History Theatre / TheMagicFlute

2nd Dec '16 8:53:01 PM Xtifr
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The last opera Creator/WolfgangAmadeusMozart ever wrote (''La clemenza di Tito'' was composed after the Flute was started, but before its completion), right after he was initiated into the Freemasons; the libretto is thus rife with that organization's symbolism. '''''The Magic Flute''''' is actually closer to our understanding of a {{Musical}} than {{Opera}}: it is generally as seen as LighterAndSofter than, say, Creator/RichardWagner's ''[[Theatre/DerRingDesNibelungen The Ring of the Nibelung]]'', and deals more with the themes of ignorance versus wisdom and the virtues of love and family rather than the fall of the gods and the end of the world. Also, being a "''singspiel''," it has dialogue, not just singing. To make a long story short, this was the Mozartian equivalent of ''Theatre/JosephAndTheAmazingTechnicolorDreamcoat'', with which it shares a similar level of popularity within its genre.

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The last opera Creator/WolfgangAmadeusMozart ever wrote (''La clemenza di Tito'' was composed after the Flute was started, but before its completion), right after he was initiated into the Freemasons; the libretto is thus rife with that organization's symbolism. '''''The ''The Magic Flute''''' Flute'' is actually closer to our understanding of a {{Musical}} than {{Opera}}: it is generally as seen as LighterAndSofter than, say, Creator/RichardWagner's ''[[Theatre/DerRingDesNibelungen The Ring of the Nibelung]]'', and deals more with the themes of ignorance versus wisdom and the virtues of love and family rather than the fall of the gods and the end of the world. Also, being a "''singspiel''," it has dialogue, not just singing. To make a long story short, this was the Mozartian equivalent of ''Theatre/JosephAndTheAmazingTechnicolorDreamcoat'', with which it shares a similar level of popularity within its genre.
19th Nov '16 9:39:14 PM NOYB
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** Explanation: Men and women's voices fully mature at different ages (women around 20, men around 35), and different voice types work within different age constraints. Coloratura soprano roles like the Queen require an agile, athletic kind of voice, which is much more common in younger singers. Lyric soprano roles like Pamina, however, are more suitable for an interpretative artist, and that is much easier for someone with years of experience under her belt. However, lighter coloratura voices who take on the Queen of the Night role lack the dramatic fire which a Dramatic or Lyric Coloratura can bring to the part.

to:

** Explanation: Men and women's voices fully mature at different ages (women around 20, men around 35), and different voice types work within different age constraints. Coloratura soprano roles like the Queen require an agile, athletic kind of voice, which is much more common in younger singers. Lyric soprano roles like Pamina, however, are more suitable for an interpretative artist, and that is much easier for someone with years of experience under her belt. However, lighter coloratura voices who take on the Queen of the Night role lack the dramatic fire which that a Dramatic or Lyric Coloratura can bring to the part.
23rd Sep '16 3:25:31 AM Morgenthaler
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* ValuesDissonance: The opera could be considered both sexist and racist by modern day standards, though it represented the mainstream moral values of Viennese society at the time.
** Monostatos, one of the main villains is black, while the beautiful Pamina is white, and Monostatos gets punished by Sarastro for lusting over Pamina. In one of his arias, Monostatos laments about why he does not deserve to be loved because of his black skin.
** Sarastro tell Pamina that her mother, the Queen of the Night, being a proud, headstrong woman is bad, and that in order to be a virtuous woman, she needs a man (in her case Tamino) to guide her.
23rd Sep '16 3:24:21 AM Morgenthaler
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''The Magic Flute'' has been made into two movies (as well as numerous filmed stage performances). ''Trollflöjten'' (1975), a Swedish translation filmed by Creator/IngmarBergman, was a semi-surrealist, NoFourthWall fantasy which shows not only the audience, the stage and the theatre, but how the singers kill time while offstage. It is now part of Creator/TheCriterionCollection. ''The Magic Flute'' (2006), directed by Creator/KennethBranagh with a new English translation by Creator/StephenFry, is more traditional, aside from being [[RecycledInSpace set during]] WorldWarI.

to:

''The Magic Flute'' has been made into two movies (as well as numerous filmed stage performances). ''Trollflöjten'' (1975), a Swedish translation filmed by Creator/IngmarBergman, was a semi-surrealist, NoFourthWall fantasy which shows not only the audience, the stage and the theatre, but how the singers kill time while offstage. It is now part of Creator/TheCriterionCollection. ''The Magic Flute'' (2006), directed by Creator/KennethBranagh with a new English translation by Creator/StephenFry, is more traditional, aside from being [[RecycledInSpace set during]] WorldWarI.
UsefulNotes/WorldWarI.
14th Sep '16 10:28:26 AM superdog
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Added DiffLines:

* ValuesDissonance: The opera could be considered both sexist and racist by modern day standards, though it represented the mainstream moral values of Viennese society at the time.
** Monostatos, one of the main villains is black, while the beautiful Pamina is white, and Monostatos gets punished by Sarastro for lusting over Pamina. In one of his arias, Monostatos laments about why he does not deserve to be loved because of his black skin.
** Sarastro tell Pamina that her mother, the Queen of the Night, being a proud, headstrong woman is bad, and that in order to be a virtuous woman, she needs a man (in her case Tamino) to guide her.
1st Aug '16 6:18:30 PM PaulA
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Other adaptations include a ComicBook by P. Craig Russell with an ending that can be best described as trippy, a novelization (''Night's Daughter'') by MarionZimmerBradley, and ''Magic Flute Diaries'', a film about a performance of ''The Magic Flute''.

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Other adaptations include a ComicBook by P. Craig Russell with an ending that can be best described as trippy, a novelization (''Night's Daughter'') by MarionZimmerBradley, Creator/MarionZimmerBradley, and ''Magic Flute Diaries'', a film about a performance of ''The Magic Flute''.
18th Dec '15 4:46:10 AM MangaShoggoth
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** Also played with: Papageno and Monastos flee from each other, believing the other being the devil (Papageno has never seen a black man before, Monastos because Papageno's appearance is really outlandish). Papageno actually is the first to recover, in one adaptation commenting "There are black birds, why shouldn't there be black men?"

to:

** Also played with: Papageno and Monastos Monostatos flee from each other, believing the other being the devil (Papageno has never seen a black man before, Monastos Monostatos because Papageno's appearance is really outlandish). Papageno actually is the first to recover, in one adaptation commenting "There are black birds, why shouldn't there be black men?"
18th Dec '15 4:44:35 AM MangaShoggoth
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Added DiffLines:

** Also played with: Papageno and Monastos flee from each other, believing the other being the devil (Papageno has never seen a black man before, Monastos because Papageno's appearance is really outlandish). Papageno actually is the first to recover, in one adaptation commenting "There are black birds, why shouldn't there be black men?"
26th May '15 7:06:57 PM Alberich
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* MacGuffin: the Magic Flute itself, which is only played a couple of times
** More importantly the Sevenfold Circle of the Sun. To acquire it, The Queen of the Night urges her daughter Pamina to kill Sarastro.

to:

* MacGuffin: the Magic Flute itself, which is only played a couple of times
** More importantly the
The Sevenfold Circle of the Sun. To acquire it, The Queen of the Night urges her daughter Pamina to kill Sarastro.
5th May '15 7:06:31 PM ShinyTsukkomi
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The last opera WolfgangAmadeusMozart ever wrote (''La clemenza di Tito'' was composed after the Flute was started, but before its completion), right after he was initiated into the Freemasons; the libretto is thus rife with that organization's symbolism. '''''The Magic Flute''''' is actually closer to our understanding of a {{Musical}} than {{Opera}}: it is generally as seen as LighterAndSofter than, say, Creator/RichardWagner's ''[[Theatre/DerRingDesNibelungen The Ring of the Nibelung]]'', and deals more with the themes of ignorance versus wisdom and the virtues of love and family rather than the fall of the gods and the end of the world. Also, being a "''singspiel''," it has dialogue, not just singing. To make a long story short, this was the Mozartian equivalent of ''Theatre/JosephAndTheAmazingTechnicolorDreamcoat'', with which it shares a similar level of popularity within its genre.

to:

The last opera WolfgangAmadeusMozart Creator/WolfgangAmadeusMozart ever wrote (''La clemenza di Tito'' was composed after the Flute was started, but before its completion), right after he was initiated into the Freemasons; the libretto is thus rife with that organization's symbolism. '''''The Magic Flute''''' is actually closer to our understanding of a {{Musical}} than {{Opera}}: it is generally as seen as LighterAndSofter than, say, Creator/RichardWagner's ''[[Theatre/DerRingDesNibelungen The Ring of the Nibelung]]'', and deals more with the themes of ignorance versus wisdom and the virtues of love and family rather than the fall of the gods and the end of the world. Also, being a "''singspiel''," it has dialogue, not just singing. To make a long story short, this was the Mozartian equivalent of ''Theatre/JosephAndTheAmazingTechnicolorDreamcoat'', with which it shares a similar level of popularity within its genre.
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