food, the magic flute, and the bells, sent from Sarastro. They instruct Papageno to keep quiet.
Tamino begins to play the flute, which summons Pamina. She tries to speak with him. Tamino, bound to a
vow of silence as part of the trials, cannot talk to her, and Pamina begins to believe that he no longer loves
her. (Aria: "Ach, ich fühl's, es ist verschwunden" / “Ah, I feel, to grief and sadness“) She leaves in despair.
Scene 5: The pyramids
The priests celebrate Tamino's successes so far, and pray that he will succeed and become worthy of their
order (Chorus: "O Isis und Osiris"). Pamina is brought in and Sarastro instructs Pamina and Tamino to bid
each other farewell before the greater trials ahead. (Trio: Sarastro, Pamina, Tamino – "Soll ich dich, Teurer,
nicht mehr sehn?" / “Shall I see you no more, sweet one?”) They exit and Papageno enters, in search of
Tamino and complaining about the trials. The priests grant his request for a glass of wine and he expresses
his desire for a wife. (Aria, Papageno: "Ein Mädchen oder Weibchen" / “A girl or young woman”). The
elderly woman reappears and tells him that unless he marries her, he will be imprisoned forever. When
Papageno promises to love her faithfully (muttering that he will only do this until something better comes
along), she immediately transforms into the young and pretty Papagena. Papageno rushes to embrace her, but
the priests drive him back, telling him that he is not yet worthy of her.
Scene 6: A garden
The three child-spirits hail the dawn. They observe Pamina, who is contemplating suicide because she
believes Tamino has abandoned her. The child-spirits restrain her and reassure her of Tamino's love. She
allows them to lead her to Tamino. (Quartet: "Bald prangt, den Morgen zu verkünden" / “Soon, heralding the
morning”).
Scene 7: Outside the Temple of Ordeal
Two men in armour lead in Tamino. They recite one of the formal creeds of Isis and Osiris, promising
enlightenment to those who successfully overcome the fear of death ("Der, welcher wandert diese Strasse
voll Beschwerden" / “He who travels this road full of complaints”). This recitation takes the musical form of
a Baroque chorale prelude, to the tune of Martin Luther's hymn Ach Gott, vom Himmel sieh darein (Oh God,
look down from heaven). Tamino declares that he is ready to be tested. Pamina's voice is heard. The men in
armour assure Tamino that the trial by silence is over and he is free to speak with her. Pamina enters and
declares her intention to undergo the remaining trials with Tamino. The pair are delighted to be together
again. Pamina hands Tamino the magic flute to help them through the trials. ("Tamino mein, o welch ein
Glück!" / “Tamino is mine, oh what fortune”). Protected by the music of the magic flute, which Tamino
plays, they pass unscathed through trials of fire and water. The Priests hail their triumph and invite the
couple to enter the temple.
Scene 8: A garden
Papageno despairs at having lost Papagena and decides to hang himself (Aria/Quartet: "Papagena! Papagena!
Papagena!") The three child-spirits appear and stop him. They advise him to play his magic bells to summon
Papagena. She appears and, united, the happy couple stutter in astonishment. They plan their future and
dream of the many children they will have together (Duet: "Pa … pa … pa ...").
The traitorous Monostatos appears with the Queen of the Night and her three ladies. They plot to destroy the
temple ("Nur stille, stille" / “Only silence, silence”) and the Queen confirms that she has promised her
daughter Pamina to Monostatos. But before the conspirators can enter the temple, they are magically cast out
into eternal night.
Scene 9: The Temple of the Sun
Sarastro announces the sun's triumph over the night (“Die Strahlen der Sonne” / “The sun’s radiant glory has
vanquished the night”). Everyone praises the courage of Tamino and Pamina in enduring their trials, gives
thanks to Isis and Osiris and hails the dawn of a new era of wisdom and brotherhood.
Development of Opera
In the late 16th century, a group of composers and writers, called the Camerata, met regularly in
Florence (Italy). They wanted to create a new vocal style modelled on the music of ancient Greek
tragedies and believed that the elaborate polyphonic style of Renaissance vocal music obscured the
meaning of the words. They felt that the words should always be more meaningful that the music and
that the music should portray the “affection” (mood or emotion) of the words. So they experimented
with a simpler style which they called monody: a single voice-line supported by an instrumental bass
line upon which the chords were constructed. This voice-line rose and fell according to the meaning of
the text and closely followed the natural speech-rhythms of the words (which led it to be called
recitative). The new music was therefore homophonic in texture; polyphony was rejected because
different words all sounding at the same time would obscure the all-important text.
The Camerata thus laid down three principles for their new art form:
1. The text must be understood; the accompaniment must be very simple and should not distract from
the words.
2. The words must be sung with correct and natural declamation, as if they were spoken, and not
rhyme like songs.
3. The melody must interpret the feeling of the text.
The first significant composer to fully develop the ideas of the Camerata was Jacapo Peri whose opera
Dafne (now lost) was performed in 1598 and is regarded as the first opera. Euridice by Jacopo Peri is
considered the earliest opera that has been preserved. It was composed for a royal wedding and was first
performed in Florence in 1600. The first great opera, Orfeo, was composed seven years later by Claudio
Monteverdi. Both of these operas are based on the Greek myth telling of Orpheus’s descent into hades
to bring back his beloved Euridice. Orfeo is one of the earliest music dramas still regularly performed.
Thus, opera started in Italy at the end of the 16th century and soon spread through the rest of Europe:
Schütz in Germany, Lully in France, and Purcell in England all helped to establish their national
traditions in the 17th century. In the 18th century, Italian opera continued to dominate most of Europe,
except France, attracting foreign composers such as Handel. Of the most renowned figure of late 18 th
century opera is Mozart, who began with opera seria but is most famous for his Italian comic operas
(opera buffa), especially Le Nozze Di Figaro, Don Giovanni, and Così fan tutte, as well as his
singspiel, Die Zauberflöte.
The first third of the 19th century saw the high point of the bel canto (beautiful singing) style, with
Rossini, Donizetti and Bellini all creating works that are still performed today. The mid-to-late 19th
century was a "golden age" of opera, led and dominated by Wagner (The Flying Dutchman, Tristan and
Isolde, The Ring Cycle) in Germany and Verdi (La Traviata, Nabucco, Aida) in Italy. Wagner in
particular developed his highly sophisticated “gesamtkunstwerk” (total art work) form of opera and
introduced many new aspects to opera.
The popularity of opera continued through the verismo era (realism in terms of subject) in Italy and
contemporary French opera through to Puccini (La Boheme, Tosca, Madam Butterfly) and Strauss in
the early 20th century. The 20th century saw many experiments with modern styles, such as atonality and
serialism (Schoenberg and Berg), Neoclassicism (Stravinsky), and Minimalism (Philip Glass and John
Adams).
The Romantic Period was a glorious age of opera, an age of such giants as Rossini, Donizetti, Bellini,
Verdi, Wagner and Puccini. Most of the great operas in today’s repertoire date from the Romantic
Period, when composers wore their hearts on their sleeves and aimed at sweeping up the audience in the
passions and conflicts of the characters on the stage. The main centres of operatic activity were in
France, Italy and Germany.
Mozart and Opera
Mozart wrote 23 operas, in many different styles (seria, buffa, singspiel) including what are most
likely his most popular:
Die Entführung aus dem Serail (The Abduction from the Seraglio)
Le nozze di Figaro (The Marriage of Figaro)
Don Giovanni
Così fan tutte (Women are like that)
Die Zauberflöte (The Magic Flute)
Overture of Magic Flute
The overture begins with an adagio (slow) introduction. The rhythm of the first three chords is
supposed to be linked to Freemasonary and these are used later in the opera, where Tamino appears at
the Temple of Wisdom. These impressive chords are played by 3 trombones, in addition to the usual
instruments of a Mozart orchestra. After the three ff chords, the introduction is mainly soft and grave,
and contains a good deal of syncopation.
The allegro following the slow introduction is in sonata form. The first subject is unusual as it consists
of a complete fugal exposition, with the subject entering in the second violins, answered by the first
violins; after a codetta, the subject is heard in the violas, cellos and bassoons. The transition to the
second subject makes use of parts of the material from the first subject section (fugue subject and
countersubject). The development begins with a repetition of the three chords (heard at the start of the
adagio) but this time each chord is played three times. Material from the exposition is used in stretto
(entries of subjects overlapping) at times. In the recapitulation, the first subject section is shortened,
again with the use of stretto, and the second subject is considerably modified, both melodically and with
different orchestration. The coda is short, introducing a diminished 3rd motif (D flat - B natural) that is
heard twice; brass and percussion are added to make a brilliant final cadence.
Write a paragraph in which you explain the role of the character Papageno in Mozart's opera, Die
Zauberflöte.
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Papageno is a bird-catcher and assists Tamino to get to the abducted Pamina
He acts as a go-between on several occasions
Longs to be in love and would like to get married
The character often provides comic relief, when the action is very serious
The music sung by Papageno is often simple and folk-like
He also displays typical human weaknesses
Describe in your own words the finale of Act II of Die Zauberflöte. Focus on the musical genres
and not on the story.
The finale consists of 30 minutes of continuous music; the action takes place in the Temple of Wisdom.
There are five distinct sections:
 The Three Boys and Pamina sing a quartet
 Tamino and Pamina sing of their trials as a duet
 Papageno and Papagena are united and sing a duet
 The Queen of the Night and her followers appear – solo and chorus
 The final chorus which establishes the victory of good over evil
WAGNER and OPERA
There were a number of very influential composers of opera during the Romantic period, but the
most notable were the Italians, Verdi (famous operas including Aida & La Traviata) and Puccini
(famous operas include Madam Butterfly / La Bohème) and the German, Richard Wagner. Wagner
is particularly interesting because of the many innovations he brought to opera.
Music Dramas and the Total-Artwork
Wagner based most of his operas on German or Nordic legends and, except for his very early
operas, wrote all of the libretti himself. Instead of ‘operas’, Wagner preferred to describe his works
as music-dramas, as he considered them to be a merging of all the different arts (singing, acting,
costumes, scenery, lighting and stage effects). His term for this merging of the arts to form a musicdrama was gesamtkunstwerk (total-artwork).
Developments in the Orchestra
It was, however, the orchestra that still provided the most important contribution to the total effect
of the opera. Wagner was a master of orchestration and was able to create many different types of
sounds and effects. He required enormous orchestras, sometimes with up to 8 horns, 4 trumpets and
trombones, and 5 tubas, as well as triple woodwind (instead of double). Wagner also had certain
instruments created for him, such as the “Wagner Tuba”, lower than a normal tuba, thereby
extending the range of the brass section. Because of this very powerful orchestra, Wagner
developed the concept of a sunken orchestra pit (now standard in opera houses), which allowed the
singers to project their voices over the orchestra across to the audience. Wagner had an opera house
built for him in Bayreuth, Germany (which is still run by his descendants today), to include his
latest development ideas in opera.
Leading Motives
Wagner tried to avoid writing totally separate numbers with separate Arias, Recitatives and
Choruses, but aimed to write what he called “endless melody” from beginning to end. Into this
texture he weaves many short themes which became known as Leading motives (Leitmotiv). These
musical themes were used to represent a character, emotion, object or place. They were usually
developed during the course of the opera, as they were heard each time the character / emotion /
place etc. was in the foreground. These are similar to Berlioz’s concept of the Ideé Fixe.
Wagner’s Operas
Most of Wagner’s operas are serious and lengthy works of up to four or five hours each. Some of
his most famous operas include: The Flying Dutchman, Tristan and Isolde and Parsifal, but his
most spectacular work is a cycle of four operas know as The Ring of the Nibelung, which together
tell a single story and are intended to be performed over four consecutive nights. The Ring is made
up of The Rhinegold, The Valkarie, Siegfried and The Twilight of the Gods.
Wagner and Harmony
Wagner’s operas include harmony which is highly chromatic (chords which include many notes
outside of the triad / key) and he uses a great deal of dissonance. Many chords which are dissonant
often do not resolve onto expected chords, but rather move onto other dissonant chords. Wagner
had so completely exhausted the concept of triadic harmony (chords based on triads and thirds) that
in his opera Tristan and Isolde, he invented a new chords (known as the Tristan Chord) which is not
based on the concept of thirds.