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Opera composed in 1791 by Wolfgang Amadeus Mozart From Wikipedia, the free encyclopedia
The Magic Flute is a celebrated opera composed in 1791 by Wolfgang Amadeus Mozart. Mozart employed a libretto written by his close colleague Emanuel Schikaneder, the director of the Theater auf der Wieden at which the opera premiered in the same year. (He also played the role of Papageno). Grout and Williams describe the libretto thus:
Schikaneder, a kind of literary magpie, filched characters, scenes, incidents, and situations from others' plays and novels and with Mozart's assistance organized them into a libretto that ranges all the way from buffoonery to high solemnity, from childish faerie to sublime human aspiration – in short from the circus to the temple, but never neglecting an opportunity for effective theater along the way.[1]
The sources for the work fall into (at least) four categories: works of literature, earlier productions of Schikaneder's theater company, Freemasonry, and the 18th-century tradition of popular theater in Vienna.
The Schikaneder troupe prior to the premiere of The Magic Flute had developed considerable experience with performing fairy tale operas with similar plots, characters, and singers. Two bear a particularly strong relationship to The Magic Flute:
A very long tradition asserts that Freemasonry plays a major role in the content of Schikaneder's libretto.[8] Mozart was an active Mason in Vienna, and wrote a substantial quantity of music for his own lodge, including in 1791 (see Mozart and Freemasonry). Schikaneder had been a Mason in Regensburg (1786–7) for a few months before his lodge suspended him.[9]
The simpler accounts of Masonic influence in The Magic Flute assume that Masonry provided a system of values, symbolism, and ritual for the opera, but no part of the narrative. More elaborate accounts suggest that the opera was intended as an allegory with a hidden Masonic agenda. For instance, the evil Queen of the Night is sometimes taken to be an emblem for the empress Maria Theresa, who was hostile to Freemasonry in Austria during her reign (1740–1780).
It remains a near-consensus that the opera is in a sense Masonic. However, the Mozart scholar David J. Buch has expressed a contrarian view, suggesting that Masonic interpretations have been oversold. His key point is that careful study of some of the other possible sources, such as those mentioned above, provides alternative origins for elements of the libretto thought to be Masonic. Buch is particularly skeptical of allegorical Masonic interpretations, since libretti with such hidden agendas do not appear to have been commonly created in Mozart and Schickaneder's day.[10]
The Hanswurst character was a mainstay of the popular theater tradition in Vienna, dating back decades before 1791. This character is earthy, wily, and charming, and Papageno survives in modern times as the best known representative of his type. During the period that the Schikaneder troupe was successfully mounting fairy tale operas, it also produced a series of musical comedies featuring Schikaneder in a Hanswurst-like role. These consisted of Der Dumme Gärtner aus dem Gebirge, oder Die zween Antons ("The Foolish Gardener from the Mountains, or The Two Antons"), premiered in July 1789, and a series of five sequels.[11] Mozart himself enjoyed attending these comedies, as a letter to his wife Constanze attests.[12]
Viennese popular theater in this tradition often included improvisation, and there is evidence that Schikaneder may have improvised some of his part when he premiered the role of Papageno. For instance, when Mozart played a practical joke on him during his performance of "Ein Mädchen oder Weibchen", Schikaneder quickly went off-script and turned the joke to his own advantage. Mozart related the story in a letter to his wife:
Today I had such a yen to play the Glockenspiel myself I went on stage. Just for fun, at the point where Schikaneder has a pause, I played an arpeggio. He was startled, looked into the wings and saw me. When he had his next pause I played no arpeggio. This time he stopped and refused to go on. I guessed what he was thinking and again played a chord. He then struck the magic bells and said, "Shut up!" This made everyone laugh.[13]
The physical comedy that was an element of Viennese popular theater is called for directly at one point in the libretto. The opening eight bars of orchestral introduction to the duet "Pa pa pa", at the moment when Papagena is revealed to Papageno as his future wife, includes the stage direction that Papageno and Papagena "both engage during the ritornello in comic play."[14]
The experiences and background of the composer, who liked to have considerable input into the libretto (see The Abduction from the Seraglio for testimony), are also relevant.
Nedbal writes, "Moral maxims appear frequently in eighteenth-century German drama and contemporary German theorists of theater often discuss them in their treatises. The main function of maxims is to draw a generalized observation from the proceedings on stage in order to promote virtue or condemn vice."[16] Cairns attributes a taste for "didactic sentiment" specifically to the Viennese popular theater.[17] Concerning The Magic Flute specifically, Rosen writes that it "develops ... a conception of music as a vehicle for simple moral truths."[18] The opera's didacticism is concentrated in passages of poetry, set in the ensemble scenes, in which the characters cease to converse with each other and join in singing an edifying lesson to the audience.
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One example is found in the first act, just after Monostatos and his slaves dance peaceably off the stage, enchanted by Papageno's magic bells and leaving Pamina and Papageno in freedom.[19] The two celebrate their escape by singing the following.
Könnte jeder brave Mann |
Could but every brave man |
The second act finale begins with a scene framed by didactic poetry.[20] First the Three Boys enter, singing:
Bald prangt, den Morgen zu verkünden, |
Soon, to herald the morning, |
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The action then shifts to drama and dialogue: the Three Boys find Pamina in despair in the belief that Tamino has abandoned her, and she nearly commits suicide. The Three Boys succeed in dissuading her, explaining that Tamino truly loves her and indeed is willing to risk death for her. Pamina, once convinced, ardently sings "Ich möcht' ihn sehen" ("I want to see him") five times; then after a brief pause the four characters sing:
Zwei Herzen, die von Liebe brennen, |
Two hearts that burn with love |
Rosen suggests that not just the words of these passages, but even the music is didactic: "The morality of Die Zauberflöte is sententious, and the music often assumes a squareness rare in Mozart, along with a narrowness of range and an emphasis on a few notes very close together that beautifully illuminate the middle-class philosophy of the text." As an example Rosen cites the music for the passage beginning "Könnte jeder brave Mann", cited above.[18]
The didactic passages in Schikaneder's libretto attracted the admiration of Franz Liszt, who after attending a performance copied down several of them in a personal letter.[21] Ingmar Bergman in his 1975 film of the opera gave special treatment to the didactic poetry by having his characters hoist "a series of placards on which these moral sentiments are carefully lettered."[22]
The passage quoted above beginning "Zwei Herzen" has attracted particular admiration: Heartz called it "the loveliest of all the opera's beautiful moments";[23] Abert wrote of "a paradisal radiance unique in this work".[24] Liszt quoted Schikaneder's verse in his letter and appended, "Amen!".
Mainstream scholarship views Schikaneder as the highly probable author. For a marginally-supported alternative candidate, see Karl Ludwig Giesecke.
It is not uncommon for critics to describe the libretto of The Magic Flute as being of dreadful quality. Thus Bauman writes, "The libretto has been generally regarded, in Dent's words, as "one of the most absurd specimens of that form of literature [i.e. libretti] in which absurdity is regarded as matter of course."[25] With occasional exceptions, critics voice harsh views on the quality of Schikaneder's German versification as well. Such critics generally do not defend it on its own terms (as if it could stand independently as a work of theater), but rather as a vehicle that served as a great inspiration for Mozart for composition, particularly in its assertion of high ideals and the portrayal of selfless love in the characters of Pamina and Tamino.[citation needed] The harsh assessment is not universal; see for instance the quotation with which this article begins. Johann Wolfgang von Goethe admired the work sufficiently to undertake writing a sequel.
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