Or, in the original German, Die Zauberflöte
The last opera Wolfgang Amadeus Mozart
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
: it is generally as seen as Lighter and Softer
than, say, Richard Wagner
's 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 Joseph and the Amazing Technicolor Dreamcoat
, with which it shares a similar level of popularity within its genre.
The action starts with a prince from a foreign land, Tamino, chased onstage by a giant serpent. He faints in the face (teeth) of death, and so does not notice when three Ladies Of War
show up; the Three Ladies immediately swoon over his Mr. Fanservice
good looks and argue over which of them will return to report to their ruler, the Queen of the Night, and which of them will get to stay and, ahem, revive him. Eventually, they make the sensible decision that all three of them return, leaving Tamino alone again. (...Okay, sensibility rescinded.) Tamino awakes in time to meet Papageno, the Queen of the Night's royal bird-catcher, an eccentric fellow frequently costumed in feather-and-beak motifs. He sings a pleasant Sidekick Song
about his easy-going philosophy and lack of love life
. The Three Ladies now return and show Tamino the portrait of a Princess Classic
, Pamina, resulting in Love at First Sight
. Then the Queen of the Night herself appears and promises Tamino her daughter Pamina's hand in marriage... IF
Tamino can Save the Princess
, who has been captured by a guy with the ominous name of Sarastro. The Queen gives Tamino his Magic Flute
, Papageno a set of magic bells (both of which have the power to Charm Person when you play them
), and tour guides in the form of Three Young Boys
, and sends them on their way.
In Sarastro's temple we find Pamina, who is being pursued by a Scary Black Man
named Monostatos. Fortunately, Monostatos' bark is worse than his bite, because when Papageno shows up with his absurd costume, it's Monostatos
who runs away in terror. He and Pamina link up and begin to exit the temple. Meanwhile, Tamino, Storming the Castle
, has gotten hung up at the front door. A servant of Sarastro comes out and convinces Tamino that the Queen of the Night has pulled a switcheroo on him: she's
the Big Bad
, and Sarastro had Pamina kidnapped for her own safety. This opinion is reinforced when Sarastro himself appears on the scene and chews out Monostatos for his Casanova Wannabe
impression. After Pamina has her Love at First Sight
moment and re-unites for the first time with Tamino, Sarastro escorts them both into the Temple as the act ends.
Once the Intermission
is over, Sarastro declares that Tamino and Papageno will have to undergo some character tests
before he can let Pamina marry. Tamino, in the throes of love, agrees; Papageno needs to be bribed with the possibility of a Love Interest
of his own — one who happens to be named Papagena. The main test is that both men need to be silent when confronted by women — which, of course, is Played for Drama
when one of the women who visits them is Pamina, leaving the chamber with the conclusion that Tamino no longer loves her. Papageno also gets the Squick
of his life when a really old woman arrives and declares herself Papagena, his bride-to-be. (Of course, she's secretly a hot young woman in disguise, which just makes Papageno even more paranoid once this is revealed to him.) Finally, Monostatos sings his I-Want-Pamina Song
and eventually Face Heel Turns
over to the Queen of the Night. She performs an aria famous for its fantastically high glass-shattering notes in which she threatens to disown Pamina unless she kills Sarastro.
Pamina, bereft of her beloved, decides to kill herself. Fortunately, the Three Young Boys intervene and take her to Tamino, who can now apologize; Pamina is so overjoyed that she doesn't even make him sleep on the couch. Next, Papageno attempts the same thing, only to be saved by the Three Young Boys
and united with his no-longer-disguised-as-a-squishy-old-woman Papagena. Finally, the Queen of the Night, Monostatos and the Three Ladies attempt to attack the Temple, only to be... umm... Well, some
thing happens that takes them out of contention. But whatever, the bad guys die a lot, and both couples have their Happy Ending
as the curtain falls.The Magic Flute
has been made into two movies (as well as numerous filmed stage performances). Trollflöjten
(1975), a Swedish translation filmed by Ingmar Bergman
, was a semi-surrealist, No Fourth Wall
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 The Criterion Collection
. The Magic Flute
(2006), directed by Kenneth Branagh
with a new English translation by Stephen Fry
, is more traditional, aside from being set during World War I
Other adaptations include a Comic Book
by P. Craig Russell with an ending that can be best described as trippy, a novelization (Night's Daughter
) by Marion Zimmer Bradley
, and Magic Flute Diaries
, a film about a performance of The Magic Flute
The Magic Flute shows examples of:
- Adorkable: Papageno, particularly in the Kenneth Branagh film.
- Amazon Brigade: The Queen and her Three Ladies, before Monostatos does his Face-Heel Turn and joins them.
- Babies Ever After: Papageno and Papagena promise each other than they will have "a little Papageno" and then "a little Papagena" and "another Papageno" and "another Papagena"... etc.
- Beta Couple: Papageno/a.
- Break the Cutie: Poor, poor Pamina.
- Cannot Spit It Out: Literally. Or as Papageno himself puts it: "Mmh-mmh, mmh-mmh, mmh-mmh-mmh-mmh". Later, more serious version with the ordeal of silence, which verges on Poor Communication Kills.
- Chewing the Scenery: The Queen of the Night is usually played like this, especially once she gives up the Wounded Gazelle Gambit. Her best-known aria pretty much demands taking a big bite out of the scenery, though.
- Chick Magnet: Tamino - just watch the three ladies squabbling over him.
- Cowardly Sidekick, Lovable Coward: Papageno
- Damsel in Distress: Subverted with Pamina, and played (oddly) near-straight except for gender with Tamino, the designated hero, who enters screaming and swooning and has to be rescued by the three ladies. He gets better.
- Distaff Counterpart: Papagena, sometimes right down to the feathery outfit.
- Evil Matriarch: Guess who? (And in case it got lost in the coloratura display, she's abandoning a blatant opportunity to rescue her daughter, so that she can threaten her with Parental Abandonment if the princess won't kill Sarastro for her.)
- However, she seems to have been an affectionate mother to Pamina until now — more a matriarch who happened to be evil than mothering in an evil way. Sarastro took Pamina away more because he didn't want her turning out like her mother than because he thought she was going to be directly harmed.
- Evil Sounds Deep: Subverted, in that the guy with the lowest notes (Sarastro) is the good guy, while the gal with the highest notes (the Queen of the Night) is the Big Bad.
- Definitely played with, though: Tamino and Papageno are initially convinced that Sarastro is the Big Bad.
- Final Love Duet: Papageno and Papagena get one.
- Genre-Busting: Considered the first true German Opera, and completely discards the labels of Opera Seria (drama) or Opera Buffa (comedy).
- Genre Shift: The opera begins as an ordinary fairy tale plot, but midway through Tamino's main goal changes dramatically from "save the princess" to "be accepted as one of the Freemasons".
- God Save Us from the Queen!: Obviously.
- Happily Ever After
- Horrible Judge of Character: The Queen made Tamino think Sarastro is an evil tyrant.
- "I Am" Song: Papageno, with a large side of Sidekick Song.
- Involuntary Dance: Papageno's magic bells cause this.
- The Ingenue: Pamina
- Interrupted Suicide: twice.
- It Will Never Catch On: Opera in German? With spoken parts?
- "I Want" Song: Tamino wants Pamina. Monostatos wants Pamina. Pamina wants to be reassured of Tamino's love. The Queen wants someone to kill Sarastro. And Papageno just really wants to get married. Or at least have a girlfriend.
- Love Before First Sight: Tamino and Pamina. Tamino only needs to see Pamina's picture to fall in love.
- 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.
- Magical Flutist: Naturally, and there are also magic bells involved.
- Meaningful Name: "Papagei" (related to English "popinjay") is the German word for "parrot."
- For that matter, "Monostatos" translates to "Stands Alone."
- Pamina I Am Your Father: Sarastro is sometimes played with this angle, depending on the director. Russell's comic makes it explicit.
- The thing is, the libretto has the Queen telling Pamina: "Ever since your father died, my power has been dwindling." She could be speaking metaphorically... but so much attention is given to her famous aria (the one everyone and their dog knows), which follows right after. Plus, the scene is usually shortened.
- So? Luke Skywalker's father died, From a Certain Point of View.
- The libretto states clearly that Pamina's father gifted the Sevenfold Circle of the Sun to the initiates on his deathbed, and that Sarastro wears it around his neck. The Queen of the Night is justifiably angry about it all. It would appear that the King may want to preserve gender-separation of the sun talisman (and maintain the balance of day and night), by donating the artifact to Sarastro..
- Playing Gertrude: Many a soprano sang the Queen of the Night first before later taking on the role of Pamina.
- 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.
- Plucky Comic Relief: Papageno/a.
- Scary Black Man: Monostatos is meant to be this, with a side of Where Da White Women At?. This is typically subverted in modern productions due to the Values Dissonance, turning him into a buffoon instead (which has Unfortunate Implications in itself) and/or giving him a Race Lift.
- The Omniscient Council of Vagueness: Sarastro and his priests.
- Villain Song: Again, "Der Hölle Rache".
- [[What Do You Mean Its Not Allegorical What do you mean, it's not allegorical?}}: Tamino is the human soul seeking enlightenment; Pamina is the Spirit of Enlightenment; the Queen of the Night is the Roman Catholic Church; Sarastro is Freemasonry. The Spirit of Enlightenment originally lived with the Church, but when the Church became more interested in power and wealth than the pursuit of wisdom, it was taken from her and went to live with the Freemasons.
- Wounded Gazelle Gambit: How the Queen of the Night manages to convince Tamino that Sarastro is a villain, and that she is a poor grieving mother.
- Write Who You Know: It's common belief that Mozart wrote Papageno, a cheerful, easily-distracted fellow who falls in love with any woman he meets, based directly on himself.
- Alternately, he was based on Mozart's friend Emanuel Schikaneder, whom Mozart personally described almost word for word as Papageno is normally played... and who originated the part on stage.
- And the role of The Queen was originally played by Mozart's sister-in-law Josepha Weber, who, according to Mozart, was a cold and unpleasant person and only needed to "play herself".
- In [[Amadeus]] there's a memorable scene in which Mozart's [[mother-in-law-from-Hell]] is telling him off and in the midst of her tirade she turns into the Queen of the Night.
- In a more musical example, Sarastro's vocal lines are quite simple, making the role accessible to a larger number of deep-voiced men, who are something of a minority to begin with. (It isn't known if Mozart wrote this way because all he had to hand was a bumbling James Earl Jones, but production managers have been thanking him ever since.)