"The Magic Flute The Magic Flute (German: ), K. 620, is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a ""Singspiel"", a popular form that included both singing and spoken dialogue. The work was premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's premature death. In this opera, the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro; instead, he learns the high"
"the librettist, was a leading French Mason and many of his works celebrate the ideals of the Enlightenment, including ""Zoroastre"". The historical Zoroaster was highly regarded in Masonic circles and the parallels are obvious between Rameau's opera and an even more famous Masonic allegory, Mozart's ""The Magic Flute"" (1791), with its initiation rites conducted under the auspices of the wise ""Sarastro"". ""The synopsis is based on 1756 version"" The story takes place in the ancient kingdom of Bactria and concerns the struggle between the forces of Good, led by Zoroastre, the ""founder of the Magi"", and Evil, led by the"
"ideals of Sarastro's community and seeks to join it. Separately, then together, Tamino and Pamina undergo severe trials of initiation, which end in triumph, with the Queen and her cohorts vanquished. The earthy Papageno, who accompanies Tamino on his quest, fails the trials completely but is rewarded anyway with the hand of his ideal female companion Papagena. The opera was the culmination of a period of increasing involvement by Mozart with Schikaneder's theatrical troupe, which since 1789 had been the resident company at the Theater auf der Wieden. Mozart was a close friend of one of the singer-composers of the"
"Queen of the Night's coloratura, the bells, Sarastro's trombones, even the farewell in Scene I for clarinets and pizzicato strings—a single dramatic stroke."" The opera begins with the overture, which Mozart composed last. ""Scene 1: A rough, rocky landscape"" Tamino, a handsome prince lost in a distant land, is pursued by a serpent and asks the gods to save him (aria: """" segued into trio: """"). He faints, and three ladies, attendants of the Queen of the Night, appear and kill the serpent. They find the unconscious prince extremely attractive, and each of them tries to convince the other two"
"associated with lost ancient wisdom and was appropriated by Freemasons and other groups who claimed access to such knowledge. He appears in Mozart's opera The Magic Flute (""Die Zauberflöte"") under the variant name ""Sarastro"", who represents moral order in opposition to the ""Queen of the Night"". Enlightenment writers such as Voltaire promoted research into Zoroastrianism in the belief that it was a form of rational Deism, preferable to Christianity. In 2005, the Oxford Dictionary of Philosophy ranked Zarathustra as first in the chronology of philosophers. Zarathustra's impact lingers today due in part to the system of rational ethics he founded"
"Der Hölle Rache kocht in meinem Herzen """" (""Hell's vengeance boils in my heart""), commonly abbreviated """", is an aria sung by the Queen of the Night, a coloratura soprano part, in the second act of Mozart's opera ""The Magic Flute"" (""""). It depicts a fit of vengeful rage in which the Queen of the Night places a knife into the hand of her daughter Pamina and exhorts her to assassinate Sarastro, the Queen's rival, else she will disown and curse Pamina. ""Der Hölle Rache"" is one of the most famous of all opera arias, memorable, fast paced and menacingly"
"(Bart) is a big hit in Vienna, playing sonatas on the grand piano. Salieri (Lisa) is resentful of her brother's talents, especially when Mozart wins the award for best composer. At Mozart's flatulence-themed opera, ""The Musical Fruit"", Salieri serves the Emperor (Montgomery Burns) drugged wine. The opera is a success until the foppish audience sees the Emperor asleep and mimics him. Stunned, Mozart declares, ""People bored by opera? No way!"" The failure of his opera leads to Mozart's fall from popularity, after which he develops a high fever and becomes deathly ill. At her brother's deathbed, Salieri tells him she"
"many who encounter the opera is sexism and misogyny, particularly as expressed by the priests of Sarastro's order. Racism, as expressed in the character of Monostatos, is also a matter of wide concern. Here are some quotations from the libretto that represent the source of concern. Many critics have weighed in on the issue of sexism in the libretto. Branscombe (1991), though deploring these elements in the libretto, might nevertheless be considered to represent something of an apologist view. Hunter (2008:109) offers a middle-of-the-road course, and Brown-Montesano (2007) provides a consistent and forcefully-expressed refutation of the apologists. David Cairns takes"
"The Beauty Stone The Beauty Stone is an opera, billed as a ""romantic musical drama"" in three acts, composed by Arthur Sullivan to a libretto by Arthur Wing Pinero and J. Comyns Carr. The medieval Faustian story concerns an ugly, crippled girl, who dreams of being beautiful and meeting a handsome prince. The Devil offers her a magical stone that confers perfect beauty to anyone who wears it. The stone is passed from one character to another, but eventually the prince recognizes the girl's beautiful soul, the stone is discarded, and the disappointed Devil leaves the town. It premiered at"
"monk in Gotama’s community, pays homage, and Ānanda sings the final chorale. MARA: A Chamber Opera on Good and Evil MĀRA: A Chamber Opera on Good and Evil is an American chamber opera in two acts, with a libretto by Stephen Batchelor and music by Sherry Woods. The opera humanizes the story of Siddhattha Gotama (the Buddha) and his encounters with Māra, Taṇhā (Māra's daughter), and the demonic figures that appear to him as he seeks a way to live an awakened life in the world. ""MĀRA"" received its premiere performance in the Black Box Theatre of Francis Marion University"
"MARA: A Chamber Opera on Good and Evil MĀRA: A Chamber Opera on Good and Evil is an American chamber opera in two acts, with a libretto by Stephen Batchelor and music by Sherry Woods. The opera humanizes the story of Siddhattha Gotama (the Buddha) and his encounters with Māra, Taṇhā (Māra's daughter), and the demonic figures that appear to him as he seeks a way to live an awakened life in the world. ""MĀRA"" received its premiere performance in the Black Box Theatre of Francis Marion University Performing Arts Center (Florence, South Carolina) on October 28, 2016. Benjamin Woods"
"to get back to their former lovers, only to be rejected by them. When the night falls, we see the machinations of the gods behind the sufferings of the characters on earth. Lidio is captured by Ipparco, and Egisto goes mad. The story is however brought to a happy conclusion. Egisto (opera) Egisto (""Aegisthus"") is an opera in a prologue and three acts by Francesco Cavalli. It was designated as a ""favola dramatica musicale"". The Italian libretto was by Giovanni Faustini, his second text for Cavalli. It was first performed in Venice at the Teatro San Cassiano in 1643. Highly"
"have been the composer of the aria ""Ein Weib ist das herrlichste Ding"", for which Mozart wrote a set of variations for piano, K. 613 (the composer may instead have been another singer-composer in the troupe, Benedikt Schack). Mozart gradually came to participate more in the activities of the Schikaneder troupe, culminating in his opera ""The Magic Flute"" (1791), with libretto by Schikaneder. Gerl premiered the role of Sarastro, and continued to sing this part in many performances through 1792. He left Schikaneder's troupe in 1793. Gerl may have been a participant in a rehearsal of Mozart's ""Requiem"" on the"
"not exaggerating to suggest that it is a masterwork. ... [T]he sound quality of this recording is excellent. ... The singing is unbeatable, with all the soloists entering into the spirit of the story. What impressed me most was the orchestra"". The Beauty Stone The Beauty Stone is an opera, billed as a ""romantic musical drama"" in three acts, composed by Arthur Sullivan to a libretto by Arthur Wing Pinero and J. Comyns Carr. The medieval Faustian story concerns an ugly, crippled girl, who dreams of being beautiful and meeting a handsome prince. The Devil offers her a magical stone"
"three, and has a few substantial changes. Each act lasts for around an hour in performance. The Salzburg court chaplain Varesco was largely responsible for this editing of Metastasio's libretto. It is often referred to not as an opera, but as a serenata, a type of dramatic cantata. The appearance of a quartet of lovers (Aminta and Elisa, Agenore and Tamiri) of somewhat dubious fidelity automatically puts a modern audience in mind of ""Così fan tutte"". The principal psychological theme of the opera is, however, the demands of love against the demands of kingship, as Aminta, the shepherd-king, tussles with"
"Western sensibilities. The score is infused with musical references to composers who wrote of death, the devil, temptation, and betrayal. In act 1, scene 1, for example, Gotama riffs on the firstt cello's melodic line from Hildegard of Bingen's ""Ordo Virtutum"", a morality play in which the Devil has a speaking part but does not sing. Other references include the famous ground bass from Henry Purcell's ""Dido's Lament"", the foreboding Latin hymn ""Dies Irae"" (Day of Wrath), and an inverted melody from Bizet's ""Carmen"". ""MĀRA: A Chamber Opera on Good and Evil"" includes four main characters: Gotama, Māra, Taṇhā, and"
"the reservations of his advisers, summons him to the palace. Mozart happily accepts the job, much to the annoyance of Salieri. Mozart premieres ""Die Entführung aus dem Serail"" to mixed reviews from the Emperor. Salieri suspects that Mozart has slept with the star, Caterina Cavalieri, despite his engagement to Constanze Weber. The Emperor desires that Mozart instruct his niece, Princess Elisabeth, in music, but Salieri discourages him from doing so. Constanze visits Salieri to persuade him to make the Emperor reconsider, but she is unsuccessful. Salieri is enraged that God has bestowed upon Mozart the talent he has so desperately"
"these were re-constructions of three operas Mozart started, but never finished. Two were Italian comedies (""Lo sposo deluso"", and ""L'oca del Cairo""), and the third a German Singspiel (""Zaide""). They were conjoined in an original play by Maria Reva, and all founded on a concept by stage director Alan Corbishley: an impresario is sitting in a theatre, considering his next project when – to his amazement – the Gates of Limbo open. Out pour lost souls, spirits who have been waiting 200 years for Mozart to give them life. They beg for a chance to sing, but the impresario is"
"also acknowledge an influence of Freemasonry. For detailed discussion of sources see , as well as ""Libretto of The Magic Flute"". In composing the opera, Mozart evidently kept in mind the skills of the singers intended for the premiere, which included both virtuoso and ordinary comic actors asked to sing for the occasion. Thus, the vocal lines for Papageno—sung by Schikaneder himself—and Monostatos (Johann Joseph Nouseul) are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments. In contrast, Mozart's sister-in-law Josepha Hofer, who premiered the role of the Queen of"
"Queen is associated with both the night and the lowly realm of the earth. Tamino, like Anselmus, must learn the differences between a wise, majestic mentor and a female personification of evil. Hoffmann's work on one of his own operas, ""Undine"", which he composed in Dresden between 1812 and 1814, may also have influenced ""The Golden Pot"". Based on a story by Friedrich de la Motte Fouqué, the opera is the story of a water nymph who gains an immortal soul by winning the love of a human being. The transformation of Lindhorst's bronze knocker into the face of the"
"on his ""Requiem"", which a stranger in black commissioned from him. Mozart recalls Salieri's collaboration with Pierre Beaumarchais and asks if it could be true that Beaumarchais once poisoned someone, for genius and criminality are surely incompatible. Salieri then surreptitiously pours poison into Mozart's drink. Mozart begins to play at the keyboard, as Salieri begins to cry. Mozart sees this, but Salieri urges Mozart to continue. Mozart begins to feel ill, and leaves. Salieri ends the opera pondering Mozart's belief that a genius could not murder: did not Michelangelo kill for his commissions at the Vatican, or were those idle"
"August 2016 at the 10th Grimeborn Festival at Arcola Theatre in London, the stage director was Pamela Schermann and musical director was Andrew Charity. ""Time"": End of the 18th century ""Place"": Vienna, Austria Salieri enjoys high social position as a composer, and has dedicated himself to the service of his art. Secretly, however, he is jealous of Mozart's works because he recognizes their superior quality, especially given what he sees as the ""idle"" character of Mozart. Salieri invites Mozart to dinner and plans to poison him. Mozart and Salieri are dining at an inn. Mozart is troubled by his work"
"1, and Catalunya Música. In her review of the 2012 revival for ""Musical America"", Rebecca Schmid described the score as a ""rehashed Mozartean farce with shades of Cimarosa and Rossini"". ""Gramophone""'s critic, James Jolly, thought the music ""charming and occasionally surprisingly engaging with its vivid colours and original orchestral effects."" The opera is set in an abandoned house in Rome belonging to the nobleman Don Raimondo Colloverde. Unable to rent it out because it has the reputation of being haunted, he has instructed his major domo, Callisto, to place a sign in the street offering it to a poor person"
"works contributed to such recognition. The opera opens in a convent at night, the protagonist, Susanna, lying in prayer in front of an altar. She is approached by a number of figures, the most prominent of whom is Sister Clementia, who states that Susanna is sick, and ‘scarcely live[s] on this earth any longer’. The dialogue is underpinned by a high pedal in the organ, and - in conjunction with conventionally extra-musical sounds such as that of belfry bells, - heightens one's sense of total immersion, and helps reinforce the ritualistic and religious themes. Susanna finds herself increasingly seduced and"
"Mozart"" (1954), ""The House of Three Girls"" (1958), ""The Cardinal"" (1963) and ""The Salzburg Festival"" (Tony Palmer, 2006). Wilma Lipp Wilma Lipp (born 26 April 1925 in Vienna) is an Austrian operatic soprano, particularly associated with Mozart roles, especially Konstanze in ""Die Entführung aus dem Serail"" and the Queen of the Night in ""Die Zauberflöte"". Wilma Lipp possessed a pure, supple high-soprano voice with an accurate coloratura technique and a so-called ""white"" tone. Her career, which began in soubrette and high coloratura roles, later progressed to more lyrical ones such as Ilia, Countess Almaviva, Pamina, Eva, Musetta, Martha, Violetta, etc."
"La Calisto La Calisto is an opera by Francesco Cavalli from a libretto by Giovanni Faustini based on the mythological story of Callisto. The opera received its first performance on 28 November 1651 at the Teatro Sant 'Apollinare, Venice, where it drew limited audiences for its run of eleven performances. In the twentieth century it was successfully revived. The libretto was published in 1651 by Giuliani and Batti. The story combines two myths: Jupiter's seduction of Calisto, and Diana's adventure with Endymion. The plot is somewhat formulaic: Jane Glover has commented on how the librettist had to invent complications to"
"Thomas Mann's ""Death in Venice"" (who obsesses over the beautiful Tadzio), and the artist Orst, Edward is a lover of beauty, not a lover of people, and people's beauty is fleeting. Thus the disappearance of Jane Byron, Orst's beautiful model, and later of Luc, Edward's version of Tadzio, represents how cruel life can be to those who worship at Beauty's altar. Many of the characters (Manners, Orst, Marcel's father, Luc) are marked by obsession with others. The past continually intrudes into the twilight world Hollinghurst evokes, dragging Manners back to England for a time. Two major characters, both objects of"
"his conscience, and in this ""Il re pastore"" is closer in theme to ""Idomeneo"" than any other of Mozart's operas. Indeed, ""Idomeneo"" was the next completed opera that Mozart wrote after ""Il re pastore"", after his six-year-long break from the stage. Furthermore, the theme of qualities for kingship appears in another opera, ""La clemenza di Tito"", his last one. The king of Macedonia, Alessandro, has overthrown Stratone, the tyrant of Sidon, but aims to find the rightful king. ""In a meadow. The city of Sidon can be seen from a distance."" Elisa is with her lover Aminta, the shepherd. She"
"desired and vows to destroy Mozart. Mozart, meanwhile, struggles to find work and begins drinking. His father, Leopold Mozart, comes to visit him in Vienna. Constanze and Mozart take Leopold to a masked party (which Salieri also attends), where Mozart entertains the guests with musical antics. Leopold disapproves of his son's hedonism, and the family argues until Leopold leaves town. Salieri hires a young girl to pose as the Mozarts' maid while spying for him. She takes him to the Mozart residence, where he discovers that Mozart is working on an opera based on the play ""The Marriage of Figaro"","
"Matilda emerges and throws herself between them. The Queen condemns Norfolk to death, and, in the aria, ""Bell'alme generose"", pardons Leicester and the Scottish prisoners. Notes Sources Elisabetta, regina d'Inghilterra Elisabetta, regina d'Inghilterra (; Elizabeth, Queen of England) is a ""dramma per musica"" or opera in two acts by Gioachino Rossini to a libretto by Giovanni Schmidt, from the play ""Il paggio di Leicester"" (""Leicester's Page"") by Carlo Federici, which itself ""was derived from a novel ""The Recess"" (1785) by Sophia Lee."" It was premiered at the Teatro San Carlo in Naples on 4 October 1815 and was the first"
"Mozarteum in Salzburg which included the two Mozart arias. Marchese Calandrano is afflicted with insatiable curiosity. He is betrothed to the beautiful Clorinda but wonders what she would do if another man paid court to her. He enlists the young Count Ripaverde, who is in love with Calandrano's niece Emilia, to test Clorinda's fidelity. This proves to be Calandrino's downfall, as Ripaverde and Clorinda fall in love. Calandrino's friend, Aurelio consoles Emilia and they too fall in love, as do Serpina (Clorinda's maid) and Prospero, (Clorinda's maggiordomo). The opera ends with the three couples celebrating their new-found happiness together and"
"popular soprano, Lorenza Correa, sang the role of Queen Zenobia. The orchestra at the premiere was conducted by Alessandro Rolla, with the staging directed by Alessandro Sanquirico. The opera's opening night proved disappointing to the Milanese critics who praised the production but considered the music inferior to that of Rossini's ""Tancredi"" which had premiered in Venice earlier that year. There was also criticism of the three principal singers. Nevertheless, it had a run of 14 performances at La Scala that season and was performed sporadically in various Italian theatres (including the Teatro di San Carlo in Naples) between 1814 and"
"an austere personage who was already offended by the lack of dignity in the Mozarts' European journeys. During the Mozarts' Vienna visit, she may have developed an even more hostile view of the Mozart family. The failure in 1768 cost young Mozart his chance of establishing his reputation as a first-class opera composer in Vienna, which would have been a jumping board for obtaining a permanent position in another European court. Later, Mozart was, at first, very successful in Milan with his well-received performances of ""Mitridate"" (Carnival of December 1770 to January 1771), and especially ""Ascanio in Alba"", a pastoral"