Schikaneder was both an actor and a producer in Vienna for a playhouse that traditionally catered to "lowbrow" audiences (Loomis 2). Mozart's brand of comedy was just the thing for Schikaneder's theater. But "lowbrow" was merely one aspect of Mozart's comedic ventures: they could be equally stunning, poised, high-minded, honest, and full of common sense at the same time. Like the man, they resembled a mystery that could not be summed up with any one category or label: they were nothing less than unique and stellar expressions of a culture that emerged out of the Baroque and into a highly uncertain future. Mozart's Magic Flute would prove to be more than just "low comedy" -- it would be a magical tour de force (with one of the most famous arias of all-time) and a compelling reminder of the enchanting power of musical melody and the harmony between melody and nature, man and woman, king and subject, and head and heart when all are united in the same quest to achieve the Good. That, more than anything, is what The Magic Flute is about.
Like Mozart, Schikaneder was a Freemason -- and since he not only starred as the comedic bird-catcher Papageno but also wrote the libretto for the opera it is no surprise to find the work filled with Masonic references. Yet, the mysticism of the piece and its ultimate humanity have as much of a root in the religious climate of the time (Mozart himself was a Catholic) and the humanity with which the composer's worldview had been formed. Never haughty, proud or arrogant, The Magic Flute is grand and genteel, calm and energetic, humble and inspired. The whole work resonates with unity despite the numerous plots, subplots and themes. Beginning with a foundation intended for a "lowbrow" audience, Mozart and Schikaneder deftly maneuver upwards toward the Heavens, beginning right with the overture, which commences with the three solemn chords that announce the arrival of a seeming king: the king is Mozart and his staff is the Magic Flute.
The action centers on Tamino and Papageno, the former a brave and wandering prince and the latter a lowly, lying, and ridiculous bird-catcher. The opera begins in medio res with Tamino being pursued by a giant serpent, which Three Ladies miraculously overpower. The Ladies hilariously become enraptured by Tamino but are able to drag themselves away to report his presence in the kingdom to their mistress the Queen of the Night. The Queen draws Tamino into her confidence and convinces him to rescue her daughter from the clutches of Sarastro, whom she paints as an evil mastermind. Papageno is chosen to accompany him, and the duo is assisted by three seeming nymphs, a magic flute, and a box containing magic bells.
The significance of the magic flute and the magic bells is telling: both produce an effect that can be described as perfectly melodious and harmonious. Tamino's flute brings hearts together and tames nature. Papageno's magic bells subdue the wicked and dance them right off stage. The magical power of both is nothing short of what Mozart himself believed to be a quality of music: an overpowering force that could guide, calm, and unite as well as subdue, deceive, and reveal. The Queen of the Night's aria serves as an example of the latter.
Likewise, the opera is a work of pure symmetry. For example, the despair of Pamina is mirrored in the despair of Papageno, although the motives in both cases are different. Unrequited love is the cause of Pamina's distress (at least, she thinks...
As mentioned earlier on, the new political dispensation that took off is 1994 opened the "gates of creative possibility" (Roos,2010) for the opera producers since they were therefore able to juxtapose the Western and African art scenes. This was fueled by the sense of renewed intellectual and artistic access that way created by the new political dispensation. According to Roos (2010), theoretically, the new political dispensation culminated into an
For example, the scene in which Andrea stands before the statue of Marat and sings "Credi al destino" fails to evoke for me any real sensation. Perhaps it is because, as Grout suggests, the opera is "laden with harmonies that are heavy and oldfashioned [and] has little of special interest" (p. 495). Such could explain why the scenes feel at time clunky and abysmally lacking in flair. Still, at
Part 3 - Piano Concerto #2 in G minor, Op. 22 -- Camille Saint-Saens (1868) -- This work is said to be Saint-Saens' most popular piano concerto; premiered with the composer as the soloist and Anton Rubinstein conducting. Saint-Saens wrote it in 3 weeks, and it is scored for a classical orchestra (1 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, cymbals and strings). More of
We all delight in Don Giovanni's 'badness,' Leporello's actions suggest. Don Giovanni does what many of us wish we could do, but dare not. The Don loves women and leaves them, without any care for social conventions. While Leporello's decision to not engage in transgressions with women may be class-based in some instances, even the Don's higher-born counterparts do not openly defy conventional sexual wisdom to the same degree as
The key to his lust is easy -- voi sapete quell chef a (providing she wears a skirt). In other words, any female will do, as long as Giovanni can have the conquest. But this is too much for Leporello, and at the beginning of Act II he tells his master: No, no padrone, non-vo' restar (No master, I want to leave you.) Giovanni hands him a purse with
Classical Symphony Music, like other forms of art, evolved from numerous traditions that, when taken together, formed a new way of thinking about, and performing, certain types of works. Audiences change over time, and certain musical compositions that sound odd or strange to one audience are often accepted by others (e.g. The rioting during the premier of Stravinsky's Rite of Spring). When people think of classical music, for instance, they tend
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