Building a Collection #10: W.A. Mozart's Die Zauberflöte (The Magic Flute)
With recommended recordings
Please note: Much of this post comes from a previous post I published June 12, 2022 on Mozart’s The Magic Flute, with some edits.
___________________________________________________________
Building a Collection #10
Die Zauberflöte (The Magic Flute)
By Wolfgang Amadeus Mozart
“What's even worse than a flute? - Two flutes!”
― Wolfgang Amadeus Mozart
Unless, of course, we are talking about magic flutes. Welcome back to Building a Collection where we have arrived at the opera Die Zauberflote (The Magic Flute) by Mozart, which comes in at #10 on the list of the greatest pieces of classical music ever.
Die Zauberflöte (The Magic Flute)
Mozart’s delightful singspiel opera Die Zauberflöte (The Magic Flute) was composed in 1791, the same year of his death. Even though it is difficult for us to imagine today, Mozart was not really appreciated in his own lifetime. His biggest commercial success up until The Magic Flute had been another singspiel opera The Abduction from the Seraglio (Die Entfuhrung aus dem Serail) from 1782. Even though today we have all heard of the “Da Ponte” operas from Mozart (those operas in Italian where Mozart collaborated with the librettist Lorenzo da Ponte) including Le Nozze di Figaro (The Marriage of Figaro), Don Giovanni, and Cosi fan tutte (All Women Act That Way), those operas were not big hits during Mozart’s lifetime.
Although we don’t know the exact date, at some point in the fall of 1790 the impresario Emanuel Schikaneder approached Mozart to commission a new singspiel opera (an opera that includes both musical numbers and spoken dialogue) that would be made especially for Schikaneder’s Freyhaustheater or the Theater auf der Wieden, located in a suburb of Vienna. Schikaneder was known for putting on German plays and at times German operas in his theater. At the time, Mozart’s prospects for another Italian production seemed unlikely, so he became enthusiastic about the idea of writing a German-language opera. Mozart had known Schikaneder for many years, and was familiar with the high-quality productions at his theater. Many of the singers and actors that Schikaneder presided over were of the highest quality. Even though Mozart also became busy working on what would be his Requiem, as well as another opera named La Clemenza di Tito, he accepted Schikaneder’s commission because his family needed the money.
The libretto for The Magic Flute came from Schikaneder himself, but most likely one of his sources is based on a fairy tale by Jakob August Libeskind titled “Lulu or the Magic Flute”. Other scholars note Schikaneder may have taken some inspiration from an essay on the Egyptians, as well as other literature of the time. Most of the time Mozart did not pay a great deal of attention to the libretto, as he considered the music itself to be foremost. In fact, there is some evidence Mozart took some ideas from his contemporary Antonio Salieri (rather negatively and somewhat inaccurately portrayed in the film Amadeus), including the five-note flute theme meant to symbolize the “magic flute” whistled by Papageno (similar to a piece from Salieri), as well as from Salieri’s opera Prima la musica e poi le parole (First the music and then the words) where Mozart uses musical and textual play on words and sounds to imitate the sounds of birds and nature.
Both Mozart and Schikaneder were practicing members of The Ancient and Venerable Order of Freemasons, and so they struck upon the idea of creating a German opera to glorify Freemasonry. The Masons had been founded earlier in that century in London, and had then spread all over Europe and to North America (Thomas Jefferson, George Washington, and Benjamin Franklin were all Masons). The idea of incorporating Masonic symbols into the new work, as well as catering to the fun-loving and lighthearted audience that frequented the Freyhaustheater, resulted in a sort of fairy-tale opera which included a lot of humor, some pomp and pageantry, and humanistic themes such as love, freedom, and brotherhood.
The opera abounds with Masonic symbolism. The stages of initiation for the Masons can be heard in the middle of the overture, symbolized when the music stops and then begins again. Multiples of three are important to the Masons, and you will notice this in the three boys, three ladies, and eighteen priests. Mozart includes some other symbolism in the music itself, such as the key it was written in, the number of bars written for certain musical numbers, and the specific points in the opera when singers enter. The initiation ritual for Tamino to enter the brotherhood reveals the pattern of where the Masons enter two by two. Generally the one being initiated enters by himself, but in the opera Tamino also enters with his woman Pamina. This is highly unusual, as women had no role in Freemasonry (with the exception of in France, where chapters included women). Some scholars believe this was intentional by Mozart to include a woman in the initiation, as women typically played a major role in his operas. It appears to be a suggestion by Mozart that women also be accepted into the Masons. It is not really known whether that suggestion ever took root, because about four years after the opera’s premiere, Masonry was forbidden in Austria and remained so until after World War I.
Ann Feeney in the All Music Guide gives a brief synopsis of the story:
“In this story about good and evil, Sarastro, the high priest of an enlightened brotherhood, abducts Pamina, whose mother is the evil Queen of the Night. The Queen sends Prince Tamino to save Pamina. Tamino not only falls in love with Pamina, but also accepts Sarastro as the incarnation of truth and goodness. Tamino’s counterpart is Papageno, the Queen’s bird catcher, whose earthiness counterbalances Tamino’s idealism. Predictably, love and goodness triumph, Sarastro overcomes the Queen of the Night, Tamino and Pamina are united after many trials, and Papageno finds Papagena, a female version of himself.”
Despite the inconsistencies and absurdities in the two-act story, the opera contains some of the most charming, endearing, and life-affirming music Mozart ever composed and that the world has ever heard. In some ways, the music in The Magic Flute is quintessential Mozart in its sophistication, in its invention, in the memorable melodies, and in the sweep and nobility he creates. Many young children and parents have very likely heard melodies from The Magic Flute played by music boxes, toys, and in cartoons or videos. A few of the most recognized numbers from the opera include:
Act I: “Der Vogelfänger bin ich ja” sung by Papageno (baritone), which is where we hear the five-note bird call that becomes symbolic of a magic flute. It is quite recognizable.
Act I and Act II arias “O zittre nicht” and “Der Holle Rache kocht in meinem Herze” by the Queen of the Night (soprano), both of them written to display the virtuosity of the Queen by asking her to sing many incredibly high notes repeatedly in a thrilling high-wire act. The arias are usually an eagerly anticipated part of the opera, and how the soprano depicts the character of the Queen, perhaps more evil or perhaps more vulnerable.
Act I: Aria by Pamina with some parts for Papageno “Bei Mannern, welche Liebe fuhlen”, one of the most recognizable melodies from the opera, and one of the most charming.
Act I: Aria by Tamino “Wie stark ist nicht dein Zauberton”, again a very recognizable melody sung by Tamino (tenor), accompanied by a flute.
Act I: Duet with Pagageno and Papagena “Schnelle Fuss rascher Mut” complete with part for a music-box like tune that could be straight out of a lullaby. Surely you recognize it? It is from Papageno’s magic bells. Mozart scored it for a long-lost instrument called a stromento d'acciaio (instrument of steel), but later it was played by a keyed glockenspiel, and today most likely by a celesta.
Act II: Aria by Sarastro (bass) “O Isis und Osiris”, where we hear the Egyptian influence. One of the most famous arias from the opera, for which critic and philosopher George Bernard Shaw described as “the voice of God”.
Act II: Pamina’s famous aria, “Ach, ich fuhl’s”, certainly one of the most well-known arias from the opera.
Act II: Duet with Pagageno and Papagena, “Ein Madchen oder Weibchen” may be instantly recognizable to you, as it once again features the attractive lullaby tune from Papageno.
Act II: Duet again with Papageno and Papagena, “Pa-Pa-Pa-Pa-Pa-Pa-Papagena”, again one of the most common tunes from the opera which you may have heard. It is charming and humorous.
A word about the dialogue included in the opera, it is a singspiel opera after all. The traditionalist in me prefers for the dialogue to be included in recordings. Having said that, when listening to the opera I usually skip over the dialogue numbers because I am more interested in the music. However the dialogue is an essential part of the story, and understanding the story is important to the enjoyment of any opera. Thus, if this is your first introduction to The Magic Flute, you may want to find a copy of the libretto or listen to a recording that includes the dialogue.
The Magic Flute turned out to be Mozart’s greatest success (and Schikaneder’s as well). The premiere was on September 30, 1791 with Mozart conducting. It was sold out night after night thereafter, had easily remembered tunes, contained a simple yet profound message of love, beauty and wisdom, and employed some fantastic stage sets and state of the art “magical” effects. The bottom line is it touched people’s hearts, as it continues to do today. It has astonishing vocal effects as well, as audiences marveled and trembled at the Queen of the Night. They also laughed at the humor, especially from Papageno. The victory of light over darkness gives hope. It had already reached 100 performances by November 1792, though sadly Mozart was not alive to see that achievement reached.
I believe The Magic Flute is one of the greatest operas ever composed. Along with his final symphony, Symphony no. 41 “Jupiter”, it represents the apex of Mozart’s genius and talent. The sparkling arias, the themes of beauty, freedom, and brotherhood, the ensembles of undeniable beauty, and the enchanting and uplifting music make this a work I return to often.
Recommended recordings
Similar to many works from the classical and baroque periods, The Magic Flute has been recorded on both period instruments and on modern instruments, as well as hybrid approaches using modern instruments played with period techniques.
Top choice
My top choice for Die Zauberflöte (The Magic Flute) is by the Vienna Philharmonic Orchestra conducted by Sir Georg Solti, gloriously recorded by Decca in 1990. The cast includes the following:
Sarastro - Kurt Moll
Tamino - Uwe Heilmann
Queen of the Night – Sumi Jo
Pamina – Ruth Ziesak
Papagena – Lotte Leitner
Papageno – Michael Kraus
Monostatos – Heinz Zednik
Sir Georg Solti had recorded The Magic Flute previously for Decca in 1971, also with the Vienna Philharmonic and a different cast, so he clearly loves the opera. However, this 1990 recording is preferable for both performance and sound. Although I truly believe this is a great recording, it is also a sentimental choice for me as this was the very first opera set I purchased back in 1992, and I even remember the little music shop where I bought it in Rome. I knew Solti’s name, as well as the Vienna Philharmonic, and I also knew I loved The Magic Flute. Having heard all the other recordings of The Magic Flute available today, it is the one I return to most often due to the consistent singing, playing, and conducting in very good sound. Solti has a reputation, perhaps unfairly, of being less than subtle in his interpretations. Here I find Solti to be very sensitive to every facet of the score, including the stage effects you can hear on the recording such as birds and thunder, as well as voices being far or near depending on how they would be heard in a stage production. In fact, this is one of the reasons I love this recording, because it feels like you are hearing a real opera performed on stage. Far from bombastic, Solti has the perfect feel for Mozart. It is playful and light as appropriate, with the right amount of power, tension and drama where required. The tempi chosen by Solti, in my opinion, are just about right throughout. Solti won 31 Grammy awards during his recording career. His recordings of the Mozart operas, in particular, are highly acclaimed.
The Vienna Philharmonic and the Vienna Sangerknaben sound glorious to my ears on this recording, captured in the Konzerthaus in Vienna. Among the soloists, I don’t believe there is a weak link. I have always loved Kurt Moll as Sarastro, and although he recorded the role other times, I find this to be his most affecting performance. His portrayal of Sarastro is dark but comforting in nature, which is how the role should sound. Uwe Heilmann as Tamino is one of the biggest highlights for me, I believe his is one of the best sounding Tamino’s on record (even if Fritz Wunderlich on the classic Bohm set is even finer). I very much enjoy Ruth Ziesak’s Pamina, she creates a tender and thoughtful tone and I like the quality of her voice for the role. When this recording was made, South Korean soprano Sumi Jo’s career was just beginning to take off and she was performing in all the major opera houses. She recorded the role of the Queen of the Night twice for Decca, and this was the first one. Jo proves that the stratospheric notes in the Queen’s two big arias do not present a problem for her, and her accuracy is spectacular. Some have complained that Jo’s voice is too beautiful, and not scary enough, to play the Queen. I disagree, as I think she definitely has enough of an edge to her voice to make the Queen sound appropriately irritable. While a young Lucia Popp on Klemperer’s classic recording is still THE Queen of the Night for me, Jo is a close rival. Michael Kraus as Papageno and Lotte Leitner as Papagena are full of character and warmheartedness.
Historic choice
Otto Klemperer leading the Philharmonia Orchestra recorded by EMI (now Warner) in 1964 in Kingsway Hall, London, and produced by the legendary EMI producer Walter Legge. This is the best sung Magic Flute in my opinion, with the fantastic Lucia Popp, glorious tenor Nicolai Gedda, a famous Sarastro in Gottlieb Frick, and a well-loved Mozartian Walter Berry as Papageno. The three ladies are a famous trio of Elisabeth Schwarzkopf, Christa Ludwig, and Marga Hoffgen. On modern instruments, the sound is quite good for 1964. The only drawbacks in my view are the somewhat slow tempi chosen by Klemperer, and the Pamina of Gundula Janowitz, whose steely and somewhat intense voice is not a good fit for the role in my view. But this is a classic and beloved set, and for good reason. The dialogue is not included on this recording.
Hybrid choice
Claudio Abbado conducted the Mahler Chamber Orchestra in a live recording made in 2006 for the Deutsche Grammophon label. Fresh and invigorating, this is a very fine version which garnered a lot of acclaim upon its release. Using a smaller chamber orchestra of modern instruments, but employing some period playing qualities and tempi, this is one of the best accounts on record. The soloists are all excellent, but Hanno Muller-Brachmann as Papageno lacks some charm. At times I find the speeds on the fast side, and I find myself missing some of the weightier string tone from Solti’s version, but this is certainly one of the finest recordings of this masterpiece, and for me one of Abbado’s best recordings in his long and celebrated career.
Period instrument choice
Arnold Ostman conducted the Drottningholm Court Theatre Orchestra and Chorus in a period instrument and style performance recorded in 1993 for the L’Oiseau Lyre label, now re-issued on Decca. If you are looking for a period instrument performance, this one is outstanding. The sound is immediate and transparent, but also more intimate than most recordings. It respects the staging of the opera, and you feel as though you are in the middle of the action. Sumi Jo is cast as the Queen of the Night once again, but this set has the advantage of the sweet-toned American soprano Barbara Bonney as Pamina. The male vocalists, particularly Kurt Streit as Tamino, are also very fine. An excellent set.
English-language choice
The last Australian conductor Sir Charles Mackerras was one of the great Mozart conductors of his time, and he recorded a very convincing English-language version of The Magic Flute with the London Philharmonic Orchestra from 2005 on the Chandos label. Mackerras had recorded the opera in German on the Telarc label back in the 1990s with the Scottish Chamber Orchestra, also a fine recording. But this one is better. I was reluctant to listen to the opera in English, as I was so accustomed to hearing it in the original German. Also, I am aware of other operas that have been translated into English rather unsuccessfully. However, in this case we have Jeremy Sam to thank for a clever and natural translation which renders the words in English in a way that feels right. The cast is superb, led by the resplendent Lesley Garrett as Papagena. Rebecca Evans as Pamina is moving and characterful. Barry Banks brings a full-throated tone to Tamino, and Simon Keenlyside is wry and humorous as Papageno. This is one of the most satisfying accounts on record. Mackerras is a brilliant interpreter, and the score is revealed as both original and timeless. I still prefer the original German, but I encourage you to give this a try. It is an outstanding production.
Thank you for reading! See you next time when we will discuss #11 on the list, Hector Berlioz’s groundbreaking piece Symphonie Fantastique.
________________________________________________
Notes:
Brennan, Gerald. Ann Feeney. Schrott, Allen. Woodstra, Chris. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. Pp. 890. Backbeat Books, San Francisco. 2005.
Jacobs, Arthur and José A. Bowen. "Solti, Sir Georg", Grove Music Online, Oxford Music Online.
Landon, Robbins H.C. Wolfgang Amadeus Mozart. The Magic Flute. Vienna Philharmonic Orchestra. Sir Georg Solti. Die Zauberflote. Decca Liner Notes. Pp. 14-20.
Schonberg, Harold C. The Lives of the Great Composers, Revised Edition. Prodigy from Salzburg, Wolfgang Amadeus Mozart. Pp. 106. Norton & Company, London and New York. 1981.