Emanuel Schikaneder (1751–1812)

Opera can come across as an elitist musical form. Performances are expensive to attend and one is expected to dress and behave in a certain fashion. I find this sad. Mozart did not write Die Zauberflote as an excluding, but as an educational opera. This little book helps to de-mystify the work. It does not patronise, it explains in a way that even an operatic novice, such as myself, can simply comprehend.

In just 128 pages, this book manages to include a synopsis, a history of performances show more and a libretto. This is such an aid to the understanding of Mozart's last opera that I cannot begin to express my gratitude. This is a book to read, re-read and have to hand every time that one places the disc on to the record deck, or CD player - and let's be honest, that should be frequently!

The back cover of my copy of this book shows that 39 other operas have been given this wonderful treatment: I shall add as many as I am able to my collection! show less

A guide to the opera "The Magic Flute" by Mozart, this slim book includes historical background and biographical information about the composer, synopsis of the plot, 3 essays on the opera, a thematic guide, the complete libretto text, and a discography and bibliography. Very useful reference for fans of the opera, or first-time opera goers.

Personally think that Diana Damrau is the best Q of the N I have ever heard!

Complete libretto of THE MAGIC FLUTE

My favorite character is Papageno, holy fool & sidekick to Tamino, a spiritually questing hero.
Papageno introduces himself:
"I'm the bird-catcher, who's always happy!
Hi ho!
I'm known all over by young and old.
I know how to whistle every sound,
and I know all the birdcalls.
That's why I can be merry and happy,
because all the birds are mine.
I'd like to have a net to catch girls by the dozens.
I would lock them safely at home so they'd all be mine.
When they'd be show more mine, I'd give them sugar,
but I'd give sugar right away to the one I love most.
Then if she would kiss me tenderly,
it would be as if we were husband and wife.
She would sleep beside me,
and I would rock her like a baby." (43-44)

From "Commentary and Analysis"
"The plot of THE MAGIC FLUTE evolved from a pseudo-oriental genie-type of tale, LULU, or THE MAGIC FLUTE, originating from a collection published by Wieland in 1789 under the title DSCHINNISTAN.
"Schikaneder, Mozart, and a flamboyant actor, Carl Ludwig Giesecke, the latter, the pseudonym for Johann Metzler, a versatile lawyer and sometime Professor of Mineralogy and Chemistry at the University of Dublin, were the collaborating librettists: coincidentally, all were members of the same Viennese Freemason lodge....
"....The simple fairy tale that originally dealt with a power struggle between the forces of good and evil and the ultimate triumph of love, was ultimately transformed into a highly complex allegory glorifying the ideals of Freemasonry....
"Many musicologists have hypothesized that many of the events in the opera derive logically from Masonic laws and rituals, all of which, Mozart and Schikaneder were very profoundly familiar with: in particular, the solemn choral scenes involving Sarastro and the Priests, and the impressive fire and water ordeals, all of which, are patterned after Masonic rituals and symbolism...." (15) show less