The Me t: HD L i v e in Scho o ls

2015–16 Educator Guide

m oz a r t The Magic Flute

Lead sponsorship of HD Live in Schools

is made possible by Bank of America

The program is supported through

a partnership with the New York
City Department of Education.
| W h at t o E x p e c t f r o m th e mag i c f lute

Mozart’s The Magic Flute—his last opera to be produced before THE WORK:
his untimely death at age 35—is a remarkable combination of musical and the magic flute
(Die Zauberflöte)
dramatic styles, from the earthly to the otherworldly. The story begins as
An opera in two acts, sung in English
a magical rescue mission, a plot outline that would have been familiar to
Music by Wolfgang Amadeus Mozart
Viennese audiences of the popular theater, but soon transforms into a fable
Libretto by Emanuel Schikaneder
of enlightenment and humanity. With its narrative of inner development
English translation by J. D. McClatchy
and illumination, The Magic Flute imagines a world of peace, brotherhood,
First performed September 30, 1791
and love.
at the Freihaus-Theater auf der
This Live in HD production, originally seen in 2006, presents the opera Wieden, Vienna, Austria
in an abridged English-language version of the production by the award-
winning director of theater, opera, and film Julie Taymor. Taymor seeks to PRODUCTION

remain true to the fairy-tale aspect of the story while revealing what she calls James Levine, Conductor

its “darker face, the one that is hidden in the innocent shell of the unruly Julie Taymor, Production

libretto but apparent in the exquisite subtlety of the music.” In developing George Tsypin, Set Designer

the colorful visual style of her production, she was inspired by the image of Julie Taymor, Costume Designer

the kaleidoscope, which she sees as an ideal way to express “both the exterior Donald Holder, Lighting Designer

and inner landscapes of The Magic Flute.” Taymor’s whimsical production Julie Taymor and Michael Curry,
Puppet Designers
magnifies the opera’s emotional threads, highlights the humor, and captures
Mark Dendy, Choreographer
the ethereal nature of Mozart’s music.
This guide is intended to help your students appreciate the opera within the STARRING
context of 18th-century politics, philosophy, and musical style. By studying (In order of vocal appearance):
the plot’s themes of enlightenment in relation to the Age of Reason, students Matthew Polenzani
TAMINO (tenor)
will discover some of the elements that make The Magic Flute not only a
Nathan Gunn
product of its age but also an enduring masterwork of the operatic canon. PAPAGENO (baritone)
The activities on the following pages are designed to provide context, deepen Erika Miklósa
QUEEN OF THE NIGHT (soprano)
background knowledge, and enrich the overall experience of this Live in HD
Greg Fedderly
transmission. This guide will also align with key strands of the Common MONOSTATOS (tenor)
Core Standards. Ying Huang
PAMINA (soprano)

René Pape
SARASTRO (bass)

Jennifer Aylmer
PAPAGENA (soprano)
This abridged production of The Magic Flute
is made possible by generous gifts from
Bill Rollnick and Nancy Ellison Rollnick and
The Andrew W. Mellon Foundation.

The original production of Die Zauberflöte

was made possible by a generous gift from
Mr. and Mrs. Henry R. Kravis.

This Live in HD production of The Magic Flute is

broadcast as a special encore presentation. It was
originally transmitted on December 30, 2006, as the
huang Miklósa polenzani gunn pape inaugural production in the Live in HD series.

1
 | A G uide t o th e mag i c f lute

| The Story

This guide is divided into five The activities in this guide will focus on several aspects of The Magic Flute: The Sources: Emanuel Schikaneder—impresario, writer, actor, and singer—drew
sections. • The opera’s context in the writings of the European Enlightenment from a variety of sources in crafting the libretto for The Magic Flute, or Die Zauberflöte

• The Source, The Story, • The aria as a vehicle for personal expression in the original German. Influences include Arthurian romance as well as more contem-
Who’s Who in The Magic • The production’s distinctive use of puppetry and masks porary works such as a short story by the poet Christoph Martin Wieland in the 1780s
Flute, and a Timeline • Creative choices made by the artists of the Metropolitan Opera for this that features a fairy who enlists a prince to rescue a young maiden, giving him a
• Classroom Activities: production magic flute to help him along his way; and an essay on Egyptian mysteries by Vienna’s
Two activities designed to • The opera as a unified work of art, involving the efforts of composer, foremost Freemason, Ignaz von Born.
align with and support various
librettist, and Met artists Schikaneder also drew from the performance history of Viennese popular theater,
Common Core Standard strands
used in ELA, History/Social which embraced magic, lowbrow humor, mystery, spectacle, and moralizing senti-
This guide is intended to cultivate students’ interest in The Magic Flute,
Studies, and Music curricula ments. Its tradition also provided a model for the character of Papageno in the stock
whether or not they have any prior acquaintance with opera. It includes
• Performance Activities: role of Hanswurst (“Jack Sausage”), a crafty but coarse type who usually falls prey to
activities for students with a wide range of musical backgrounds, and seeks
Two activities to be used during his baser instincts and provides much of the comic relief.
to encourage them to think about opera—and the performing arts as a
The Met: Live in HD transmission,
highlighting specific aspects of whole—as a medium of both entertainment and creative expression.
A mythical land between the sun and the moon. Three ladies in the service of the Queen
this production
of the Night save Prince Tamino from a serpent. When they leave to tell the queen,
• Post-Show Discussion: A
the birdcatcher Papageno appears. He boasts to Tamino that it was he who killed the
wrap-up activity, integrating
the Live in HD experience into creature. The ladies return to give Tamino a portrait of the queen’s daughter, Pamina,
the students’ understanding who they say has been enslaved by the evil Sarastro. Tamino immediately falls in love
of the performing arts and the with the girl’s picture. The queen, appearing in a burst of thunder, tells Tamino about
humanities
the loss of her daughter and commands him to rescue her. The ladies give a magic
• Student Resource Pages:
Classroom-ready worksheets
supporting the activities in the
Ying Huang as Pamina with
guide Greg Fedderly as Monostatos
ken howard / metropolitan opera

2 3
 | A G uide t o th e mag i c f lute

| The Story

This guide is divided into five The activities in this guide will focus on several aspects of The Magic Flute: The Sources: Emanuel Schikaneder—impresario, writer, actor, and singer—drew
sections. • The opera’s context in the writings of the European Enlightenment from a variety of sources in crafting the libretto for The Magic Flute, or Die Zauberflöte

• The Source, The Story, • The aria as a vehicle for personal expression in the original German. Influences include Arthurian romance as well as more contem-
Who’s Who in The Magic • The production’s distinctive use of puppetry and masks porary works such as a short story by the poet Christoph Martin Wieland in the 1780s
Flute, and a Timeline • Creative choices made by the artists of the Metropolitan Opera for this that features a fairy who enlists a prince to rescue a young maiden, giving him a
• Classroom Activities: production magic flute to help him along his way; and an essay on Egyptian mysteries by Vienna’s
Two activities designed to • The opera as a unified work of art, involving the efforts of composer, foremost Freemason, Ignaz von Born.
align with and support various
librettist, and Met artists Schikaneder also drew from the performance history of Viennese popular theater,
Common Core Standard strands
used in ELA, History/Social which embraced magic, lowbrow humor, mystery, spectacle, and moralizing senti-
This guide is intended to cultivate students’ interest in The Magic Flute,
Studies, and Music curricula ments. Its tradition also provided a model for the character of Papageno in the stock
whether or not they have any prior acquaintance with opera. It includes
• Performance Activities: role of Hanswurst (“Jack Sausage”), a crafty but coarse type who usually falls prey to
activities for students with a wide range of musical backgrounds, and seeks
Two activities to be used during his baser instincts and provides much of the comic relief.
to encourage them to think about opera—and the performing arts as a
The Met: Live in HD transmission,
highlighting specific aspects of whole—as a medium of both entertainment and creative expression.
A mythical land between the sun and the moon. Three ladies in the service of the Queen
this production
of the Night save Prince Tamino from a serpent. When they leave to tell the queen,
• Post-Show Discussion: A
the birdcatcher Papageno appears. He boasts to Tamino that it was he who killed the
wrap-up activity, integrating
the Live in HD experience into creature. The ladies return to give Tamino a portrait of the queen’s daughter, Pamina,
the students’ understanding who they say has been enslaved by the evil Sarastro. Tamino immediately falls in love
of the performing arts and the with the girl’s picture. The queen, appearing in a burst of thunder, tells Tamino about
humanities
the loss of her daughter and commands him to rescue her. The ladies give a magic
• Student Resource Pages:
Classroom-ready worksheets
supporting the activities in the
Ying Huang as Pamina with
guide Greg Fedderly as Monostatos
ken howard / metropolitan opera

2 3
 | w h o ’ s w h o in th e mag i c f lute

flute to Tamino and silver bells to Papageno to ensure their safety on the journey and Character Pronunciation Voice Type The Lowdown
VOICE TYPE appoint three spirits to guide them. Tamino A young prince tah-MEE-noe Tenor Handsome and courageous, he accepts the
Since the early 19th century,
Sarastro’s slave Monostatos pursues Pamina but is frightened away by Papageno. Queen’s commission to rescue Pamina.
singing voices have usually
been classified in six basic The birdcatcher tells Pamina that Tamino loves her and is on his way to save her. Led
Pamina Daughter of the pah-MEE-nah Soprano Her beauty initially attracts Tamino, but she proves
types, three male and by the three spirits to the temple of Sarastro, Tamino learns from a high priest that it Queen of the Night to be his match in withstanding the trials they face.
three female, according is the Queen, not Sarastro, who is evil. Hearing that Pamina is safe, Tamino uses his
to their range:
flute to charm the wild animals who threaten him, then rushes off to follow the sound Papageno A bird-catcher pah-pah-GAY-noe Baritone Primarily concerned for his physical well-being
SOPRANO of Papageno’s pipes. Monostatos and his men chase Papageno and Pamina but are in service to the rather than loftier pursuits; his highest desire is to
the highest-pitched type Queen of the Night find a wife.
left helpless when Papageno plays his magic bells. Sarastro enters in great ceremony.
of human voice, normally
possessed only by women He punishes Monostatos and promises Pamina that he will eventually set her free.
Queen of the The powerful ruler Soprano She is enraged at the abduction of her daughter
and boys Pamina catches a glimpse of Tamino, who is led into the temple with Papageno. Night of the realm of the and commits all of her forces to the defeat of her
Sarastro tells the priests that Tamino will undergo initiation rites. Monostatos tries moon and stars enemy Sarastro.
MEZZO-SOPRANO
the female voice whose range to kiss the sleeping Pamina but is surprised by the appearance of the Queen of the
Sarastro High priest of the zah-RAS-troe Bass The leader of a powerful order of priests, he has
lies between the soprano Night. The Queen gives her daughter a dagger and orders her to murder Sarastro. Sun abducted Pamina and compels her and Tamino to
and the contralto (Italian undergo tests and ordeals.
Sarastro finds the desperate Pamina and consoles her, explaining that he is not inter-
“mezzo” = middle, medium)
ested in vengeance. Tamino and Papageno are told by a priest that they must remain
CONTRALTO
silent and are not allowed to eat, a vow that Papageno immediately breaks when he
the lowest female voice, also
called an alto takes a glass of water from a flirtatious old lady. When he asks her name, she vanishes.
The three spirits guide Tamino through the rest of his journey and tell Papageno to
counterTENOR
a male singing voice whose be quiet. Tamino remains silent even when Pamina appears. Misunderstanding his
vocal range is equivalent to action for coldness, she is heartbroken.
that of a contralto, mezzo- The priests inform Tamino that he has only two more trials to complete his initiation.
soprano, or (less frequently) a
Papageno, who has given up on entering the brotherhood, longs for a wife instead.
soprano, usually through use
of falsetto He eventually settles for the old lady. When he promises to be faithful she is suddenly
transformed into the beautiful young Papagena but then immediately disappears.
TENOR
the highest naturally Pamina and Tamino are reunited and face the ordeals of water and fire together,
occurring voice type in protected by the magic flute.
adult males Desolate to be without a wife, Papageno tries to hang himself on a tree but is saved
BARITONE by the three spirits, who remind him that if he uses his magic bells he will find true
the male voice lying below the happiness. When he plays the bells, Papagena appears and the two immediately start
tenor and above the bass
making family plans. The Queen of the Night, her three ladies, and Monostatos attack
BASS the temple but are defeated and banished. Sarastro blesses Pamina and Tamino as
the lowest male voice
all join in celebrating the triumph of courage, virtue, and wisdom.

4 5
 | w h o ’ s w h o in th e mag i c f lute

flute to Tamino and silver bells to Papageno to ensure their safety on the journey and Character Pronunciation Voice Type The Lowdown
VOICE TYPE appoint three spirits to guide them. Tamino A young prince tah-MEE-noe Tenor Handsome and courageous, he accepts the
Since the early 19th century,
Sarastro’s slave Monostatos pursues Pamina but is frightened away by Papageno. Queen’s commission to rescue Pamina.
singing voices have usually
been classified in six basic The birdcatcher tells Pamina that Tamino loves her and is on his way to save her. Led
Pamina Daughter of the pah-MEE-nah Soprano Her beauty initially attracts Tamino, but she proves
types, three male and by the three spirits to the temple of Sarastro, Tamino learns from a high priest that it Queen of the Night to be his match in withstanding the trials they face.
three female, according is the Queen, not Sarastro, who is evil. Hearing that Pamina is safe, Tamino uses his
to their range:
flute to charm the wild animals who threaten him, then rushes off to follow the sound Papageno A bird-catcher pah-pah-GAY-noe Baritone Primarily concerned for his physical well-being
SOPRANO of Papageno’s pipes. Monostatos and his men chase Papageno and Pamina but are in service to the rather than loftier pursuits; his highest desire is to
the highest-pitched type Queen of the Night find a wife.
left helpless when Papageno plays his magic bells. Sarastro enters in great ceremony.
of human voice, normally
possessed only by women He punishes Monostatos and promises Pamina that he will eventually set her free.
Queen of the The powerful ruler Soprano She is enraged at the abduction of her daughter
and boys Pamina catches a glimpse of Tamino, who is led into the temple with Papageno. Night of the realm of the and commits all of her forces to the defeat of her
Sarastro tells the priests that Tamino will undergo initiation rites. Monostatos tries moon and stars enemy Sarastro.
MEZZO-SOPRANO
the female voice whose range to kiss the sleeping Pamina but is surprised by the appearance of the Queen of the
Sarastro High priest of the zah-RAS-troe Bass The leader of a powerful order of priests, he has
lies between the soprano Night. The Queen gives her daughter a dagger and orders her to murder Sarastro. Sun abducted Pamina and compels her and Tamino to
and the contralto (Italian undergo tests and ordeals.
Sarastro finds the desperate Pamina and consoles her, explaining that he is not inter-
“mezzo” = middle, medium)
ested in vengeance. Tamino and Papageno are told by a priest that they must remain
CONTRALTO
silent and are not allowed to eat, a vow that Papageno immediately breaks when he
the lowest female voice, also
called an alto takes a glass of water from a flirtatious old lady. When he asks her name, she vanishes.
The three spirits guide Tamino through the rest of his journey and tell Papageno to
counterTENOR
a male singing voice whose be quiet. Tamino remains silent even when Pamina appears. Misunderstanding his
vocal range is equivalent to action for coldness, she is heartbroken.
that of a contralto, mezzo- The priests inform Tamino that he has only two more trials to complete his initiation.
soprano, or (less frequently) a
Papageno, who has given up on entering the brotherhood, longs for a wife instead.
soprano, usually through use
of falsetto He eventually settles for the old lady. When he promises to be faithful she is suddenly
transformed into the beautiful young Papagena but then immediately disappears.
TENOR
the highest naturally Pamina and Tamino are reunited and face the ordeals of water and fire together,
occurring voice type in protected by the magic flute.
adult males Desolate to be without a wife, Papageno tries to hang himself on a tree but is saved
BARITONE by the three spirits, who remind him that if he uses his magic bells he will find true
the male voice lying below the happiness. When he plays the bells, Papagena appears and the two immediately start
tenor and above the bass
making family plans. The Queen of the Night, her three ladies, and Monostatos attack
BASS the temple but are defeated and banished. Sarastro blesses Pamina and Tamino as
the lowest male voice
all join in celebrating the triumph of courage, virtue, and wisdom.

4 5
 | t i m eline

The Magic Flute History

1756 Wolfgang Amadeus Mozart is born on January 27, one of two surviving
1786 Mozart completes Le Nozze di Figaro, the first of his collaborations with the
children of Leopold Mozart, a composer in the service of the Prince- librettist Lorenzo Da Ponte (followed by Don Giovanni in 1787 and Così
Archbishop of Salzburg. fan tutte in 1790). The three works, masterpieces of dramatic structure
and musical expression, number among the pinnacles of the opera buffa
1762 At the age of seven, Mozart performs for the Empress Maria Theresia in genre.
Vienna, as a keyboard prodigy and composer. Over the next 11 years, the
Mozart family tours throughout Europe, performing for members of the 1787–89 The German poet Christoph Martin Wieland publishes Dschinnistan, a
royalty and nobility. collection of stories, several of which inspire the plot of Die Zauberflöte,
notably “Lulu, oder Die Zauberflöte,” which tells the story of Prince
1767 Mozart completes his first full-length dramatic work, Apollo et Lulu, who is enlisted by a “radiant fairy” to rescue a maiden who has
Hyacinthus, based on a Latin text drawn from Ovid. It is first performed been captured by an evil sorcerer, and who is provided with a magic
in Salzburg on May 13. flute to help him in his mission.

1776 Emperor Joseph II dismisses the impresario of the Burgtheater, one 1789 The actor, librettist, and theatrical producer Emanuel
of the two imperial court theaters in Vienna, and re-opens it as the Schikaneder takes over the direction of the Freihaus-
“Nationaltheater,” the home of German drama. Two years later, Joseph Theater auf der Wieden in Vienna. His repertory includes
founds the National-Singspiel, intended to encourage the composition musical dramas (mostly comprising singspiels), spoken
of music dramas in German. Mozart’s Die Entführung aus dem Serail plays with spectacular staging effects, as well as works by
(1782) is the most successful of the singspiels created for the Burgtheater serious German dramatists. The theater’s audience bridges
before the failure of the National-Singspiel in 1788. the different classes of Viennese society.

1781 Mozart relocates to Vienna, seeking to make his living as an 1791 Die Zauberflöte premieres on September 30 at the Theater
independent composer and performer in the culturally rich Habsburg auf der Wieden, with Schikaneder performing the role of
capital, rather than solely under contract to a wealthy patron or the Papageno and Mozart conducting. The opera receives 20
heresia
of Aust
ria church. performances by the end of the following month, and over
Maria T
o re
m, ba ltim
200 performances by 1800.
useu
lter s art m
the wa

1784 Mozart becomes a Freemason and joins the Viennese lodge “Zur
Wohltätigkeit” (“Beneficence”), a community of liberal intellectuals
1791 Mozart falls ill on November 22 and dies on December 5, likely
whose philosophical interests aligned closely with the Enlightenment from rheumatic fever.
concerns of reason, nature, and the universal brotherhood of fellow men.
of
raving no
A n eng Pa p a g e
ic k a n e der as
Sc h

6 7
 | t i m eline

The Magic Flute History

1756 Wolfgang Amadeus Mozart is born on January 27, one of two surviving
1786 Mozart completes Le Nozze di Figaro, the first of his collaborations with the
children of Leopold Mozart, a composer in the service of the Prince- librettist Lorenzo Da Ponte (followed by Don Giovanni in 1787 and Così
Archbishop of Salzburg. fan tutte in 1790). The three works, masterpieces of dramatic structure
and musical expression, number among the pinnacles of the opera buffa
1762 At the age of seven, Mozart performs for the Empress Maria Theresia in genre.
Vienna, as a keyboard prodigy and composer. Over the next 11 years, the
Mozart family tours throughout Europe, performing for members of the 1787–89 The German poet Christoph Martin Wieland publishes Dschinnistan, a
royalty and nobility. collection of stories, several of which inspire the plot of Die Zauberflöte,
notably “Lulu, oder Die Zauberflöte,” which tells the story of Prince
1767 Mozart completes his first full-length dramatic work, Apollo et Lulu, who is enlisted by a “radiant fairy” to rescue a maiden who has
Hyacinthus, based on a Latin text drawn from Ovid. It is first performed been captured by an evil sorcerer, and who is provided with a magic
in Salzburg on May 13. flute to help him in his mission.

1776 Emperor Joseph II dismisses the impresario of the Burgtheater, one 1789 The actor, librettist, and theatrical producer Emanuel
of the two imperial court theaters in Vienna, and re-opens it as the Schikaneder takes over the direction of the Freihaus-
“Nationaltheater,” the home of German drama. Two years later, Joseph Theater auf der Wieden in Vienna. His repertory includes
founds the National-Singspiel, intended to encourage the composition musical dramas (mostly comprising singspiels), spoken
of music dramas in German. Mozart’s Die Entführung aus dem Serail plays with spectacular staging effects, as well as works by
(1782) is the most successful of the singspiels created for the Burgtheater serious German dramatists. The theater’s audience bridges
before the failure of the National-Singspiel in 1788. the different classes of Viennese society.

1781 Mozart relocates to Vienna, seeking to make his living as an 1791 Die Zauberflöte premieres on September 30 at the Theater
independent composer and performer in the culturally rich Habsburg auf der Wieden, with Schikaneder performing the role of
capital, rather than solely under contract to a wealthy patron or the Papageno and Mozart conducting. The opera receives 20
heresia
of Aust
ria church. performances by the end of the following month, and over
Maria T
o re
m, ba ltim
200 performances by 1800.
useu
lter s art m
the wa

1784 Mozart becomes a Freemason and joins the Viennese lodge “Zur
Wohltätigkeit” (“Beneficence”), a community of liberal intellectuals
1791 Mozart falls ill on November 22 and dies on December 5, likely
whose philosophical interests aligned closely with the Enlightenment from rheumatic fever.
concerns of reason, nature, and the universal brotherhood of fellow men.
of
raving no
A n eng Pa p a g e
ic k a n e der as
Sc h

6 7
 | c l a ss r o o m ac t ivi t y

Enlightened Opera: The Magic Flute as a

Work of the Age of Reason

History and Social Studies The era of the European Enlightenment—commonly understood as covering the years • René Descartes writes Discourse on the Method, in which he investigates the nature COMMON CORE STANDARDS
between 1680 and 1790—was a time of far-ranging changes to political structures, of thought (1637) AND the magic flute
This activity directly supports the following
IN PREPAR ATION the social order, and the philosophical understanding of humanity. In diverse fields, • Isaac Newton discovers the principle of gravity (1687) ELA-Literacy Common Core Strands:
For this activity, students will need
ranging from public life to literature and beyond, the faculty of reason was held • John Locke proposes a system of representative government (1690) CCSS.ELA-Literacy.RH.9-10.2
the reproducible resources available
up as the path towards human improvement that would ultimately bring freedom, • Benjamin Franklin proposes the idea that lightning is caused by electricity (1750) Determine the central ideas or information
at the back of this guide, as well of a primary or secondary source; provide
as the audio selections from The knowledge, and happiness. Several of Mozart’s operas reflect the currency of these • Denis Diderot begins publishing his Encyclopédie, aimed at consolidating all human an accurate summary of how key events or
Magic Flute available online or on ideas develop over the course of the text.
issues when they were written in the late 18th century: Le Nozze di Figaro embodies ideas and knowledge (1751)
the accompanying CD. You may also CCSS.ELA-Literacy.SL.9-10.1.c
the tensions between the nobility and the upwardly mobile servant class, while Così • Voltaire publishes Candide, a satire of the idea that all things naturally turn out for
want to distribute photocopies of the Propel conversations by posing and
sidebar The Age of Reason, as well as fan tutte is concerned with morality and women’s essential nature—both topics of the best (1759) responding to questions that relate the
current discussion to broader themes or
the synopsis found in this guide. significant discussion (and anxiety) at the time. • The American Declaration of Independence is signed (1776) larger ideas; actively incorporate others
In The Magic Flute, Mozart and his librettist, Emanuel Schikaneder, explored other • Immanuel Kant publishes the Critique of Pure Reason, which investigates the inter- into the discussion; and clarify, verify, or
challenge ideas and conclusions.
CURRICULAR CONNECTIONS aspects of Enlightenment thought: the nature of true knowledge, the development action between knowledge and experience (1781)
History, Social Studies, Philosophy, CCSS.ELA-Literacy.RI.9-10.6
of character, and the highest ideals of humanity. In this activity, students will: • The French Revolution begins (1789) Determine an author’s point of view or
Humanities, Music, Art purpose in a text and analyze how an
• read and discuss passages from the writings of select Enlightenment thinkers • Thomas Paine publishes The Rights of Man, arguing that revolution is justified when
author uses rhetoric to advance that point
• analyze excerpts from the libretto of The Magic Flute the government does not protect man’s natural rights (1791) of view or purpose.
LEARNING OBJECTIVES
• discover ways in which The Magic Flute is rooted in the social, moral, and philo-
• To become familiar with some of Finally, write one more event on your timeline: The Magic Flute, 1791. Mozart’s opera
the philosophical concepts of the sophical ideas of its age
had its premiere that year in Vienna at the Theater auf der Wieden, a smaller suburban
Enlightenment
STEPS theater that was popular not only with the nobility but with all classes of Viennese
• To explore ways in which
Students will begin by recalling or learning a few of the key events and figures of society. By placing the opera on your timeline, you are making it clear that Mozart and
Enlightenment ideals are
represented in The Magic Flute the Enlightenment. They will then read and analyze a selection of brief quotes by
Enlightenment figures, discussing them in groups. Following a quick study of the
• To practice critical analysis by
interpreting aspects of the opera’s synopsis, students will engage in a close reading of portions of the opera’s libretto,
plot and characters comparing their assigned excerpts to Enlightenment principles. The activity closes
• To become familiar with the story with students listening to Mozart’s musical setting of each passage and noting how
and music of The Magic Flute in the music enhances their understanding of the text.
advance of the Live in HD broadcast

STEP 1: Depending on their grade level, students may have studied the Enlightenment
previously. If so, invite them to recall significant events, people, and ideas associated
with the movement. Write these items on the chalkboard, organizing them into a
rough timeline, if possible. Answers may include such events as the American and Enlightenment thinkers
Descartes, Voltaire, and Kant
French revolutions and the signing of the Declaration of Independence, the philos- (left to right)

ophy of René Descartes, the writings of Voltaire, and the discoveries in mathematics
and physics by Isaac Newton. If students’ knowledge of the Enlightenment is more
limited, you may prefer to have them review the sidebar The Age of Reason either as
homework in advance of the session, or at the beginning of class. Again, reinforce their
comprehension by having them name significant events or people from the sidebar,
organizing them on the chalkboard in a timeline. The points that students draw out
may include the following:

8
 | c l a ss r o o m ac t ivi t y

Enlightened Opera: The Magic Flute as a

Work of the Age of Reason

History and Social Studies The era of the European Enlightenment—commonly understood as covering the years • René Descartes writes Discourse on the Method, in which he investigates the nature COMMON CORE STANDARDS
between 1680 and 1790—was a time of far-ranging changes to political structures, of thought (1637) AND the magic flute
This activity directly supports the following
IN PREPAR ATION the social order, and the philosophical understanding of humanity. In diverse fields, • Isaac Newton discovers the principle of gravity (1687) ELA-Literacy Common Core Strands:
For this activity, students will need
ranging from public life to literature and beyond, the faculty of reason was held • John Locke proposes a system of representative government (1690) CCSS.ELA-Literacy.RH.9-10.2
the reproducible resources available
up as the path towards human improvement that would ultimately bring freedom, • Benjamin Franklin proposes the idea that lightning is caused by electricity (1750) Determine the central ideas or information
at the back of this guide, as well of a primary or secondary source; provide
as the audio selections from The knowledge, and happiness. Several of Mozart’s operas reflect the currency of these • Denis Diderot begins publishing his Encyclopédie, aimed at consolidating all human an accurate summary of how key events or
Magic Flute available online or on ideas develop over the course of the text.
issues when they were written in the late 18th century: Le Nozze di Figaro embodies ideas and knowledge (1751)
the accompanying CD. You may also CCSS.ELA-Literacy.SL.9-10.1.c
the tensions between the nobility and the upwardly mobile servant class, while Così • Voltaire publishes Candide, a satire of the idea that all things naturally turn out for
want to distribute photocopies of the Propel conversations by posing and
sidebar The Age of Reason, as well as fan tutte is concerned with morality and women’s essential nature—both topics of the best (1759) responding to questions that relate the
current discussion to broader themes or
the synopsis found in this guide. significant discussion (and anxiety) at the time. • The American Declaration of Independence is signed (1776) larger ideas; actively incorporate others
In The Magic Flute, Mozart and his librettist, Emanuel Schikaneder, explored other • Immanuel Kant publishes the Critique of Pure Reason, which investigates the inter- into the discussion; and clarify, verify, or
challenge ideas and conclusions.
CURRICULAR CONNECTIONS aspects of Enlightenment thought: the nature of true knowledge, the development action between knowledge and experience (1781)
History, Social Studies, Philosophy, CCSS.ELA-Literacy.RI.9-10.6
of character, and the highest ideals of humanity. In this activity, students will: • The French Revolution begins (1789) Determine an author’s point of view or
Humanities, Music, Art purpose in a text and analyze how an
• read and discuss passages from the writings of select Enlightenment thinkers • Thomas Paine publishes The Rights of Man, arguing that revolution is justified when
author uses rhetoric to advance that point
• analyze excerpts from the libretto of The Magic Flute the government does not protect man’s natural rights (1791) of view or purpose.
LEARNING OBJECTIVES
• discover ways in which The Magic Flute is rooted in the social, moral, and philo-
• To become familiar with some of Finally, write one more event on your timeline: The Magic Flute, 1791. Mozart’s opera
the philosophical concepts of the sophical ideas of its age
had its premiere that year in Vienna at the Theater auf der Wieden, a smaller suburban
Enlightenment
STEPS theater that was popular not only with the nobility but with all classes of Viennese
• To explore ways in which
Students will begin by recalling or learning a few of the key events and figures of society. By placing the opera on your timeline, you are making it clear that Mozart and
Enlightenment ideals are
represented in The Magic Flute the Enlightenment. They will then read and analyze a selection of brief quotes by
Enlightenment figures, discussing them in groups. Following a quick study of the
• To practice critical analysis by
interpreting aspects of the opera’s synopsis, students will engage in a close reading of portions of the opera’s libretto,
plot and characters comparing their assigned excerpts to Enlightenment principles. The activity closes
• To become familiar with the story with students listening to Mozart’s musical setting of each passage and noting how
and music of The Magic Flute in the music enhances their understanding of the text.
advance of the Live in HD broadcast

STEP 1: Depending on their grade level, students may have studied the Enlightenment
previously. If so, invite them to recall significant events, people, and ideas associated
with the movement. Write these items on the chalkboard, organizing them into a
rough timeline, if possible. Answers may include such events as the American and Enlightenment thinkers
Descartes, Voltaire, and Kant
French revolutions and the signing of the Declaration of Independence, the philos- (left to right)

ophy of René Descartes, the writings of Voltaire, and the discoveries in mathematics
and physics by Isaac Newton. If students’ knowledge of the Enlightenment is more
limited, you may prefer to have them review the sidebar The Age of Reason either as
homework in advance of the session, or at the beginning of class. Again, reinforce their
comprehension by having them name significant events or people from the sidebar,
organizing them on the chalkboard in a timeline. The points that students draw out
may include the following:

8
 1687 1781
Science 1750 1759 philosophy
Immanuel Kant
Isaac Newton discovers Education/Literature
the principle of gravity
Science
Benjamin Franklin Voltaire publishes
publishes the Critique
of Pure Reason, which 1791
proposes the idea Candide, a satire of government
philosophical optimism
investigates the interaction Schikaneder were working in the midst of momentous events and societal changes
that lightning is between knowledge Thomas Paine
caused by publishes The Rights and expressed the changing values of the day in their works. FUN FACT Although the
1637 electricity
1776
and experience
of Man, arguing that libretto of The Magic Flute
Philosophy revolution is justified when You may also find it helpful to refer to the sidebar Mozart and Freemasonry for further
has provoked some criticism
René Descartes
writes Discourse on
1690 1751
government
The American 1789 the government does
not protect man’s details on how the ideals of Freemasonry intersected with those of the Enlightenment. for its seemingly uneven
Government Declaration of government natural rights
the Method, in which Education/Literature
he investigates the John Locke Denis Diderot Independence is The French dramatic structure, the
proposes a system signed Revolution STEP 2: Next, divide students into groups and pass out the “Enlightenment Principles”
nature of thought
of representative
begins publishing his
begins great German poet Goethe
Encyclopédie, aimed at handout found in the reproducible section at the back of this guide. Each of these
government consolidating all human admired the story so much
ideas and knowledge brief statements reflects an important strain of Enlightenment thought, by thinkers that he attempted to write
from diverse fields. Have students read and discuss the statements and, on the space a sequel. While he never
finished this work, The Magic
next to them, write a brief commentary or translation of the primary source excerpt.
Flute’s librettist, Emanuel
You may get students’ conversations started by asking the following questions: Schikaneder, found more
success with his own sequel,

The Age of Reason • Can you paraphrase the statement in everyday language?
• Is the author talking about a particular group of people?
Das Labyrinth oder Der Kampf
mit den Elementen (“The
Labyrinth or, The Fight with
Many of the beliefs we hold today about freedom, government, and the • Are there any assumptions at work behind this statement?
the Elements”). It preserves
inalienable rights of human beings would have been radical, fringe ideas • Is there anything notable about the imagery that the author uses in the passage?
all of the characters of the
in Mozart’s day. But it was precisely during that period—an era called the original opera as well as a
“Enlightenment,” coinciding with the late 17th through 18th century—that the roots STEP 3: It will now be helpful for students to become familiar with the plot of The plot based on trials and tests
of our modern belief systems were first developed and debated. Magic Flute. Pass out copies of the synopsis, and by having students read it silently of character. Das Labyrinth
was set to music by composer
Beginning with philosophers such as René Descartes in France and Benedict Spinoza in on their own, by having students take turns reading it aloud, or by a more active
Peter von Winter and
Holland, thinkers began to re-examine old perspectives on the nature of the universe. Their exploration such as enacting brief scenes, ensure that students understand the plot premiered at Schikaneder’s
yardsticks were logic, reason, and a kind of optimistic doubt, rather than purely religious faith. and can recall its basic elements. Theater auf der Wieden in
In England, Francis Bacon introduced the method of scientific examination, a new way of finding 1798.
STEP 4: Divide students into groups and assign each group one of the selected libretto
the truth based on experiment and observation.
excerpts found in the reproducible handouts. Using the Magic Flute Organizer handout
Before long, the tools of reason were being used to examine not only the natural world, but
from the back of this guide, students should review and analyze their excerpts, looking
the social world as well. Political thinkers like François-Marie Arouet, known as Voltaire, in
for themes and thoughts reflecting the statements from Step 2 above. Have students
France, Jean-Jacques Rousseau in Switzerland, and, in England, Thomas Hobbes, David Hume,
fill in their Organizer handouts as completely as they can, referring as necessary to
and John Locke, voiced the opinion that royalty and class systems were not part of the natural
the “Enlightenment Principles” handout.
order. They proposed, contrarily, that all people come into the world with “natural” rights—
especially a right to liberty. These rights might be masked or distorted, reinforced or weakened, STEP 5: After allowing ample time for students to complete their Organizer handouts,
defended or denied by the rules, structures, and class systems of society, but they could not be invite groups to the front of class to explain their interpretation of their brief scene
eliminated. Such views would lead, by the end of the 18th century, to a war of independence in and their understanding of its relation to Enlightenment principles, as reflected in
England’s American colonies and a revolution, deposing the royalty, in France. By the end of their completed handouts. Although there are several possible interpretations of each
the 18th century, the British-American writer Thomas Paine would refer to his era “the Age of scene, their comments may include the following:
Reason.”
Overall, the developments in thought and politics during the Enlightenment era effected Track 1: A Priest questions Tamino and challenges his preconceptions about the
large-scale changes in attitudes towards education, the exercise of the intellect, the rejection of Queen of the Night. Though Tamino seeks love and virtue—worthy enterprises—the
superstition and violence, and the perfectibility of mankind—all ideas that find musical repre- Priest reveals that Tamino is held back by his quest for death and vengeance. The
sentation in The Magic Flute. Priest guides Tamino to a better understanding. The imagery draws on the notions
of darkness and light, with darkness associated with superstition. The rejection of
falsehood recalls Descartes.

10 11
 1687 1781
Science 1750 1759 philosophy
Immanuel Kant
Isaac Newton discovers Education/Literature
the principle of gravity
Science
Benjamin Franklin Voltaire publishes
publishes the Critique
of Pure Reason, which 1791
proposes the idea Candide, a satire of government
philosophical optimism
investigates the interaction Schikaneder were working in the midst of momentous events and societal changes
that lightning is between knowledge Thomas Paine
caused by publishes The Rights and expressed the changing values of the day in their works. FUN FACT Although the
1637 electricity
1776
and experience
of Man, arguing that libretto of The Magic Flute
Philosophy revolution is justified when You may also find it helpful to refer to the sidebar Mozart and Freemasonry for further
has provoked some criticism
René Descartes
writes Discourse on
1690 1751
government
The American 1789 the government does
not protect man’s details on how the ideals of Freemasonry intersected with those of the Enlightenment. for its seemingly uneven
Government Declaration of government natural rights
the Method, in which Education/Literature
he investigates the John Locke Denis Diderot Independence is The French dramatic structure, the
proposes a system signed Revolution STEP 2: Next, divide students into groups and pass out the “Enlightenment Principles”
nature of thought
of representative
begins publishing his
begins great German poet Goethe
Encyclopédie, aimed at handout found in the reproducible section at the back of this guide. Each of these
government consolidating all human admired the story so much
ideas and knowledge brief statements reflects an important strain of Enlightenment thought, by thinkers that he attempted to write
from diverse fields. Have students read and discuss the statements and, on the space a sequel. While he never
finished this work, The Magic
next to them, write a brief commentary or translation of the primary source excerpt.
Flute’s librettist, Emanuel
You may get students’ conversations started by asking the following questions: Schikaneder, found more
success with his own sequel,

The Age of Reason • Can you paraphrase the statement in everyday language?
• Is the author talking about a particular group of people?
Das Labyrinth oder Der Kampf
mit den Elementen (“The
Labyrinth or, The Fight with
Many of the beliefs we hold today about freedom, government, and the • Are there any assumptions at work behind this statement?
the Elements”). It preserves
inalienable rights of human beings would have been radical, fringe ideas • Is there anything notable about the imagery that the author uses in the passage?
all of the characters of the
in Mozart’s day. But it was precisely during that period—an era called the original opera as well as a
“Enlightenment,” coinciding with the late 17th through 18th century—that the roots STEP 3: It will now be helpful for students to become familiar with the plot of The plot based on trials and tests
of our modern belief systems were first developed and debated. Magic Flute. Pass out copies of the synopsis, and by having students read it silently of character. Das Labyrinth
was set to music by composer
Beginning with philosophers such as René Descartes in France and Benedict Spinoza in on their own, by having students take turns reading it aloud, or by a more active
Peter von Winter and
Holland, thinkers began to re-examine old perspectives on the nature of the universe. Their exploration such as enacting brief scenes, ensure that students understand the plot premiered at Schikaneder’s
yardsticks were logic, reason, and a kind of optimistic doubt, rather than purely religious faith. and can recall its basic elements. Theater auf der Wieden in
In England, Francis Bacon introduced the method of scientific examination, a new way of finding 1798.
STEP 4: Divide students into groups and assign each group one of the selected libretto
the truth based on experiment and observation.
excerpts found in the reproducible handouts. Using the Magic Flute Organizer handout
Before long, the tools of reason were being used to examine not only the natural world, but
from the back of this guide, students should review and analyze their excerpts, looking
the social world as well. Political thinkers like François-Marie Arouet, known as Voltaire, in
for themes and thoughts reflecting the statements from Step 2 above. Have students
France, Jean-Jacques Rousseau in Switzerland, and, in England, Thomas Hobbes, David Hume,
fill in their Organizer handouts as completely as they can, referring as necessary to
and John Locke, voiced the opinion that royalty and class systems were not part of the natural
the “Enlightenment Principles” handout.
order. They proposed, contrarily, that all people come into the world with “natural” rights—
especially a right to liberty. These rights might be masked or distorted, reinforced or weakened, STEP 5: After allowing ample time for students to complete their Organizer handouts,
defended or denied by the rules, structures, and class systems of society, but they could not be invite groups to the front of class to explain their interpretation of their brief scene
eliminated. Such views would lead, by the end of the 18th century, to a war of independence in and their understanding of its relation to Enlightenment principles, as reflected in
England’s American colonies and a revolution, deposing the royalty, in France. By the end of their completed handouts. Although there are several possible interpretations of each
the 18th century, the British-American writer Thomas Paine would refer to his era “the Age of scene, their comments may include the following:
Reason.”
Overall, the developments in thought and politics during the Enlightenment era effected Track 1: A Priest questions Tamino and challenges his preconceptions about the
large-scale changes in attitudes towards education, the exercise of the intellect, the rejection of Queen of the Night. Though Tamino seeks love and virtue—worthy enterprises—the
superstition and violence, and the perfectibility of mankind—all ideas that find musical repre- Priest reveals that Tamino is held back by his quest for death and vengeance. The
sentation in The Magic Flute. Priest guides Tamino to a better understanding. The imagery draws on the notions
of darkness and light, with darkness associated with superstition. The rejection of
falsehood recalls Descartes.

10 11
 An early illustration
of a Masonic ritual.

A fraternal organization whose members are committed to ideals of morality, justice,

and reason, Freemasonry originally grew out of the medieval guilds of stonemasons
Track 2: Pamina and Papageno celebrate their escape from Monostatos and hold and the study of the philosophical aspects of math and architecture. Among the central
music up as a force for good: it encourages peace and happiness. The passage again ideas of Masonic thought and practice are the exploration of the nature of man and
draws on the imagery of darkness and light, with light connected with happiness— society and a quasi-religious ritual and mysticism. From its initial popularity in England,
reminiscent of Schiller. the movement had spread across the European continent by the early 18th century.
The first Masonic lodge in Vienna was founded in 1742, and within 40 years, another
Track 3: The chorus hails Sarastro as a benevolent leader, and Sarastro invites Tamino
lodge, “Zur wahren Eintracht” (“True Concord”), had become the foremost commu-
and Papageno to begin their rite of purification. The chorus joins in celebrating the
nity of Viennese artistic, scientific, and literary thinkers. Mozart joined its smaller
triumph of virtue over vice, looking forward to the realization of an earthly paradise.
FUN FACT A possible sister lodge “Zur Wohltätigkeit” (“Beneficence”) in 1784. From his letters it is evident
inspiration for the character The passage has themes in common with the Marquis de Condorcet, while the notion
that Freemasonry played a large role in Mozart’s life, and he composed several works
of Papageno, the humorous of purification calls to mind Kant’s process of enlightenment, as well as Pope.
bird-catcher who is covered for use with Masonic rituals (including the cantatas Dir, Seele des Weltalls and Die
in feathers, can be found Track 4: Sarastro expounds on the precepts of his temple. His order lives according Maurerfreude) as well as many more that more generally allude to Masonic symbolism
in Goethe’s translation to the ideas of love and forgiveness rather than revenge. He holds up faithfulness or ideals. Within his lodge, Mozart also found friends and supporters who assisted him
into German of The Birds, a
and honesty as virtues, connecting them with the image of light (see Schiller). These financially, with both gifts and commissions for compositions. Of all his works, the one
comedy by the ancient Greek
dramatist Aristophanes. ideals have much in common with the natural state described by Locke. most frequently associated with Masonic sentiments is The Magic Flute. Its evocation
Published in 1787, the of ancient Egypt aligns with Masonic interests, and it prominently uses the number
translation features a servant Track 5: Sarastro and the chorus hail Tamino and Pamina for their success in the trials.
three, which held special significance in Freemasonry: the opera includes Three Ladies
character not included in They associate truth, love, and courage with light, and superstition and evil with
as attendants to the Queen of the Night; Three Spirits; three trials that Tamino must
Aristophanes’s original play darkness. They celebrate the victory of love and courage, as it will lead the world to
named Papagey (“parrot” in endure; a prominent musical motive built from three chords; and a significant role for
a new age of wisdom. See Schiller, the Marquis de Condorcet, and Kant.
German). His homespun wit the key of E-flat major (indicated in music notation by three flats). Although Masonic
and artlessness have many influences are only one aspect of The Magic Flute, the opera demonstrates the interests
STEP 6: As a final step, play the corresponding music for the examples above, found
features in common with
on Tracks 1 through 5. Playing one example at a time, have students listen while of Viennese Freemasonry in its semi-religious program of enlightenment and progress.
Papageno.
following along to the translation on the handouts. It may be necessary to play each
example several times, and students may like to underline the text or make notes on
the handout to indicate words that receive special emphasis. In a free discussion, invite

12 13
 An early illustration
of a Masonic ritual.

A fraternal organization whose members are committed to ideals of morality, justice,

and reason, Freemasonry originally grew out of the medieval guilds of stonemasons
Track 2: Pamina and Papageno celebrate their escape from Monostatos and hold and the study of the philosophical aspects of math and architecture. Among the central
music up as a force for good: it encourages peace and happiness. The passage again ideas of Masonic thought and practice are the exploration of the nature of man and
draws on the imagery of darkness and light, with light connected with happiness— society and a quasi-religious ritual and mysticism. From its initial popularity in England,
reminiscent of Schiller. the movement had spread across the European continent by the early 18th century.
The first Masonic lodge in Vienna was founded in 1742, and within 40 years, another
Track 3: The chorus hails Sarastro as a benevolent leader, and Sarastro invites Tamino
lodge, “Zur wahren Eintracht” (“True Concord”), had become the foremost commu-
and Papageno to begin their rite of purification. The chorus joins in celebrating the
nity of Viennese artistic, scientific, and literary thinkers. Mozart joined its smaller
triumph of virtue over vice, looking forward to the realization of an earthly paradise.
FUN FACT A possible sister lodge “Zur Wohltätigkeit” (“Beneficence”) in 1784. From his letters it is evident
inspiration for the character The passage has themes in common with the Marquis de Condorcet, while the notion
that Freemasonry played a large role in Mozart’s life, and he composed several works
of Papageno, the humorous of purification calls to mind Kant’s process of enlightenment, as well as Pope.
bird-catcher who is covered for use with Masonic rituals (including the cantatas Dir, Seele des Weltalls and Die
in feathers, can be found Track 4: Sarastro expounds on the precepts of his temple. His order lives according Maurerfreude) as well as many more that more generally allude to Masonic symbolism
in Goethe’s translation to the ideas of love and forgiveness rather than revenge. He holds up faithfulness or ideals. Within his lodge, Mozart also found friends and supporters who assisted him
into German of The Birds, a
and honesty as virtues, connecting them with the image of light (see Schiller). These financially, with both gifts and commissions for compositions. Of all his works, the one
comedy by the ancient Greek
dramatist Aristophanes. ideals have much in common with the natural state described by Locke. most frequently associated with Masonic sentiments is The Magic Flute. Its evocation
Published in 1787, the of ancient Egypt aligns with Masonic interests, and it prominently uses the number
translation features a servant Track 5: Sarastro and the chorus hail Tamino and Pamina for their success in the trials.
three, which held special significance in Freemasonry: the opera includes Three Ladies
character not included in They associate truth, love, and courage with light, and superstition and evil with
as attendants to the Queen of the Night; Three Spirits; three trials that Tamino must
Aristophanes’s original play darkness. They celebrate the victory of love and courage, as it will lead the world to
named Papagey (“parrot” in endure; a prominent musical motive built from three chords; and a significant role for
a new age of wisdom. See Schiller, the Marquis de Condorcet, and Kant.
German). His homespun wit the key of E-flat major (indicated in music notation by three flats). Although Masonic
and artlessness have many influences are only one aspect of The Magic Flute, the opera demonstrates the interests
STEP 6: As a final step, play the corresponding music for the examples above, found
features in common with
on Tracks 1 through 5. Playing one example at a time, have students listen while of Viennese Freemasonry in its semi-religious program of enlightenment and progress.
Papageno.
following along to the translation on the handouts. It may be necessary to play each
example several times, and students may like to underline the text or make notes on
the handout to indicate words that receive special emphasis. In a free discussion, invite

12 13
 | c l a ss r o o m ac t ivi t y

The Aria as Musical Portrait

students to comment on how the music reflects or amplifies (or alternatively mutes Since the beginnings of opera in the 16th century, there has been a distinction between Music
or distorts) the sentiment contained in the text. It is not necessary to use specialized speech-like sections of music designed to move the action forward or to communicate
musical vocabulary or engage in advanced musical analysis, but merely to notice the information, and those of a more reflective nature. Within this second type of music, IN PREPAR ATION
For this activity, students will need
general emotional tone of the passage and comment on which words and phrases are the aria has long been the primary vehicle for operatic characters to communicate
the reproducible resources available
heightened dramatically. A descriptive answer key is provided for your reference below. their feelings and thoughts. An aria is a self-contained piece for solo voice, typically at the back of this guide as well
with orchestral accompaniment. Arias provide an opportunity for composers to use as the audio selections from The
Answer Key all of the musical and dramatic tools at their disposal to paint a portrait of a character. Magic Flute available online or on
FUN FACT Unlike for later the accompanying CD. They will also
Track 1: The music is set in a speech-like vocal style, with little accompaniment by In this activity, students will:
operas written after the need photocopies of the libretto and
advent of photography, little the orchestra. Tamino’s first line on “It’s love and virtue” sounds calm and honorable. the chart of Who’s Who in The Magic
• explore the ways in which opera composers differentiate characters
evidence survives of the In contrast, the Priest’s line on “death and judgment” is much more agitated. The Flute
• use musical terminology to describe aspects of melody, harmony, rhythm and
design and early performance Priest’s final pronouncement, “Unless you join the brotherhood, you will not find the
style of Mozart’s stage tempo, and orchestration
love you seek,” is set to long, ponderous-sounding melodies. CURRICULAR CONNECTIONS
works. The Magic Flute is a • explore the different musical characterizations of the major characters of The Music, Music Theory,
rare exception: only four Magic Flute Humanities, and Arts
Track 2: The music has a gentle, rocking quality, with the voices singing together in
years after its composition,
the Austrian artist Joseph sweet harmonies. The effect is one of simple joy.
STEPS
Schaffer created a series of LEARNING OBJECTIVES
Track 3: The chorus enters with a celebratory exclamation as they hail Sarastro, who then Students will listen to a selection of arias from The Magic Flute and use the musical • To introduce and/or reinforce
six etchings depicting scenes
from the opera (above). While enters in a more speech-like style as he gives instructions for Tamino and Papageno’s terms explained in this exercise, as well as their understanding of the libretto, to knowledge of musical terminology
not based on the original articulate their interpretation of the characters of Tamino, Pamina, Papageno, the and theory
purification rite. The chorus then explodes in a triumphal style with full orchestral
1791 set and costume designs, Queen of the Night, and Sarastro. • To become familiar with techniques
accompaniment as they celebrate the triumph of virtue over vice. The voices and
these images give a sense of of dramatic expression in the
what the first performance instruments use their higher range, and the orchestra plays rapid figures in the brass
Classical Style
of The Magic Flute may have and strings. STEP 1: It will be helpful for students to have an understanding of the basic plot outline
looked like. and characters of The Magic Flute. You may wish to allow for time at the beginning of • To hone careful listening skills and
Track 4: The tempo is slow and dignified, and the music has a prayer-like quality. The engage in musical analysis
class for students to read the synopsis or to summarize the story for them. Alternatively,
voice extends into the very lowest range. The effect is one of gentle admonishment
to avoid error and embrace virtue.

Track 5: Sarastro enters in a speech-like style with grand orchestral flourishes empha- René Pape as Sarastro
ken howard / Metropolitan Opera

sizing his lines. When the chorus enters, the music has an almost religious quality, in
the style of old church music. Its repeated interjections of “hail” are emphasized by
falling figures in the strings. The passage closes with a vigorous, celebratory section
as the chorus proclaims that the world will brighten and wisdom will resound.

FOLLOW-UP: As a take-home assignment, have students pick a particular Enlightenment

belief or argument, and then create a story that embodies that belief. You may have
students merely outline their story, or for a more in-depth exploration, compose a
short dramatic scene. Students should feel free to adapt the setting and characters
as they like and cast their stories as they see fit, as long as the underlying philosophy
or moral of their work is based on an Enlightenment idea.
After students have completed their stories, they may share them, along with
commentary on their Enlightenment-era inspiration, in front of the class.

14 15
 | c l a ss r o o m ac t ivi t y

The Aria as Musical Portrait

students to comment on how the music reflects or amplifies (or alternatively mutes Since the beginnings of opera in the 16th century, there has been a distinction between Music
or distorts) the sentiment contained in the text. It is not necessary to use specialized speech-like sections of music designed to move the action forward or to communicate
musical vocabulary or engage in advanced musical analysis, but merely to notice the information, and those of a more reflective nature. Within this second type of music, IN PREPAR ATION
For this activity, students will need
general emotional tone of the passage and comment on which words and phrases are the aria has long been the primary vehicle for operatic characters to communicate
the reproducible resources available
heightened dramatically. A descriptive answer key is provided for your reference below. their feelings and thoughts. An aria is a self-contained piece for solo voice, typically at the back of this guide as well
with orchestral accompaniment. Arias provide an opportunity for composers to use as the audio selections from The
Answer Key all of the musical and dramatic tools at their disposal to paint a portrait of a character. Magic Flute available online or on
FUN FACT Unlike for later the accompanying CD. They will also
Track 1: The music is set in a speech-like vocal style, with little accompaniment by In this activity, students will:
operas written after the need photocopies of the libretto and
advent of photography, little the orchestra. Tamino’s first line on “It’s love and virtue” sounds calm and honorable. the chart of Who’s Who in The Magic
• explore the ways in which opera composers differentiate characters
evidence survives of the In contrast, the Priest’s line on “death and judgment” is much more agitated. The Flute
• use musical terminology to describe aspects of melody, harmony, rhythm and
design and early performance Priest’s final pronouncement, “Unless you join the brotherhood, you will not find the
style of Mozart’s stage tempo, and orchestration
love you seek,” is set to long, ponderous-sounding melodies. CURRICULAR CONNECTIONS
works. The Magic Flute is a • explore the different musical characterizations of the major characters of The Music, Music Theory,
rare exception: only four Magic Flute Humanities, and Arts
Track 2: The music has a gentle, rocking quality, with the voices singing together in
years after its composition,
the Austrian artist Joseph sweet harmonies. The effect is one of simple joy.
STEPS
Schaffer created a series of LEARNING OBJECTIVES
Track 3: The chorus enters with a celebratory exclamation as they hail Sarastro, who then Students will listen to a selection of arias from The Magic Flute and use the musical • To introduce and/or reinforce
six etchings depicting scenes
from the opera (above). While enters in a more speech-like style as he gives instructions for Tamino and Papageno’s terms explained in this exercise, as well as their understanding of the libretto, to knowledge of musical terminology
not based on the original articulate their interpretation of the characters of Tamino, Pamina, Papageno, the and theory
purification rite. The chorus then explodes in a triumphal style with full orchestral
1791 set and costume designs, Queen of the Night, and Sarastro. • To become familiar with techniques
accompaniment as they celebrate the triumph of virtue over vice. The voices and
these images give a sense of of dramatic expression in the
what the first performance instruments use their higher range, and the orchestra plays rapid figures in the brass
Classical Style
of The Magic Flute may have and strings. STEP 1: It will be helpful for students to have an understanding of the basic plot outline
looked like. and characters of The Magic Flute. You may wish to allow for time at the beginning of • To hone careful listening skills and
Track 4: The tempo is slow and dignified, and the music has a prayer-like quality. The engage in musical analysis
class for students to read the synopsis or to summarize the story for them. Alternatively,
voice extends into the very lowest range. The effect is one of gentle admonishment
to avoid error and embrace virtue.

Track 5: Sarastro enters in a speech-like style with grand orchestral flourishes empha- René Pape as Sarastro
ken howard / Metropolitan Opera

sizing his lines. When the chorus enters, the music has an almost religious quality, in
the style of old church music. Its repeated interjections of “hail” are emphasized by
falling figures in the strings. The passage closes with a vigorous, celebratory section
as the chorus proclaims that the world will brighten and wisdom will resound.

FOLLOW-UP: As a take-home assignment, have students pick a particular Enlightenment

belief or argument, and then create a story that embodies that belief. You may have
students merely outline their story, or for a more in-depth exploration, compose a
short dramatic scene. Students should feel free to adapt the setting and characters
as they like and cast their stories as they see fit, as long as the underlying philosophy
or moral of their work is based on an Enlightenment idea.
After students have completed their stories, they may share them, along with
commentary on their Enlightenment-era inspiration, in front of the class.

14 15
Common Core Standards you may ask them to come to class having read the synopsis as homework beforehand.
and The Magic Flute You may also want to provide them with a photocopy of the Who’s Who in The Magic Track 15: Pamina: “Now My Heart Is Filled with Sadness”
This activity directly supports the
Flute chart, to give them a few more details on the major characters. (“Ach, ich fühl’s”)
following ELA-Literacy Common Core
Strands: Text Summary: Pamina is filled with sadness because Tamino will not
STEP 2: Discuss the Ten Essential Musical Terms, confirming that students have an speak to her, and she fears he no longer loves her.
CCSS.ELA-Literacy.L.9-10.6 Melody: Legato, sad, lamenting, step-wise descending lines.
Acquire and use accurately general academic adequate understanding of the terms, as they will need to use them in describing the
Occasional large leaps, with sighing falling gestures.
and domain-specific words and phrases, musical attributes of each character’s aria. Audio examples of the following terms are
sufficient for reading, writing, speaking, Harmony: Minor
and listening at the college and career available online and on the accompanying CD.
readiness level; demonstrate independence Rhythm and Tempo: A slower tempo with halting rhythms
in gathering vocabulary knowledge when Orchestration: Strings, with flute, oboe, and bassoon
considering a word or phrase important to Track Musical Term
comprehension or expression.
6 Basset Horn (lower instruments, below the flute)
CCSS.ELA-Literacy.RL.7.4 Track 16: Papageno: “I’m Papageno, That’s My Name”
Determine the meaning of words and phrases 7 Coloratura
as they are used in a text, including figurative (“Der Vogelfänger bin ich ja”)
and connotative meanings; analyze the 8 Glockenspiel
impact of rhymes and other repetitions of Text Summary: Papageno introduces himself, sharing his love of life’s
sounds (e.g., alliteration) on a specific verse 9 Legato simple pleasures.
Matthew Polenzani as Tamino
or stanza of a poem or section of a story or Melody: Folk-song like, bouncy, carefree-sounding, dance-like and Ying Huang as Pamina
drama. 10 Staccato ken howard / Metropolitan Opera
Harmony: Major
11 Melisma
Rhythm and Tempo: A moderate tempo, not too fast, not too slow, with catchy
12 Major rhythms
Orchestration: Instruments with bright timbres, including violins and
13 Minor oboe; prominent use of the pan-pipe

STEP 3: Begin your study of the arias by having students listen to the audio examples
while following along to the libretto, provided in the reproducible handouts at the
back of this guide. The arias are provided in Tracks 14 through 18. Before beginning to
make notes or analyze the musical elements, listen to all of the arias one after the other.

STEP 4: Return to the first aria and, using as many Essential Terms as they can, have
students begin to make notes on the musical attributes of melody, tempo, and orches-
tration. Space for students’ thoughts is provided on the reproducible handouts. It will
likely be necessary to play the audio example several times.
A guide to the arias is provided for your reference below.

Track 14: Tamino: “This Portrait’s Beauty I Adore”

(“Dies Bildnis ist bezaubernd schön”)
Text Summary: Tamino is entranced by a portrait of Pamina.
Melody: Legato, gentle phrases, mostly step-wise movement, with
emotional exclamations when the vocal line leaps.
Harmony: Major
Rhythm and Tempo: A slower tempo, with delicate rhythms that underscore Nathan Gunn as Papageno
the text ken howard / Metropolitan Opera

Orchestration: Strings

16 17
Common Core Standards you may ask them to come to class having read the synopsis as homework beforehand.
and The Magic Flute You may also want to provide them with a photocopy of the Who’s Who in The Magic Track 15: Pamina: “Now My Heart Is Filled with Sadness”
This activity directly supports the
Flute chart, to give them a few more details on the major characters. (“Ach, ich fühl’s”)
following ELA-Literacy Common Core
Strands: Text Summary: Pamina is filled with sadness because Tamino will not
STEP 2: Discuss the Ten Essential Musical Terms, confirming that students have an speak to her, and she fears he no longer loves her.
CCSS.ELA-Literacy.L.9-10.6 Melody: Legato, sad, lamenting, step-wise descending lines.
Acquire and use accurately general academic adequate understanding of the terms, as they will need to use them in describing the
Occasional large leaps, with sighing falling gestures.
and domain-specific words and phrases, musical attributes of each character’s aria. Audio examples of the following terms are
sufficient for reading, writing, speaking, Harmony: Minor
and listening at the college and career available online and on the accompanying CD.
readiness level; demonstrate independence Rhythm and Tempo: A slower tempo with halting rhythms
in gathering vocabulary knowledge when Orchestration: Strings, with flute, oboe, and bassoon
considering a word or phrase important to Track Musical Term
comprehension or expression.
6 Basset Horn (lower instruments, below the flute)
CCSS.ELA-Literacy.RL.7.4 Track 16: Papageno: “I’m Papageno, That’s My Name”
Determine the meaning of words and phrases 7 Coloratura
as they are used in a text, including figurative (“Der Vogelfänger bin ich ja”)
and connotative meanings; analyze the 8 Glockenspiel
impact of rhymes and other repetitions of Text Summary: Papageno introduces himself, sharing his love of life’s
sounds (e.g., alliteration) on a specific verse 9 Legato simple pleasures.
Matthew Polenzani as Tamino
or stanza of a poem or section of a story or Melody: Folk-song like, bouncy, carefree-sounding, dance-like and Ying Huang as Pamina
drama. 10 Staccato ken howard / Metropolitan Opera
Harmony: Major
11 Melisma
Rhythm and Tempo: A moderate tempo, not too fast, not too slow, with catchy
12 Major rhythms
Orchestration: Instruments with bright timbres, including violins and
13 Minor oboe; prominent use of the pan-pipe

STEP 3: Begin your study of the arias by having students listen to the audio examples
while following along to the libretto, provided in the reproducible handouts at the
back of this guide. The arias are provided in Tracks 14 through 18. Before beginning to
make notes or analyze the musical elements, listen to all of the arias one after the other.

STEP 4: Return to the first aria and, using as many Essential Terms as they can, have
students begin to make notes on the musical attributes of melody, tempo, and orches-
tration. Space for students’ thoughts is provided on the reproducible handouts. It will
likely be necessary to play the audio example several times.
A guide to the arias is provided for your reference below.

Track 14: Tamino: “This Portrait’s Beauty I Adore”

(“Dies Bildnis ist bezaubernd schön”)
Text Summary: Tamino is entranced by a portrait of Pamina.
Melody: Legato, gentle phrases, mostly step-wise movement, with
emotional exclamations when the vocal line leaps.
Harmony: Major
Rhythm and Tempo: A slower tempo, with delicate rhythms that underscore Nathan Gunn as Papageno
the text ken howard / Metropolitan Opera

Orchestration: Strings

16 17
 Track 17: The Queen of the Night: “Here in My Heart Hell’s Track 18: Sarastro: “O Isis and Osiris”
Bitterness Is Seething” Text Summary: Sarastro petitions the gods (Isis and Osiris) to provide wisdom
(“Der Hölle Rache”) and guidance to Tamino and Pamina.
Melody: Authoritative, formal, extending into the lowest bass range, and
Text Summary: The Queen demands that vengeance and death be brought
legato. Prayer-like.
upon Sarastro
Harmony: Major
Melody: Aggressive, staccato, full of large leaps, jagged movement,
coloratura, and melismas Rhythm and Very slow and solemn tempo, with consistent and smooth
Tempo: rhythms in the vocal line
Harmony: Minor
Orchestration: Wind-heavy texture, including bassoon and trombone.
Rhythm and Tempo: Vivace, a very fast tempo, with sweeping flourishes and
tremolos in the accompaniment. Sharp, very precise
rhythms in the vocal line. STEP 5: Once you have completed this process for each of the five arias, have students
Orchestration: Aggressive strings playing tremolo, with full orchestra discuss their findings as a class. Encourage them to compare the individual sounds of
(winds and brass) used for loud, punctuating chords the arias. What are the attributes that give each solo its unique character? How does
the sound of the music match the text? Is this sound appropriate to their understanding
of the character’s temperament?

STEP 6: Have students choose their favorite character and write a short paragraph
about how the music symbolically represents that character. How does the music
make the character distinctive? What about the music do students find appealing
or off-putting?

M USIC A L S N A P SHO T
“Here in My Heart, Hell’s Bitterness Is Seething” (“Der Hölle Rache”) The Queen of the
Night is one of the most notoriously difficult roles in all of opera. It requires a soprano with a powerful and
high range, but also with great agility and the capability to perform highly virtuosic coloratura. A great
example of the demands made on the singer performing this role is the Queen’s Act II aria, “Here in My
Heart, Hell’s Bitterness Is Seething” (usually referred to in German as “Der Hölle Rache”). In this scene, the
Queen pushes Pamina to kill Sarastro, or else be disowned. The Queen moves through increasing flights of
ornamentation and stratospheric high notes, with her frenzied virtuosity making it explicit that she is not the
benevolent, mournful character she initially presented herself as in Act I. The text of this aria may be found
in the reproducible handouts, and the music may be heard in its entirety on Track 19.

Erika Miklósa as the

Queen of the Night
ken howard / Metropolitan Opera

18 19
 Track 17: The Queen of the Night: “Here in My Heart Hell’s Track 18: Sarastro: “O Isis and Osiris”
Bitterness Is Seething” Text Summary: Sarastro petitions the gods (Isis and Osiris) to provide wisdom
(“Der Hölle Rache”) and guidance to Tamino and Pamina.
Melody: Authoritative, formal, extending into the lowest bass range, and
Text Summary: The Queen demands that vengeance and death be brought
legato. Prayer-like.
upon Sarastro
Harmony: Major
Melody: Aggressive, staccato, full of large leaps, jagged movement,
coloratura, and melismas Rhythm and Very slow and solemn tempo, with consistent and smooth
Tempo: rhythms in the vocal line
Harmony: Minor
Orchestration: Wind-heavy texture, including bassoon and trombone.
Rhythm and Tempo: Vivace, a very fast tempo, with sweeping flourishes and
tremolos in the accompaniment. Sharp, very precise
rhythms in the vocal line. STEP 5: Once you have completed this process for each of the five arias, have students
Orchestration: Aggressive strings playing tremolo, with full orchestra discuss their findings as a class. Encourage them to compare the individual sounds of
(winds and brass) used for loud, punctuating chords the arias. What are the attributes that give each solo its unique character? How does
the sound of the music match the text? Is this sound appropriate to their understanding
of the character’s temperament?

STEP 6: Have students choose their favorite character and write a short paragraph
about how the music symbolically represents that character. How does the music
make the character distinctive? What about the music do students find appealing
or off-putting?

M USIC A L S N A P SHO T
“Here in My Heart, Hell’s Bitterness Is Seething” (“Der Hölle Rache”) The Queen of the
Night is one of the most notoriously difficult roles in all of opera. It requires a soprano with a powerful and
high range, but also with great agility and the capability to perform highly virtuosic coloratura. A great
example of the demands made on the singer performing this role is the Queen’s Act II aria, “Here in My
Heart, Hell’s Bitterness Is Seething” (usually referred to in German as “Der Hölle Rache”). In this scene, the
Queen pushes Pamina to kill Sarastro, or else be disowned. The Queen moves through increasing flights of
ornamentation and stratospheric high notes, with her frenzied virtuosity making it explicit that she is not the
benevolent, mournful character she initially presented herself as in Act I. The text of this aria may be found
in the reproducible handouts, and the music may be heard in its entirety on Track 19.

Erika Miklósa as the

Queen of the Night
ken howard / Metropolitan Opera

18 19
 | p e r f o r m a n c e ac t ivi t y

Ten Essential Musical Terms Supporting the Student Experience during

The Met: Live in HD Transmission

Aria A self-contained piece for Melisma A group of several notes Singspiel A German opera of the Watching and listening to a performance is a unique experience that takes IN PREPAR ATION
solo voice, typically with orchestral sung to the same syllable of text. 18th or 19th century featuring musical students beyond the printed page to an immersion in images, sound, inter- For this activity, students will
accompaniment. Arias form a major Melismatic singing is the opposite of numbers interspersed with spoken need the Performance Activity
part of larger works such as operas or syllabic singing, in which a single note dialogue. A singspiel would often pretation, technology, drama, skill, and craft. Performance activities help
reproducible handouts found in the
oratorios. is sung to each syllable of the text. incorporate magical elements or stories students analyze different aspects of the experience and engage critically back of this guide.
Melismas show off a singer’s breath from folklore. Mozart’s The Magic
with the performance. They will consider the creative choices that have been
Basset horn An alto clarinet with control, vocal flexibility, and virtuosity. Flute is regarded as the pinnacle of the
an extended lower range. Like the They can vary in length and complexity, genre. made for the particular production they are watching and examine different COMMON CORE STANDARDS
clarinet, the basset horn possesses often combining step-wise movement aspects of the performance. AND the magic flute
a dark, velvety timbre. While it was from note to note with larger, more Tempo Literally “time” in Italian, Each Performance Activity incorporates a reproducible sheet. Students CCSS.ELA-Literacy.RL.6.7
not a common orchestral instrument, difficult leaps. tempo refers to the speed of a piece of Compare and contrast the experience
Mozart used it prominently in some of music. Tempo is indicated in a score by should bring this activity sheet to the Live in HD transmission and fill it of reading a story, drama, or poem to
his compositions, notably those with Major and Minor Western music a variety of conventional (often Italian) out during intermission and/or after the final curtain. The activities direct listening to or viewing an audio, video,
Masonic associations. written since around 1600 has been words—such as allegro, adagio, vivace, or live version of the text, including
built on two basic tonal principles: moderato, grave, and many more— attention to details of the production that might otherwise go unnoticed. contrasting what they “see” and “hear”
when reading the text to what they
Coloratura From the Italian word major and minor. Although the terms that not only provide direction on the For The Magic Flute, the first activity sheet, Masks and Magic, encour- perceive when they listen or watch.
for “coloring,” coloratura refers to can be used to describe scales, composer’s desired rate of speed, but ages students to take note of the opera’s use of puppetry and masks. This
florid, elaborate vocal passages with intervals, harmonies, or keys, in their also carry associations of gesture and CCSS.ELA-Literacy.RL.9-10.2
heavy ornamentation. It may also most basic application they refer to character. For instance, vivace indicates production of The Magic Flute was directed by Julie Taymor, best known for Determine a theme or central idea of a
text and analyze in detail its development
describe a voice type or singer who the overarching tonal organization of not only a brisk speed but also a lively her work on Broadway, including The Lion King. Students may be familiar over the course of the text, including how
possesses the agility and lightness a composition, or its mode. Pieces in spirit. Additional tempo markings may it emerges and is shaped and refined
with Taymor’s use of puppetry in some of her other works, and they will
necessary to perform such music. the major mode typically sound bright, indicate when a composer asks for a by specific details; provide an objective
cheery, or optimistic, while pieces in section of music to be sped up (such as enjoy considering how this approach contributes to the overall tone of her summary of the text.
Glockenspiel A percussion the minor mode may sound somber, “accelerando”) or slowed down (such production of The Magic Flute.
instrument made of tuned metal bars plaintive, or sinister. as “rallentando”).
The second, basic activity sheet is called My Highs & Lows. It is meant
that are struck with a mallet, producing
a bell-like sound. In The Magic Flute, Orchestration An aspect of to be collected, opera by opera, over the course of the season. This sheet
the music of Papageno’s magical bells composition, orchestration is the serves to guide students toward a consistent set of objective observations, as
is created by a glockenspiel. The type art of choosing which instruments
of glockenspiel Moazrt calls for is should play each musical idea in a well as to help them articulate their own opinions. It is designed to enrich
played using a keyboard similar to a musical work. Successful orchestration the students’ understanding of the art form as a whole. The ratings system
piano. requires that the instrument chosen is encourages students to express their critique: use these ratings to spark
appropriate to the melody—that the
Legato and Staccato The term musical line is within the instrument’s discussions that require careful, critical thinking.
legato comes from the Italian word for playable range and expressive The Performance Activity reproducible handouts can be found in the back
“to tie together.” It is used in music capabilities. The art of orchestration
of this guide. On the next page, you’ll find an activity created specifically
to describe a series of notes that are also allows a composer to draw on
played or sung with smooth connection and combine the disparate timbres for follow-up after the Live in HD transmission.
from one note to the next. It is the of instruments to amplify melodic
opposite of staccato, an articulation expression and create a wide range
in which notes are played in a short, of musical color. In The Magic Flute,
detached manner. Mozart often uses wind instruments to
create a mellow, pastoral texture.

20 21
 | p e r f o r m a n c e ac t ivi t y

Ten Essential Musical Terms Supporting the Student Experience during

The Met: Live in HD Transmission

Aria A self-contained piece for Melisma A group of several notes Singspiel A German opera of the Watching and listening to a performance is a unique experience that takes IN PREPAR ATION
solo voice, typically with orchestral sung to the same syllable of text. 18th or 19th century featuring musical students beyond the printed page to an immersion in images, sound, inter- For this activity, students will
accompaniment. Arias form a major Melismatic singing is the opposite of numbers interspersed with spoken need the Performance Activity
part of larger works such as operas or syllabic singing, in which a single note dialogue. A singspiel would often pretation, technology, drama, skill, and craft. Performance activities help
reproducible handouts found in the
oratorios. is sung to each syllable of the text. incorporate magical elements or stories students analyze different aspects of the experience and engage critically back of this guide.
Melismas show off a singer’s breath from folklore. Mozart’s The Magic
with the performance. They will consider the creative choices that have been
Basset horn An alto clarinet with control, vocal flexibility, and virtuosity. Flute is regarded as the pinnacle of the
an extended lower range. Like the They can vary in length and complexity, genre. made for the particular production they are watching and examine different COMMON CORE STANDARDS
clarinet, the basset horn possesses often combining step-wise movement aspects of the performance. AND the magic flute
a dark, velvety timbre. While it was from note to note with larger, more Tempo Literally “time” in Italian, Each Performance Activity incorporates a reproducible sheet. Students CCSS.ELA-Literacy.RL.6.7
not a common orchestral instrument, difficult leaps. tempo refers to the speed of a piece of Compare and contrast the experience
Mozart used it prominently in some of music. Tempo is indicated in a score by should bring this activity sheet to the Live in HD transmission and fill it of reading a story, drama, or poem to
his compositions, notably those with Major and Minor Western music a variety of conventional (often Italian) out during intermission and/or after the final curtain. The activities direct listening to or viewing an audio, video,
Masonic associations. written since around 1600 has been words—such as allegro, adagio, vivace, or live version of the text, including
built on two basic tonal principles: moderato, grave, and many more— attention to details of the production that might otherwise go unnoticed. contrasting what they “see” and “hear”
when reading the text to what they
Coloratura From the Italian word major and minor. Although the terms that not only provide direction on the For The Magic Flute, the first activity sheet, Masks and Magic, encour- perceive when they listen or watch.
for “coloring,” coloratura refers to can be used to describe scales, composer’s desired rate of speed, but ages students to take note of the opera’s use of puppetry and masks. This
florid, elaborate vocal passages with intervals, harmonies, or keys, in their also carry associations of gesture and CCSS.ELA-Literacy.RL.9-10.2
heavy ornamentation. It may also most basic application they refer to character. For instance, vivace indicates production of The Magic Flute was directed by Julie Taymor, best known for Determine a theme or central idea of a
text and analyze in detail its development
describe a voice type or singer who the overarching tonal organization of not only a brisk speed but also a lively her work on Broadway, including The Lion King. Students may be familiar over the course of the text, including how
possesses the agility and lightness a composition, or its mode. Pieces in spirit. Additional tempo markings may it emerges and is shaped and refined
with Taymor’s use of puppetry in some of her other works, and they will
necessary to perform such music. the major mode typically sound bright, indicate when a composer asks for a by specific details; provide an objective
cheery, or optimistic, while pieces in section of music to be sped up (such as enjoy considering how this approach contributes to the overall tone of her summary of the text.
Glockenspiel A percussion the minor mode may sound somber, “accelerando”) or slowed down (such production of The Magic Flute.
instrument made of tuned metal bars plaintive, or sinister. as “rallentando”).
The second, basic activity sheet is called My Highs & Lows. It is meant
that are struck with a mallet, producing
a bell-like sound. In The Magic Flute, Orchestration An aspect of to be collected, opera by opera, over the course of the season. This sheet
the music of Papageno’s magical bells composition, orchestration is the serves to guide students toward a consistent set of objective observations, as
is created by a glockenspiel. The type art of choosing which instruments
of glockenspiel Moazrt calls for is should play each musical idea in a well as to help them articulate their own opinions. It is designed to enrich
played using a keyboard similar to a musical work. Successful orchestration the students’ understanding of the art form as a whole. The ratings system
piano. requires that the instrument chosen is encourages students to express their critique: use these ratings to spark
appropriate to the melody—that the
Legato and Staccato The term musical line is within the instrument’s discussions that require careful, critical thinking.
legato comes from the Italian word for playable range and expressive The Performance Activity reproducible handouts can be found in the back
“to tie together.” It is used in music capabilities. The art of orchestration
of this guide. On the next page, you’ll find an activity created specifically
to describe a series of notes that are also allows a composer to draw on
played or sung with smooth connection and combine the disparate timbres for follow-up after the Live in HD transmission.
from one note to the next. It is the of instruments to amplify melodic
opposite of staccato, an articulation expression and create a wide range
in which notes are played in a short, of musical color. In The Magic Flute,
detached manner. Mozart often uses wind instruments to
create a mellow, pastoral texture.

20 21
 | p o s t- s h o w dis c ussi o n

Shifting Allegiances: the Roles of Sarastro

and the Queen of the Night

IN PREPAR ATION Students will enjoy starting the class with an open discussion of the Met
This activity requires no preparation performance. What did they like? What didn’t they? Did anything surprise The Three Spirits guide
other than attendance at the Live in Tamino in his search for Truth.
them? What would they like to see or hear again? What would they have
HD transmission of The Magic Flute. ken howard / metropolitan opera

done differently? The discussion offers an opportunity to apply the notes on

students’ My Highs & Lows sheet, as well as their thoughts about the visual
LEARNING OBJECTIVES
• To review and synthesize students’ design of the Met production—in short, to see themselves as The Magic Flute
understanding of The Magic Flute experts.
• To explore how musical setting A central aspect of the plot of The Magic Flute is the revelation that the
affects dramatic characterization Queen of the Night is not an innocent grieving mother, and Sarastro is not
• To reflect on how artistic choices
are made
Erika Miklósa as the
Queen of the Night
COMMON CORE STANDARDS ken howard / metropolitan opera

AND the Magic Flute

CCSS.ELA-Literacy.SL.9-12.1
Initiate and participate effectively in
a range of collaborative discussions
(one-on-one, in groups, and teacher-led)
with diverse partners on grades 9–12
topics, texts, and issues, building on
others’ ideas and expressing their own
clearly and persuasively.

CCSS.ELA-Literacy.SL.9-12.1d Encourage students to think about how the characters of Monostatos and
Respond thoughtfully to diverse
perspectives; synthesize comments, the Three Spirits fit into the scheme of good characters and bad characters.
claims, and evidence made on all sides How do the magical instruments function, and if they are powerful forces
of an issue; resolve contradictions when
possible; and determine what additional for good, why are they in the possession of the Queen of the Night? Why
information or research is required to
deepen the investigation or complete does Sarastro have someone like Monostatos in his employ?
the task. Finally, quiz students on whether they find the opera’s way of telling the
an evil sorcerer—that, in fact, their roles are reversed. Students may enjoy story to be dramatically inconsistent. Do these questions matter in their
discussing their initial impressions of these characters and how convincing appreciation of The Magic Flute as a work of drama, or in their enjoyment
they found them. You may prompt them with the following questions: of its music? The goal of this exercise is to encourage students to think of
• Was the Queen of the Night believable when she first appeared in the opera as an art form with many component parts, which may be in accord
opera? Was there anything about her music, the staging, or the costume with one another, in conflict, or one of which may transcend the others.
design that hinted at her true nature?
• When did you first begin to doubt that Sarastro was an evil character?
What helped convince you?
• Do you think there was a significant difference between the music and
design of the Queen of the Night early in the opera compared her later
appearances?
• Alternatively, do you think the shift in roles (good vs. evil) was ineffec-
tive? Do you think the opera would have been stronger dramatically if
there were no shift?

22 23
 | p o s t- s h o w dis c ussi o n

Shifting Allegiances: the Roles of Sarastro

and the Queen of the Night

IN PREPAR ATION Students will enjoy starting the class with an open discussion of the Met
This activity requires no preparation performance. What did they like? What didn’t they? Did anything surprise The Three Spirits guide
other than attendance at the Live in Tamino in his search for Truth.
them? What would they like to see or hear again? What would they have
HD transmission of The Magic Flute. ken howard / metropolitan opera

done differently? The discussion offers an opportunity to apply the notes on

students’ My Highs & Lows sheet, as well as their thoughts about the visual
LEARNING OBJECTIVES
• To review and synthesize students’ design of the Met production—in short, to see themselves as The Magic Flute
understanding of The Magic Flute experts.
• To explore how musical setting A central aspect of the plot of The Magic Flute is the revelation that the
affects dramatic characterization Queen of the Night is not an innocent grieving mother, and Sarastro is not
• To reflect on how artistic choices
are made
Erika Miklósa as the
Queen of the Night
COMMON CORE STANDARDS ken howard / metropolitan opera

AND the Magic Flute

CCSS.ELA-Literacy.SL.9-12.1
Initiate and participate effectively in
a range of collaborative discussions
(one-on-one, in groups, and teacher-led)
with diverse partners on grades 9–12
topics, texts, and issues, building on
others’ ideas and expressing their own
clearly and persuasively.

CCSS.ELA-Literacy.SL.9-12.1d Encourage students to think about how the characters of Monostatos and
Respond thoughtfully to diverse
perspectives; synthesize comments, the Three Spirits fit into the scheme of good characters and bad characters.
claims, and evidence made on all sides How do the magical instruments function, and if they are powerful forces
of an issue; resolve contradictions when
possible; and determine what additional for good, why are they in the possession of the Queen of the Night? Why
information or research is required to
deepen the investigation or complete does Sarastro have someone like Monostatos in his employ?
the task. Finally, quiz students on whether they find the opera’s way of telling the
an evil sorcerer—that, in fact, their roles are reversed. Students may enjoy story to be dramatically inconsistent. Do these questions matter in their
discussing their initial impressions of these characters and how convincing appreciation of The Magic Flute as a work of drama, or in their enjoyment
they found them. You may prompt them with the following questions: of its music? The goal of this exercise is to encourage students to think of
• Was the Queen of the Night believable when she first appeared in the opera as an art form with many component parts, which may be in accord
opera? Was there anything about her music, the staging, or the costume with one another, in conflict, or one of which may transcend the others.
design that hinted at her true nature?
• When did you first begin to doubt that Sarastro was an evil character?
What helped convince you?
• Do you think there was a significant difference between the music and
design of the Queen of the Night early in the opera compared her later
appearances?
• Alternatively, do you think the shift in roles (good vs. evil) was ineffec-
tive? Do you think the opera would have been stronger dramatically if
there were no shift?

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 | G uide t o Audi o T r ac ks
The met: LIve in HD
the magic flute

classroom activity

Enlightened Opera: The Magic Flute as a Work of the Age of Reason

Excerpts taken from the 1 Priest and Tamino: “Who comes now to the temple door?” Enlightenment Principles Handout
Metropolitan Opera broadcast of
2 Pamina and Papageno: “Bells with such a magic charm”
January 4, 2014
3 Chorus and Sarastro: “Long life to Sarastro!” “Enlightenment is man’s release from his self-incurred tutelage. Tutelage is man’s
Pamina

Heidi Stober 4 Sarastro: “Within our sacred Temple” inability to make use of his understanding without direction from another. Self-incurred
is this tutelage when its cause lies not in lack of reason but in lack of resolution and
Queen of the Night 5 Sarastro and Chorus: “The Sun’s golden Splendor”
Kathryn Lewek courage to use it without direction from another. Sapere aude! ‘Have courage to use
6 Ex. Basset Horn
your own reason!’—that is the motto of enlightenment.”
Tamino
7 Ex. Coloratura —Immanuel Kant, “What Is Enlightenment” (1784)
Alek Shrader
8 Ex. Glockenspiel
Papageno

Nathan Gunn 9 Ex. Legato Know then thyself, presume not God to scan;
The proper study of mankind is man…
Sarastro 10 Ex. Staccato
Eric Owens Go, wondrous creature! Mount where science guides,
11 Ex. Melisma
Go, measure earth, weigh air, and state the tides;
12 Ex. Major Instruct the planets in what orbs to run,
Conducted by
13 Ex. Minor Correct old time, and regulate the sun;
Jane Glover
14 Tamino: “This Portrait’s Beauty I Adore” Go, soar with Plato to th’ empyreal sphere,
Metropolitan Opera Orchestra
To the first good, first perfect, and first fair…
and Chorus 15 Pamina: “Now My Heart Is Filled with Sadness”
—Alexander Pope, Essay on Man (1733)
16 Papageno: “I’m Papageno, That’s My Name”

17 The Queen of the Night: “Here in My Heart Hell’s Bitterness Is Seething” “Only through Beauty’s morning-gate, dost thou penetrate the land of knowledge.”
18 Sarastro: “O Isis and Osiris” —Friedrich Schiller, “The Artists” (1789)
19 Musical Snapshot: “Here in My Heart, Hell’s Bitterness Is Seething”
Our hopes, as to the future condition of the human species, may be reduced to three
points: the destruction of inequality between different nations; the progress of equality
in one and the same nation; and lastly, the real improvement of man.
Will not every nation one day arrive at the state of civilization attained by those
people who are most enlightened, most free, most exempt from prejudices, as the
French, for instance, and the Anglo-Americans? Will not the slavery of countries
subjected to kings… gradually vanish? Is there upon the face of the globe a single
spot the inhabitants of which are condemned by nature never to enjoy liberty, never
to exercise their reason?
—Marie-Jean-Antoine-Nicolas Caritat, Marquis de Condorcet,
Outlines of a Historical View of the Progress of the Human Mind (1795)

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 | G uide t o Audi o T r ac ks
The met: LIve in HD
the magic flute

classroom activity

Enlightened Opera: The Magic Flute as a Work of the Age of Reason

Excerpts taken from the 1 Priest and Tamino: “Who comes now to the temple door?” Enlightenment Principles Handout
Metropolitan Opera broadcast of
2 Pamina and Papageno: “Bells with such a magic charm”
January 4, 2014
3 Chorus and Sarastro: “Long life to Sarastro!” “Enlightenment is man’s release from his self-incurred tutelage. Tutelage is man’s
Pamina

Heidi Stober 4 Sarastro: “Within our sacred Temple” inability to make use of his understanding without direction from another. Self-incurred
is this tutelage when its cause lies not in lack of reason but in lack of resolution and
Queen of the Night 5 Sarastro and Chorus: “The Sun’s golden Splendor”
Kathryn Lewek courage to use it without direction from another. Sapere aude! ‘Have courage to use
6 Ex. Basset Horn
your own reason!’—that is the motto of enlightenment.”
Tamino
7 Ex. Coloratura —Immanuel Kant, “What Is Enlightenment” (1784)
Alek Shrader
8 Ex. Glockenspiel
Papageno

Nathan Gunn 9 Ex. Legato Know then thyself, presume not God to scan;
The proper study of mankind is man…
Sarastro 10 Ex. Staccato
Eric Owens Go, wondrous creature! Mount where science guides,
11 Ex. Melisma
Go, measure earth, weigh air, and state the tides;
12 Ex. Major Instruct the planets in what orbs to run,
Conducted by
13 Ex. Minor Correct old time, and regulate the sun;
Jane Glover
14 Tamino: “This Portrait’s Beauty I Adore” Go, soar with Plato to th’ empyreal sphere,
Metropolitan Opera Orchestra
To the first good, first perfect, and first fair…
and Chorus 15 Pamina: “Now My Heart Is Filled with Sadness”
—Alexander Pope, Essay on Man (1733)
16 Papageno: “I’m Papageno, That’s My Name”

17 The Queen of the Night: “Here in My Heart Hell’s Bitterness Is Seething” “Only through Beauty’s morning-gate, dost thou penetrate the land of knowledge.”
18 Sarastro: “O Isis and Osiris” —Friedrich Schiller, “The Artists” (1789)
19 Musical Snapshot: “Here in My Heart, Hell’s Bitterness Is Seething”
Our hopes, as to the future condition of the human species, may be reduced to three
points: the destruction of inequality between different nations; the progress of equality
in one and the same nation; and lastly, the real improvement of man.
Will not every nation one day arrive at the state of civilization attained by those
people who are most enlightened, most free, most exempt from prejudices, as the
French, for instance, and the Anglo-Americans? Will not the slavery of countries
subjected to kings… gradually vanish? Is there upon the face of the globe a single
spot the inhabitants of which are condemned by nature never to enjoy liberty, never
to exercise their reason?
—Marie-Jean-Antoine-Nicolas Caritat, Marquis de Condorcet,
Outlines of a Historical View of the Progress of the Human Mind (1795)

24 25
The met: LIve in HD The met: LIve in HD
the magic flute the magic flute

classroom activity classroom activity

Enlightened Opera: The Magic Flute as a Work of the Age of Reason (cont ’ d) Enlightened Opera: The Magic Flute as a Work of the Age of Reason (cont ’ d)
“Some years ago I was struck by the large number of falsehoods that I had accepted Track 1 Track 2
as true in my childhood, and by the highly doubtful nature of the whole edifice that I PRIEST: Who comes now to the temple door? PAMINA / PAPAGENO: Bells with such a magic charm

had subsequently based on them. I realized that it was necessary, once in the course of Pray tell, what are you searching for? made our captors leave us.
my life, to demolish everything completely and start again right from the foundations No one’s come to any harm.
TAMINO: It’s love and virtue that I seek.
Who would now believe us?
if I wanted to establish anything at all in the sciences that was stable and likely to last.”
PRIEST: Your words disclose a noble mind. Music lets mankind agree,
—René Descartes, Meditations on First Philosophy (1641) But wait—how would you undertake this? joined in peaceful harmony.
For love will not be yours to find Evil men are put to flight,
“To properly understand political power and trace its origins, we must consider the while death and vengeance cloud your judgment. loss is turned to laughter.
When the darkness yields to light,
state that all people are in naturally. That is a state of perfect freedom of acting and TAMINO: But villains all deserve to die!
happiness comes after!
disposing of their own possessions and persons as they think fit within the bounds of PRIEST: There is no villain in this temple.
the law of nature. People in this state do not have to ask permission to act or depend
TAMINO: Is this the temple of Sarastro?
on the will of others to arrange matters on their behalf. The natural state is also one
PRIEST: Yes, here the great Sarastro rules.
of equality in which all power and jurisdiction is reciprocal and no one has more
than another. It is evident that all human beings—as creatures belonging to the same TAMINO: He is a monster and my foe!

species and rank and born indiscriminately with all the same natural advantages and PRIEST: And can you prove what you are saying?
faculties—are equal amongst themselves.” TAMINO: The Queen of the Night can prove it.
—John Locke, Two Treatises on Government (1689) She suffers grief and constant woe.

PRIEST: The vengeful Queen has made you blind.

The golden disk of the Sun

our Brotherhood helps to protect.
She plots to steal the golden disk
and plunge the world into darkness.

TAMINO: The Queen has tangled me in lies!

To free myself from her deceit,

you mean that I must join Sarastro?

PRIEST: Or never find the truth you seek.

TAMINO: Where is she?

I have sworn to save her.
How will I ever find Pamina?

PRIEST: Unless you join the Brotherhood,

you will not find the love you seek.

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The met: LIve in HD The met: LIve in HD
the magic flute the magic flute

classroom activity classroom activity

Enlightened Opera: The Magic Flute as a Work of the Age of Reason (cont ’ d) Enlightened Opera: The Magic Flute as a Work of the Age of Reason (cont ’ d)
“Some years ago I was struck by the large number of falsehoods that I had accepted Track 1 Track 2
as true in my childhood, and by the highly doubtful nature of the whole edifice that I PRIEST: Who comes now to the temple door? PAMINA / PAPAGENO: Bells with such a magic charm

had subsequently based on them. I realized that it was necessary, once in the course of Pray tell, what are you searching for? made our captors leave us.
my life, to demolish everything completely and start again right from the foundations No one’s come to any harm.
TAMINO: It’s love and virtue that I seek.
Who would now believe us?
if I wanted to establish anything at all in the sciences that was stable and likely to last.”
PRIEST: Your words disclose a noble mind. Music lets mankind agree,
—René Descartes, Meditations on First Philosophy (1641) But wait—how would you undertake this? joined in peaceful harmony.
For love will not be yours to find Evil men are put to flight,
“To properly understand political power and trace its origins, we must consider the while death and vengeance cloud your judgment. loss is turned to laughter.
When the darkness yields to light,
state that all people are in naturally. That is a state of perfect freedom of acting and TAMINO: But villains all deserve to die!
happiness comes after!
disposing of their own possessions and persons as they think fit within the bounds of PRIEST: There is no villain in this temple.
the law of nature. People in this state do not have to ask permission to act or depend
TAMINO: Is this the temple of Sarastro?
on the will of others to arrange matters on their behalf. The natural state is also one
PRIEST: Yes, here the great Sarastro rules.
of equality in which all power and jurisdiction is reciprocal and no one has more
than another. It is evident that all human beings—as creatures belonging to the same TAMINO: He is a monster and my foe!

species and rank and born indiscriminately with all the same natural advantages and PRIEST: And can you prove what you are saying?
faculties—are equal amongst themselves.” TAMINO: The Queen of the Night can prove it.
—John Locke, Two Treatises on Government (1689) She suffers grief and constant woe.

PRIEST: The vengeful Queen has made you blind.

The golden disk of the Sun

our Brotherhood helps to protect.
She plots to steal the golden disk
and plunge the world into darkness.

TAMINO: The Queen has tangled me in lies!

To free myself from her deceit,

you mean that I must join Sarastro?

PRIEST: Or never find the truth you seek.

TAMINO: Where is she?

I have sworn to save her.
How will I ever find Pamina?

PRIEST: Unless you join the Brotherhood,

you will not find the love you seek.

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The met: LIve in HD The met: LIve in HD
the magic flute the magic flute

classroom activity classroom activity

Enlightened Opera: The Magic Flute as a Work of the Age of Reason (cont ’ d) Enlightened Opera: The Magic Flute as a Work of the Age of Reason (cont ’ d)

Track 3 Track 4 Track 5 Magic Flute Organizer Handout

CHORUS: Long life to Sarastro! SARASTRO: Within our sacred Temple, SARASTRO: The Sun’s golden splendor
What is happening in this excerpt?
Our order’s foundation! all error we forgive. has banished the night!
He judges with wisdom Revenge is never taken. The forces of darkness
and rules with compassion. By love do all men live. are vanquished by right.
Forever faithful and forthright,
SARASTRO: Bring them within our temple CHORUS: Hail the two who triumphed! What is the lesson or moral of the passage?
we pledge ourselves to guard the light.
walls, They conquered the night.
where these young men are to be tried. Hail, hail, Isis and Osiris.
Cover their heads. They may not see. Hail, hail, we look to your light!
They must now first be purified. What do you learn about the characters in this passage?
So courage has triumphed
CHORUS: When love joins with integrity and true love is crowned.
and virtue triumphs over vice, The world now will brighten.
then mankind truly will be free, Let wisdom resound.
What is celebrated as good or condemned as bad?
and earth become a paradise.

What descriptive language or imagery is used?

Draw parallels to the statements you studied on the Enlightenment Principles handout.

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The met: LIve in HD The met: LIve in HD
the magic flute the magic flute

classroom activity classroom activity

Enlightened Opera: The Magic Flute as a Work of the Age of Reason (cont ’ d) Enlightened Opera: The Magic Flute as a Work of the Age of Reason (cont ’ d)

Track 3 Track 4 Track 5 Magic Flute Organizer Handout

CHORUS: Long life to Sarastro! SARASTRO: Within our sacred Temple, SARASTRO: The Sun’s golden splendor
What is happening in this excerpt?
Our order’s foundation! all error we forgive. has banished the night!
He judges with wisdom Revenge is never taken. The forces of darkness
and rules with compassion. By love do all men live. are vanquished by right.
Forever faithful and forthright,
SARASTRO: Bring them within our temple CHORUS: Hail the two who triumphed! What is the lesson or moral of the passage?
we pledge ourselves to guard the light.
walls, They conquered the night.
where these young men are to be tried. Hail, hail, Isis and Osiris.
Cover their heads. They may not see. Hail, hail, we look to your light!
They must now first be purified. What do you learn about the characters in this passage?
So courage has triumphed
CHORUS: When love joins with integrity and true love is crowned.
and virtue triumphs over vice, The world now will brighten.
then mankind truly will be free, Let wisdom resound.
What is celebrated as good or condemned as bad?
and earth become a paradise.

What descriptive language or imagery is used?

Draw parallels to the statements you studied on the Enlightenment Principles handout.

28 29
The met: LIve in HD The met: LIve in HD
the magic flute the magic flute

classroom activity classroom activity

The Aria as Musical Portrait The Aria as Musical Portrait (continued)

Track 14 Track 15 Track 16 Track 17

Tamino: “This Portrait’s Beauty I Adore” Pamina: “Now My Heart Is Filled with Sadness” Papageno: “I’m Papageno, That’s My Name” The Queen of the Night: “Here in My Heart
(“Dies Bildnis ist bezaubernd schön”) (“Ach, ich fühl’s”) (“Der Vogelfänger bin ich ja”) Hell’s Bitterness Is Seething”
(“Der Hölle Rache”)
TAMINO: This portrait’s beauty I adore. PAMINA: Now my heart is filled with sadness! PAPAGENO: I’m Papageno, that’s my name.

A wonder never seen before! Gone, oh gone, is love’s delight, And catching birds, well, that’s my game! QUEEN OF THE NIGHT: Here in my heart, hell’s bitterness is
What is this, this yearning? lost forever joy and gladness! My snares are laid. My sights are set. seething.
Is it love I feel? Every brightness turned to night! I whistle them into my net. Death and vengeance force the vow I swore.
If so, to true love I yield! Look, Tamino, My life’s my own, so bright and free, If you refuse to murder Sarastro,
Oh, nothing can keep us apart. I am weeping, yet you turn away from me. for all the birds belong to me. then I will curse my daughter ever more.
Oh, to her I pledge my heart. If your love is not for keeping, If only there were traps for girls,
let my sorrow die with me. I’d catch a dozen by their curls. Sarastro once betrayed me!
Tamino now betrays me!
I’m Papageno, that’s my name. My daughter would betray me
Text Summary: Text Summary: And catching birds, well, that’s my game! and her mother’s love deny.
And when I get them nice and plump Abandoned, forsaken, and tormented,
I’ll trade some for a sugar lump. his dominion I defy!
Then give it to my favorite one, And you must find the strength to kill Sarastro!
and woo her till her heart is won. Swear, swear, swear to avenge me!
Melody: Melody: Oh, snuggled in my nest we’d lie Swear or you will die!
and gently rock to a lullaby.

Text Summary: Text Summary:

Harmony: Harmony:

Melody: Melody:

Rhythm and Tempo: Rhythm and Tempo:

Harmony: Harmony:

Orchestration: Orchestration:

Rhythm and Tempo: Rhythm and Tempo:

Orchestration: Orchestration:

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The met: LIve in HD The met: LIve in HD
the magic flute the magic flute

classroom activity classroom activity

The Aria as Musical Portrait The Aria as Musical Portrait (continued)

Track 14 Track 15 Track 16 Track 17

Tamino: “This Portrait’s Beauty I Adore” Pamina: “Now My Heart Is Filled with Sadness” Papageno: “I’m Papageno, That’s My Name” The Queen of the Night: “Here in My Heart
(“Dies Bildnis ist bezaubernd schön”) (“Ach, ich fühl’s”) (“Der Vogelfänger bin ich ja”) Hell’s Bitterness Is Seething”
(“Der Hölle Rache”)
TAMINO: This portrait’s beauty I adore. PAMINA: Now my heart is filled with sadness! PAPAGENO: I’m Papageno, that’s my name.

A wonder never seen before! Gone, oh gone, is love’s delight, And catching birds, well, that’s my game! QUEEN OF THE NIGHT: Here in my heart, hell’s bitterness is
What is this, this yearning? lost forever joy and gladness! My snares are laid. My sights are set. seething.
Is it love I feel? Every brightness turned to night! I whistle them into my net. Death and vengeance force the vow I swore.
If so, to true love I yield! Look, Tamino, My life’s my own, so bright and free, If you refuse to murder Sarastro,
Oh, nothing can keep us apart. I am weeping, yet you turn away from me. for all the birds belong to me. then I will curse my daughter ever more.
Oh, to her I pledge my heart. If your love is not for keeping, If only there were traps for girls,
let my sorrow die with me. I’d catch a dozen by their curls. Sarastro once betrayed me!
Tamino now betrays me!
I’m Papageno, that’s my name. My daughter would betray me
Text Summary: Text Summary: And catching birds, well, that’s my game! and her mother’s love deny.
And when I get them nice and plump Abandoned, forsaken, and tormented,
I’ll trade some for a sugar lump. his dominion I defy!
Then give it to my favorite one, And you must find the strength to kill Sarastro!
and woo her till her heart is won. Swear, swear, swear to avenge me!
Melody: Melody: Oh, snuggled in my nest we’d lie Swear or you will die!
and gently rock to a lullaby.

Text Summary: Text Summary:

Harmony: Harmony:

Melody: Melody:

Rhythm and Tempo: Rhythm and Tempo:

Harmony: Harmony:

Orchestration: Orchestration:

Rhythm and Tempo: Rhythm and Tempo:

Orchestration: Orchestration:

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The met: LIve in HD The met: LIve in HD
the magic flute the magic flute

classroom activity musical snapshot

The Aria as Musical Portrait (continued) Musical Snapshot: “Here in My Heart, Hell’s Bitterness Is Seething”
(“Der Hölle Rache”)
Track 18 In the space below, write a short paragraph about
your favorite character and how it is represented in
Sarastro: “O Isis and Osiris” the music. How does the music make the character
distinctive? What about the music do you find
Track 19
SARASTRO: O Isis and Osiris, guide them, appealing or off-putting?
QUEEN OF THE NIGHT: Here in my heart, hell’s bitterness is
as they now make their dangerous way.
seething.
With strength and wisdom walk beside them.
Death and vengeance force the vow I swore.
Protect them both from harm, we pray.
If you refuse to murder Sarastro,
CHORUS OF PRIESTS: Protect them both from harm, we pray. then I will curse my daughter ever more.

SARASTRO: True love is born of tribulation, Sarastro once betrayed me!

but if you cannot grant salvation, Tamino now betrays me!
think of their virtue, their tender hearts. My daughter would betray me
Your everlasting peace impart. and her mother’s love deny.
Abandoned, forsaken, and tormented,
CHORUS OF PRIESTS: Your everlasting peace impart.
his dominion I defy!
And you must find the strength to kill Sarastro!
Text Summary: Swear, swear, swear to avenge me!
Swear or you will die!

Melody:

Harmony:

Rhythm and Tempo:

Orchestration:

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The met: LIve in HD The met: LIve in HD
the magic flute the magic flute

classroom activity musical snapshot

The Aria as Musical Portrait (continued) Musical Snapshot: “Here in My Heart, Hell’s Bitterness Is Seething”
(“Der Hölle Rache”)
Track 18 In the space below, write a short paragraph about
your favorite character and how it is represented in
Sarastro: “O Isis and Osiris” the music. How does the music make the character
distinctive? What about the music do you find
Track 19
SARASTRO: O Isis and Osiris, guide them, appealing or off-putting?
QUEEN OF THE NIGHT: Here in my heart, hell’s bitterness is
as they now make their dangerous way.
seething.
With strength and wisdom walk beside them.
Death and vengeance force the vow I swore.
Protect them both from harm, we pray.
If you refuse to murder Sarastro,
CHORUS OF PRIESTS: Protect them both from harm, we pray. then I will curse my daughter ever more.

SARASTRO: True love is born of tribulation, Sarastro once betrayed me!

but if you cannot grant salvation, Tamino now betrays me!
think of their virtue, their tender hearts. My daughter would betray me
Your everlasting peace impart. and her mother’s love deny.
Abandoned, forsaken, and tormented,
CHORUS OF PRIESTS: Your everlasting peace impart.
his dominion I defy!
And you must find the strength to kill Sarastro!
Text Summary: Swear, swear, swear to avenge me!
Swear or you will die!

Melody:

Harmony:

Rhythm and Tempo:

Orchestration:

32 33
The met: LIve in HD
the magic flute
The Magic Flute: My Highs & Lows
december 12, 2015
At the Met: Masks and Magic
Conducted by james Levine

Julie Taymor’s production and costume design for The Magic Flute includes puppets and masks. Use this handout to
Reviewed by
make notes about when these elements appear and how they affect your impression of the world of The Magic Flute
and its characters. Are the designs realistic? Whimsical? Do they seem to occur at particular dramatic moments
or for specific types of characters? Try to notice each time masks and puppetry appear in the production. THE STARS Star Power My Comments

Matthew Polenzani as Tamino *****

Nathan Gunn as Papageno *****

Character Represented by
Erika Miklósa as the Queen of the Night *****
Puppetry / Mask Design Details Interpretation
Ying Huang as Pamina *****

René Pape as Sarastro *****

Jennifer Aylmer as Papagena *****

THE SHOW, SCENE BY SCENE action music set design/staging

A serpent is defeated 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Tamino and Papageno meet 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Tamino sees Pamina’s portrait 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

The Queen of the Night’s grief 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Papageno finds Pamina 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

They meet Sarastro 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

The trials of Papageno 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Pamina’s grief 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Papageno and Papagena meet 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Everyone is reunited and rejoices 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

34
The met: LIve in HD
the magic flute
The Magic Flute: My Highs & Lows
december 12, 2015
At the Met: Masks and Magic
Conducted by james Levine

Julie Taymor’s production and costume design for The Magic Flute includes puppets and masks. Use this handout to
Reviewed by
make notes about when these elements appear and how they affect your impression of the world of The Magic Flute
and its characters. Are the designs realistic? Whimsical? Do they seem to occur at particular dramatic moments
or for specific types of characters? Try to notice each time masks and puppetry appear in the production. THE STARS Star Power My Comments

Matthew Polenzani as Tamino *****

Nathan Gunn as Papageno *****

Character Represented by
Erika Miklósa as the Queen of the Night *****
Puppetry / Mask Design Details Interpretation
Ying Huang as Pamina *****

René Pape as Sarastro *****

Jennifer Aylmer as Papagena *****

THE SHOW, SCENE BY SCENE action music set design/staging

A serpent is defeated 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Tamino and Papageno meet 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Tamino sees Pamina’s portrait 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

The Queen of the Night’s grief 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Papageno finds Pamina 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

They meet Sarastro 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

The trials of Papageno 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Pamina’s grief 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Papageno and Papagena meet 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

Everyone is reunited and rejoices 1-2-3-4-5 1-2-3-4-5 1-2-3-4-5

My opinion of this scene:

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