Naturally, Tamino promptly swears that he will save her. At this point, the scenery suddenly changes: it becomes dark, and the Queen of the Night appears.

She is sitting on a silver throne, decorated with silver stars. Under her feet is a silver crescent.

In a slow, plaintive aria, she tells Tamino that if he saves Pamina from the evil magician, Sarastro, he will then be free to marry her. Then she disappears, and the scenery changes back to normal, leaving Tamino wondering if it was a vision or a dream — so typical of an encounter with the astral levels of Yesod where everything is fluid and dream-like.

He promises never to lie again. Tamino is given a magic flute with protective properties to help him on his rescue mission.

Understandably, he is not too happy about this, but agrees when he is given a set of silver bells, also with magical properties. Three boys will hover near you on your journey; They will be your guides, Follow only their advice.

These three boys, hovering nearby, are the Guardian Angels of Tamino and Papageno — they are three in number for the sake of consistency, and also because they are assigned to watch over them by the Temple of the Queen of the Night, and as children they symbolise the purity of the Higher Self.

And in yet another and third sense, in the early stages the mystical consciousness is like a child, requiring care, love and protection.

Slaves are are laughing, because Pamina has escaped from her jailer, Monostatos. He is a Moor — in other words, he is black. Monostatos is a cruel, embittered person who lusts after Pamina and is just about to rape her when he suddenly sees Papageno through a window.

We, as moderns, cannot but help come up against the idea of racism here. We must keep in mind that years ago, the so-called supremacy of the white races was rarely questioned.

This might, perhaps, be seen as a reflection of the Masonic ideals of the essential brotherhood of all humankind.

After this short scene follows the Finale of the first act. The layout is interesting: we see three portals. The left one leads to the Temple of Reason, the right one to the Temple of Nature, and in the middle, another portal leads to the Temple of Wisdom.

Remember that we started in the forest of Yesod, in front of the Temple of the Moon? Anyway, Tamino, who is of course firmly set upon rescuing Pamina from the evil sorcerer, Sarastro, boldly knocks on the right portal.

What do you seek in this holy place? You are not guided by love and virtue, because you are inflamed by death and revenge. Now, at this point something very interesting happens.

Tamino, and the audience, discover that Sarastro is no evil-doer at all, but a Priest of the Sun, a Holy Man, and that the Queen of the Night is a false and treacherous woman who has plotted against him.

This might sound a bit puzzling, and it has indeed puzzled musicologists since The Magic Flute was first performed, but it is in a way typical of the reversal of values that is said to take place as we leave the subjective consciousness of Yesod, the Moon-consciousness, and enter the objective solar consciousness of Tifaret.

Tamino is simply advancing on his path of initiation. He is leaving the shadowy, ever-shifting world of Yesod, and is preparing to fully enter the higher consciousness of Tifaret.

The priest has left Tamino at the gate. He decides to play his flute — perhaps its magic will lead him to her — and after a few moments he hears Papagenos pipes in reply.

A procession appears: Sarastro comes riding a chariot, drawn by six lions — the symbolism of this is perfectly obvious: six is the number of Tifaret; lions are solar symbols as well as symbols of royalty.

There is no doubt about it: all this symbolism shows us that Sarastro is the Higher Self, or, as Kabbalists term it, the Neschamah.

Sarastro sentences Monostatos to receive 77 strokes of the bastinado. Tamino and Papageno are taken into the Temple of Trial to be purified, and the First Act ends with a chorus:.

When virtue and justice have strewn the path of the great with glory, Then will the earth be the kingdom of heaven And mortals will be like gods!

The second act begins with another march as the College of Priests process into a courtyard inside the Temple of the Sun.

There is a grove of palm trees — symbols of victory — with golden leaves. There is reason to assume that the palm trees stand in for akacias, which have a deep symbolic significance within Freemasonry.

There are also eighteen seats or sieges; on each siege stands a pyramid and a large black horn, set in gold.

The pyramids puzzled me a great deal, until someone remarked that the 18 four-sided pyramids make a total of 72 sides, which is the number of the Schemhamforasch, the Great Name of God, which is inextricably linked to the Rosicrucian Mysteries.

Each priest is holding a palm read, akacia twig in his hand. Sarastro opens the meeting, saying,. Tamino, who is waiting at the Northern Gate of the Temple, is yearning to be free of the veil of the night, he wants to behold the sanctuary of Light.

We also learn that Pamina is destined for Tamino, and that this is the real reason for her abduction from the Queen of the Night, who is described as being full of deceit, seeking to mislead the people with illusion and superstition — glamour or maya — typical properties of an unbalanced Yesod.

Also note that the Moon Temple is served only by women, and the Sun Temple only by men. Thus, what we have got here is actually a polarity between the Moon and the Sun, between the subconscious and the conscious — and the Age of Enlightenment was very much in favour of the conscious mind as a guiding principle.

Therefore, Reason, as symbolised by the Sun, was perceived as the only alternative. Thus she is, in fact, the daughter of the Moon and the Sun: pure alchemy.

And by the way, during the priestly deliberations we hear, three times, the initiation trombones sound their three-chord fanfare. Focused on helping children feel safe.

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She leaves in despair. Scene 5. Sarastro separates Pamina and Tamino for their final trial. Scene 6.

Papageno, still longing for a wife, plays his magic bells. The old woman reappears and demands that he promise to marry her, or else he will be alone forever.

Papageno reluctantly agrees. She is immediately transformed into a pretty girl: Papagena. As Papageno runs to embrace her, the priests frighten her away.

Scene 7. The Three Spirits come upon Pamina in a courtyard. They promise that she will see him soon.

Scene 8. Two armoured men lead Tamino to his next trials, at mountains gushing fire and water. They recite the credo of Isis that he who overcomes fear will achieve enlightenment.

Tamino is reunited with Pamina. They exchange loving words and enter the trials together. The priests laud their success.

Scene 9. In a garden on the temple grounds, Papageno has given up hope of ever finding Papagena again, so he tries to hang himself.

But the Three Spirits remind him of the magic bells. He plays them, and Papagena appears. The happy pair celebrate their union.

Crazy Credits The overture to the opera is played both at the beginning and the end, but only at the end is it played over the film's credits.

Was this review helpful to you? Yes No Report this. Frequently Asked Questions Q: Is this an opera, or an opera adapted into a musical with "regular" singing voices?

Q: Does the original Mozart opera use spoken dialogue, like the film? Q: The opera has been accused of being both sexist and racist.

Is the film? Edit Details Official Sites: Official site. Country: UK France. Language: English. Runtime: min.

Sound Mix: Stereo. Color: Color. Edit page. Clear your history. Papageno as Benjamin Jay Davis. Queen of the Night. There is then a scene change without interrupting the music, leading into Scene 8.

Weibchen, Täubchen, meine Schöne" The three child-spirits appear and stop him. They advise him to play his magic bells to summon Papagena.

She appears and, united, the happy couple stutter in astonishment and make bird-like courting sounds at each other. They plan their future and dream of the many children they will have together Duet: "Pa The traitorous Monostatos appears with the Queen of the Night and her three ladies.

They plot to destroy the temple " Nur stille, stille " and the Queen confirms that she has promised her daughter Pamina to Monostatos. But before the conspirators can enter the temple, they are magically cast out into eternal night.

There is then a scene change without interrupting the music, leading into Scene Sarastro announces the sun's triumph over the night, and hails the dawn of a new era of wisdom and brotherhood.

Animals appear again and dance in the sun. The first complete recording of The Magic Flute was of a live performance at the Salzburg Festival , with Arturo Toscanini conducting the Vienna Philharmonic and Vienna State Opera , though the recording was not issued until many years later.

The first studio recording of the work, with Sir Thomas Beecham conducting the Berlin Philharmonic , was completed in Both of these historic recordings have been reissued on modern recording media.

Since then there have been many recordings, in both audio and video formats. The opera has inspired a great number of sequels, adaptations, novels, films, and other works of art.

For a listing, see Works inspired by The Magic Flute. From Wikipedia, the free encyclopedia. Opera by Wolfgang Amadeus Mozart.

For other uses, see The Magic Flute disambiguation. The arrival of the Queen of the Night. Stage set by Karl Friedrich Schinkel for an production.

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources.

Unsourced material may be challenged and removed. September Learn how and when to remove this template message. Main article: Libretto of The Magic Flute.

See also: Mozart and Freemasonry. Performed by Musopen Symphony Orchestra Queen of the Night's second aria, "Der Hölle Rache". Main article: The Magic Flute discography.

Opera portal. The programme at the premiere performance announced it as Eine grosse oper A grand opera. Mozart entered the work in his personal catalog as a "German opera", and the first printed libretto called it a Singspiel.

According to Seyfried's memories which he published in the Neue Zeitschrift für Musik , vol. Schikaneder the elder. Schikaneder the younger.

Herr Mozart, out of respect for a gracious and honourable public, and from friendship for the author of this piece, will today direct the orchestra in person.

According to English translation from Deutsch , pp. Cambridge Opera Journal. Eighteenth-Century Music. Scarecrow Press. Stanley Sadie , 4 vols.

London and New York, , Volume 4, pp.