Magic Flute Study Guide

2004/2005
Study Guide
Music by
Wolfgang Amadeus Mozart

Libretto by
Emanuel Schikaneder
This guide was written by Boston Lyric Opera/Opera New England’s
Education and Community Programs Department
© 2004 Boston Lyric Opera
Table of Contents
Using this guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . i-iv
Connecting to Massachusetts Learning Standards . . . . . . . . . . . . . . . v-xii
PART ONE: What Is Opera? What is The Magic Flute?

The Story Behind the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-2
Cast of Characters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Synopsis. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-5
Opera at a Glance: An Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
The Elements of Opera. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Different Styles of Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
What is Singspiel? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
The Creators of Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Mozart and Schikaneder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
The Great Opera Composers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12-14
Freemasonry, the Founding Fathers, and The Magic Flute. . . . . . . . . . . . . . . . . . . . . 15-16
The Interpreters of Opera: Putting It On the Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . 17-18
The Performers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19-20
Libretto of The Magic Flute . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21-33
Theatre Etiquette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Glossary of Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35-38
PART TWO: Activities and Worksheets

The Age of Enlightenment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
The Art of Storytelling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Music: Birdcatcher’s Song. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Opera Crossword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Magic Math . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44-47
The Meaning of Storytelling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Mozart and the American Revolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Opera Connoisseurs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Quest for Pamina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Sevenfold Sun Circle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Travels With Mozart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53-54
The Magic Flute Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55-56, 58-
59, 62-63
Questions for Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Words as Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Opera Soup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Project Ideas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64-65
a
Drama: Walk Like A… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Sound Science . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67-68
Music and Art: Drawing Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Styles of Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70-72
Always a Critic! Write Your Own Opera Review. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74-76
Set Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77-79
More Sound Science . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80-81
PART THREE: Educator Resources

Books. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83-85
Video and DVD. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Audio recordings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Websites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Answer Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87-88
Acknowledgments
Special thanks to Kelly Perlick, Education Intern, who assisted with the
formatting and organization of this study guide, and to Linda Cabot
Black, Boston Lyric Opera board member, who created the original
versions of several of the articles featured in this guide.
b
Using This Guide
Welcome!
This Boston Lyric Opera/Opera New England (ONE) study guide has been developed to
help you and your students explore the subject of opera, The Magic Flute, and a wide variety
of related subjects. The guide approaches these subjects via a wide range of disciplines,
including language arts, reading, math, science, problem-solving, and social studies.
Part One of the guide, “What Is Opera? What Is The Magic Flute?” will open students’
eyes to opera with basic, accessible introductions to the art of opera in general and to
the story and themes of Mozart’s The Magic Flute in particular.
The arrangement of pages in Part One is meant to inspire chronological usage; that is, moving through
Part One from the beginning will provide you with an ever-widening overview of The Magic Flute and
of opera in general.
Part Two, a series of informational pages and activity sheets, offers an

interdisciplinary approach to educating students about The Magic Flute and
related subjects. Many of these pages can be used by the students themselves.
Part Three, Educator Resources, provide teachers with additional resources in print,
on CD or video, and on the web that can be used in addition to the materials found in
the guide.
Massachusetts K-8 Curriculum Standards

Each activity in this guide can be linked to the Massachusetts K-8 Learning
Standards.
ONE for all!

This study guide is designed for use in grades 2-8. Successful navigation of the
informational sheets and activities found within requires varying levels of skill.
Some activities appear more or less advanced than others.
In using this guide, we hope you will feel free to adapt pages or activities to best meet the needs of
your students. A simple activity may be a perfect launching pad for a higher-level lesson, and a
complex lesson may contain key points onto which younger students can latch. Please make this guide
your own!
i
Prior to the day of performance students should, minimally:
o Know the basic plot line of the opera
o Be able to recognize all the major character names
o Know the name of the composer
Thorough, creative use of this guide will help your students to

know much more, enhancing their enjoyment of the opera even
further.
CD Recordings of The Magic Flute

Boston Lyric Opera/Opera New England is very pleased to provide teachers who have
purchased tickets for Boston-area performances with a complimentary CD of The Magic Flute
to help you prepare your students for the performance (limit one CD per school).
INTRODUCE OPERA: When they hear the word “opera”, most children will not know what to
expect. This CD will help.
Play highlights of the opera from the compact disc recording we have provided:
Die Zauberflöte (highlights). Karl Böhm, conductor; singers: Peters, Fischer-Dieskau, Lear,
Wunderlich, Otto, Crass; Berliner Philharmoniker; Deutsche Grammophon 429825-2.
# 1: Overture
Have students listen for the three chords that are played at the beginning of the overture.
Ask them when they hear the three chords again.
# 2: Zu Hilfe! Zu Hilfe! (Oh help me! Protect me!) In Tamino’s aria, he sings: “Oh help me,
protect me, my power forsake me! The treacherous serpent will soon overtake me. . . . Oh
rescue me, protect me, save me, rescue me.”
# 3: Der Vogelfänger bin ich ja (I am a man of wide-spread fame)

This is Papageno’s famous folk song where he sings: “I am a man of widespread fame, and
Papageno is my name. To tell you all in simple words; I make my living catching birds. . . . .
I’d like to fill my net with all the pretty girls I’ve met.”
Music for this song appears on page 42 of the study guide. Teach your students the
melody and English translation of this song – it’s easy to learn!
# 4: Dies Bildnis ist bezaubernd schön (O image angel-like and fair!)

In this aria by Tamino, he sings of his infatuation with Pamina: “O image angel like and fair!
No mortal can with thee compare! I feel it, I feel it how this godly sight pervades my heart with
new delight. I can not name this strange desire which burns my heart with glowing fire.”
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# 5: O zitre nicht, mein leider Sohn! (Oh tremble, not, my son arise)
In this aria the Queen of the Night sings of her grief over her daughter Pamina’s capture by
the evil Sarastro. “An evil fiend tore her from me. How helpless she cowered, her strength
over-powered! What sad consternation! What vain desperation! . . . For all my efforts were
too weak.”
# 6: Bei Männern, welche Liebe fühlen (The man who feels sweet love’s emotion)
In this duet, Papageno and Pamina sing of their desire to find their true loves. “Each maid
must share his deep devotion, and from this duty never part. The joys of love shall be our
own. We live by love, by love alone.”
# 7: O Isis und Osiris (O Isis and Osiris)

In this aria and chorus, Sarastro and chorus members sing of their desire that Tamino and
Pamina discover the right path to seek The Truth. “O Isis and Osiris favor this noble pair with
wisdom light! Grant them your aid in their endeavor. Lead them to find the path of right . Let
them be strong against temptation. . . Take them to your abode on high.”
# 8: Alles fühlt der Liebe Freuden (All the world is full of lovers)
In this aria, Monostatos laments of his loneliness in never having a girlfriend. “All the world
is full of lovers, man and maiden, bird and bee. Why am I not like the others? No one ever
looks at me!”
# 9: Der Hölle Rache kocht in meinem Herzen (The wrath of hell within my breast I
cherish)
In this classic aria, the Queen of the Night sings of her anger that Tamino has failed and
Sarastro still has her daughter. “The wrath of hell within my breast I cherish; death,
desperation, death, desperation prompt, the oath I swore. If by your hand Sarastro does not
perish . . . then as my child I know you nevermore.”
# 10: In deisen heilgen Hallen (Within these holy portals)

In this aria, Sarastro sings of Tamino and Pamina’s journey. “Within these holy portals,
revenge remains unknown, and to all erring mortals, their way by love is shown.”
# 11: Seid uns zum zweitenmal willkommen (Here in Sarastro’s hallowed border)
In this trio, the three spirits (genii) welcome Tamino and Papageno into Sarastro’s temple.
# 12: Ach, ich fühl’s, es ist verschwunden (Ah, I feel, to grief and sadness)
In this touching aria, Pamina sings of her pain from being rebuffed by Tamino during his vow
of silence. “Ah, I feel, to grief and sadness, ever turned is love’s delight. Gone forever joy
and gladness. In my heart reigns mournful night.”
# 13: O Isis und Osiris (O Isis and Osiris!)

The chorus and Sarastro sing of what is to come for Tamino. “The noble youth through
suffering recreated. Shall be to holy office consecrated.”
# 14: Ein Mädchen oder Weibchen (I’d give my finest feather)

Papagena sings of his heart’s desire to find his “little Papagena.” “I’d give my finest feather to
find a pretty wife. Two turtledoves together, we’d share a happy life!”
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# 15: Papagena!
Papageno and Papagena sing of their life together and building a happy family. “Now I will
be thine forever… come be my little starling . . . and their grace on us bestowing, will send us
tiny children dear.”
# 16: Die Strahlen der Sonne (The sun’s radiant glory has vanquished the night)
Sarastro and chorus sing of the triumphant of good over evil.
Note: The English libretto translation used in the above musical examples is taken from the
G. Shirmer Opera Score of The Magic Flute.
Calling All Teachers!

Send us your ideas! How do you use the study guide with your students? Have
you developed classroom activities or helpful tips to supplement the guide?
Share your ideas with us. Email us at education@blo.org or mail your ideas to:
Calling All Teachers!

c/o Education Department
Boston Lyric Opera
45 Franklin Street, 4th floor
Boston, MA 02110-1316
Be sure to include your name, school, contact information, and grade/subject
taught.
Questions?
If you have any questions about how to use this guide, contact:
Lucas Dennis
Education and Community Programs Manager
(617) 542-4912 extension 239
ldennis@blo.org
iv
Connecting This Guide to
Massachusetts Learning Standards
Boston Lyric Opera is proud to create educational materials that connect opera to multiple disciplines and
reinforce the learning standards summarized by the Commonwealth’s Department of Education. This
study guide meets the following learning standards as outlined in the K-8 Massachusetts Curriculum
Frameworks.
ARRANGED BY PAGE NUMBER
Page
Number (s) Title Subject (s) Standard (s)
1-2 The Story Behind the Language Arts 8: Understanding a Text
Opera 15: Style and Language
History 3: Research, Evidence, and Point of
View
5: Interdisciplinary Learning
3 Cast of Characters Language Arts 8: Understanding a Text
17: Dramatic Literature
4-5 Synopsis Language Arts 8: Understanding a Text
15: Style and Language
6 Opera at a Glance: Language Arts 8: Understanding a Text
An Introduction 9: Making Connections
13: Nonfiction
Arts 21: Purposes of the Arts
22: Roles of Artists in Communities
23: Concepts of Style
27: Interdisciplinary Connections
7 The Elements of Opera Language Arts 8: Understanding a Text
13: Nonfiction
Arts 10: Critical Response
24: Materials, Inventions, and
Technologies
8 Different Styles of Opera Arts 23: Concepts of Style
Language Arts 13: Nonfiction
9 What is Singspiel? Arts 23: Concepts of Style
Foreign 5. Comparison
Languages
10 The Creators of Opera Language Arts 9: Making Connections
13: Nonfiction
History 3: Research, Evidence, and Point of
View
Arts 10: Critical Response
21: Purposes of the Arts
22: Roles of Artists in Communities
v
Page
11 Mozart and Schikaneder History 1: Chronology and Cause
3: Research, Evidence, and Point of
View
Arts 22: Roles of Artists in Communities
12-14 The Great Opera Arts 22: Roles of Artists in Communities
Composers
Language Arts 8: Understanding a Text
9: Making Connections
13: Nonfiction
Arts 22: Roles of Artists in Communities
15-16 Freemasonry, the History 1: Chronology and Cause
Founding Fathers, and 2: Historical Understanding
The Magic Flute 3: Research, Evidence, and Point of
View
Language Arts 9: Making Connections
13: Nonfiction
Arts 21: Purposes of the Arts
17-18 The Interpreters of Opera: Arts 22: Roles of Artists in Communities
Putting It On the Stage 24: Materials, Inventions, and
Technologies
19-20 The Performers Language Arts 8: Understanding a Text
13: Nonfiction
Arts 24: Materials, Inventions, and
Technologies
21-33 Libretto Language Arts 4: Vocabulary and Concept
Development
8: Understanding a Text
12: Fiction
17: Dramatic Literature
18: Dramatic Reading and
Performance
Arts 11: Acting
34 Theatre Etiquette Language Arts 8: Understanding a Text
35-38 Glossary of Terms Language Arts 4: Vocabulary and Concept
Development
5: Structure and Origins of Modern
English
Foreign 5: Comparison
Languages
40 The Age of Enlightenment History 2: Historical Understanding
Language Arts 2: Questioning, Listening,
Contributing
4: Vocabulary and Concept
Development
13: Nonfiction
41 The Art of Storytelling Arts 23: Concepts of Style
vi
Page
Contributing
Development
19: Writing
42 Music: Birdcatcher’s Song Arts 6: Singing
7: Reading and Notation
43 Opera Crossword Language Arts 4: Vocabulary and Concept
Development
44-47 Magic Math Math 1: Understanding Numbers
2: Understanding Operations
4: Address Data in Charts
48 The Meaning of Language Arts 2: Questioning, Listening,
Storytelling Contributing
Development
9: Making Connections
49 Mozart and the American History 1: Chronology and Cause
Revolution 2: Historical Understanding
Language Arts 9: Making Connections
50 Opera Connoisseurs Arts 25: Research in the Arts
Contributing
51 Quest for Pamina Arts 18: Observation, Abstraction, and
Invention
52 Sevenfold Sun Circle Arts 17: Elements and Principles of
Design
53-54 Travels Geography 8: Places and Regions of the World
With Mozart
55-56, 58-59, The Magic Flute Language Arts 4: Vocabulary and Concept
62-63 Vocabulary Development
57 Questions for Discussion Language Arts 2: Questioning, Listening,
Contributing
Arts 25: Research in the Arts
60 Words as Imagery Language Arts 15: Style and Language
19: Writing
61 Opera Soup Language Arts 4: Vocabulary and Concept
Development
19: Writing
23: Organizing Ideas in Writing
64-65 Project Ideas Arts 18: Observation, Abstraction, and
Invention
19: Processes of Artistry
21: Purposes of the Arts
24: Materials, Inventions, and
Technologies
25: Research in the Arts
66 Drama: Walk Like A… Arts 1: Movement Elements
11: Acting
vii
Page
67-68 Sound Science Science 4, 5: Forms of Energy
11: Sound Energy
69 Music and Drawing: Arts 10: Critical Response
Drawing Music 27: Interdisciplinary Connections
70-72 Styles of Poetry Language Arts 14: Poetry
Arts 19: Processes of Artistry
23: Concepts of Style
74-76 Always a Critic! Language Arts 19: Writing
Write Your Own Opera 20: Consideration of Audience and
Review Purpose
21: Revising
22: Standard English Conventions
23: Organizing Ideas in Writing
24: Research
77-79 Set Design Arts 14: Technical Theatre
19: Processes of Artistry
80-81 More Sound Science Science 4, 5: Forms of Energy
11: Sound Energy
ARRANGED BY SUBJECT AREA
LANGUAGE ARTS
Learning Standard (K-8) Description Page Number (s)
Standard 2: Students will pose questions, listen to the 40, 41, 48
Questioning, Listening, and ideas of others, and contribute their own
Contributing knowledge or ideas in order to acquire new
knowledge.
Standard 4: Students will understand and acquire new 35-38, 43, 48, 55-56,
Vocabulary and Concept vocabulary and use it correctly in reading 58-59, 62-63
Development and writing.
Standard 5: Students will analyze standard English 35-38
Structure and Origins of grammar and usage and recognize how its
Modern English vocabulary has developed and been
influenced by other languages.
Standard 8: Students will identify the basic facts and 1-7, 11, 19-20, 21-33
Understanding a Text main ideas in a text and use them as the
basis for interpretations.
Standard 9: Students will deepen their understanding 4-6, 10-11, 48-49
Making Connections of a literary or non-literary work by
relating it to its contemporary context or
historical background.
Standard 12: Students will identify, analyze, and apply 1-2, 4-5, 21-33
Fiction knowledge of the structure and elements of
fiction and provide evidence from the text
to support their understanding.
Standard 13: Students will identify, analyze, and apply 6-20, 40
Nonfiction knowledge of the purposes, structures, and
elements of nonfiction or informational
materials and provide evidence from the
text to support their understanding.
viii
Standard 14: Students will identify, analyze, and apply 70-72
Poetry knowledge of the themes, structure, and
elements of poetry and provide evidence
from the text to support their
understanding.
Standard 15: Students will identify and analyze how an 1-2, 4-5, 21-33, 60,
Style and Language author’s words appeal to the senses, create 70-72
imagery, suggest mood, and set tone, and
provide evidence from the text to support
their understanding.
Standard 17: Students will identify, analyze, and apply 21-33
Dramatic Literature knowledge of the themes, structure, and
elements of drama and provide evidence
from the text to support their
understanding.
Standard 18: Students will present dramatic readings, 21-33
Dramatic Reading and recitations, and performances that
Performance demonstrate appropriate consideration of
audience and purpose.
Standard 19: Students will write with a clear focus, 60-61, 70-76
Writing coherent organization, and sufficient
detail.
Standard 20: Students will write for different audiences 74-76
Consideration of Audience and and purposes.
Purpose
Standard 21: Students will demonstrate improvement in 60-61, 70-76
Revising organization, content, paragraph
development, level of detail, style, tone,
and word choice in their compositions after
revising them.
Standard 22: Students will use knowledge of standard 60-61, 70-76
Standard English Conventions English conventions in their writing,
revising, and editing.
Standard 23: Students will organize ideas in writing in 60-61, 70-76
Organizing Ideas in Writing a way that makes sense for their purpose.
Standard 24: Students will gather information from a 74-76
Research variety of sources, analyze and evaluate
the quality of information they obtain, and
use it to answer their own questions.
Standard 25: Students will develop and use appropriate 74-76
Evaluating Writing and rhetorical, logical, and stylistic criteria for
Presentations assessing final versions of their
compositions or research projects before
presenting them to varied audiences.
HISTORY
Learning Standard (K-8) Description Page Numbers
Standard 1: Students will understand the chronological 15-16, 40, 49
Chronology and Cause order of historical events and recognize the
complexity of historical cause and effect,
including the interaction of forces from
different spheres of human activity, the
importance of ideas, and of individual choice,
actions, and character.
ix
Standard 2: Students will understand the meaning, 15-16, 40, 49
Historical Understanding implications, and import of historical events,
while recognizing the contingency and
unpredictability of history by studying past
ideas as they were thought, and past events
as they were lived, by people of the time.
Standard 3: Students will acquire the ability to frame 1-2, 10, 15-16
Research, Evidence, and Point questions that can be answered by historical
of View study and research.
Standard 5: Students will describe and explain differing 1-2, 10, 15-16, 40,
Interdisciplinary Learning conceptions of human nature, the ideas of 49
human nature in the arts, political and
economic theories, education of the public,
and the conduct of individual lives.
GEOGRAPHY
Standard 8: Students will describe the earth’s natural 53-54
Places and Regions of the World features and their physical and biological
characteristics; they will be able to visualize
and map oceans and continents; mountain
chains and rivers; forest, plain and desert;
resources both above and below ground; and
conditions of climate and seasons.
SCIENCE
Standard 4: Identify the basic forms of energy (light, 67-68, 80-81
Forms of Energy sounds, heat, electrical, and magnetic).
Recognize that energy is the ability to cause
motion or create change.
Standard 5: Give examples of how energy can be 67-68, 80-81
Forms of Energy transferred from one form to another.
Standard 11: Recognize that sound is produced by 67-68, 80-81
Sound Energy vibrating objects and requires a medium
through which to travel. Relate the rate of
vibration to the pitch of the sound.
MATH
Standard 1: Understand numbers, ways of representing 44-47
Understanding Numbers numbers, relationships among numbers, and
number systems.
Standard 2: Understand meanings of operations and how 44-47
Understanding Operations they relate to one another
Standard 4: Formulate questions that can be addressed 44-47
Address Data in Charts with data and collect, organize, and display
relevant data to answer them. Develop and
evaluate inferences and predictions that are
based on data.
x
FOREIGN LANGUAGE
Standard 5: Students will demonstrate an understanding 9, 35-38
Comparison of the nature of language through comparison
of the language studied and their own.
ARTS
Standard 1: Students will identify and demonstrate 66
Movement Elements movement elements and dance skills.
Standard 6: Students will sing with others a varied 42
Singing repertoire of music.
Standard 7: Students will read music written in standard 42

Reading and Notation notation.
Standard 10: Students will describe and analyze the music 7, 69
Critical Response of others.
Standard 11: Acting Students will develop acting skills to portray 21-33, 66
characters who interact in improvised and
scripted scenes.
Standard 14: Students will demonstrate skills in using the 77-79
Technical Theatre basic tools, media, and techniques involved in
theatrical production.
Standard 15: Students will describe and analyze the 74-76
Critical Response theatrical work of others.
Standard 17: Students will demonstrate knowledge of the 52, 77-79
Elements and Principles of elements and principles of design.
Design
Standard 18: Students will demonstrate their powers of 51, 64-65
Observation, Abstraction, and observation, abstraction, and invention by
Invention using a variety of media and materials.
Standard 19: Students will demonstrate knowledge of the 64-65, 77-79
Processes of Artistry processes of creating their own artistic work.
Standard 21: Students will describe the purpose for which 6, 10, 15-16,
Purposes of the Arts works of dance, music, theatre, visual arts, 64-65,
and architecture were and are created.
Standard 22: Students will describe the roles of artists, 7, 11, 12-14
Roles of Artists in Communities patrons, cultural organizations, and arts
institutions in societies of the past and
present.
Standard 23: Students will demonstrate their 6, 8, 9, 41, 50
Concepts of Style understanding of styles, influence, and
change by identifying when and where art
works were created, and by analyzing
characteristic features of the work.
Standard 24: Students will describe and analyze how 10, 64-65
Materials, Inventions, and performing and visual artists use materials,
Technologies inventions, and technologies.
Standard 25: Students will conduct research on topics in 50, 64-65
Research in the Arts the arts by framing open-ended questions.
Standard 27: Students will apply their knowledge of the 64-65, 70-72
Interdisciplinary Connections arts to the study of English language arts,
foreign languages, history, social science,
math, and technology.
xi
The Story Behind The Opera…
The Sevenfold Sun & the magic flute

nce upon a time, there lived in the East a wise King, whose good deeds were
prized far and wide. In his possession was the Sevenfold Sun Circle, which could
reveal the secrets of Nature and thus give great power to its possessor. The King
knew that the Sun Circle’s power could be misused, but he guarded it carefully and used it
only for the benefit of mankind.
The Queen, his wife, was very beautiful. She was also hungry for more power. With great
deliberation the King withstood her entreaties to create with the Sun Circle more power and splendor for
themselves.
Their only child was a daughter, named Pamina. She was very attached to her father. She often
accompanied him on journeys through his kingdom, to see to the lot of his subjects, punish wrong, and
reward the good. On one such journey, the King, traveling alone, lost his way in the high mountains,
where a powerful storm overtook him. He found shelter under a mighty and ancient oak tree. The storm
lasted three days. And while he waited he carved from the tree’s wood a flute. As he blew upon it, it led
him home, for it was a magic flute. The King put it carefully away.
On the border of the kingdom, in the trackless Fire Mountains, lay the grounds of a
sacred temple, the seat of an ancient Order of people who had set upon themselves
the duty to learn wisdom, to free mankind from the darkness of superstition and
hate, and to preach brotherly love. Only the wisest persons of each age could
become full members of this order, after they had undergone hard tests, in which
they must show constancy, courage, and discretion. The temple and its grounds
became a shining example of human activity, and the members served mankind in
many lands.
From time to time the forces of evil overran the temple grounds and tried to destroy the Order, but always
it regrouped and rebuilt, and became stronger.
During the reign of the wise king and the beautiful queen, the leader of this Order was named Sarastro,2 an
exceptionally wise man. A deep friendship arose between the King and Sarastro. The two met often and
Sarastro would counsel the King in his affairs of state. With the two men working closely together, the
kingdom flourished.
In a neighboring kingdom a prince had been born, who was now fast becoming a man – so skillful, brave,
and prudent that even Sarastro and the wise King began to hear of him. It became the King’s innermost
wish that this young prince Tamino might someday reign together with Pamina over his kingdom.
2
See Zoroaster and Zoroastrianism, the religion of Persia from ancient times until the coming of Islam in 636 A.D.
1
Then it came to pass, that the wise King sickened and began to die. As he felt death
approach, he called Sarastro to him. All his treasures, his crown, and his Magic Flute
he left to his wife the Queen, but the Sevenfold Sun Circle he gave over to Sarastro
for safe-keeping, for he feared the Queen would misuse it in her quest for power.
Also, the King was afraid that Pamina would come to harm with the confusion that
would spread throughout the country after his death. So he bade Sarastro to take his
daughter, educate her in the precepts of the Order, and one day see her betrothed to
the young prince Tamino. As the king breathed his last, the Queen cursed him for taking away her
daughter.
Pamina grew into a beautiful maiden. She was well protected in Sarastro’s temple grounds, but was
constantly pestered by the man Monostatos, whom Sarastro had appointed to watch over her. In her
distress and loneliness, she became more and more homesick for her mother. But it had come to pass just
as her father had foreseen: the land lay under the harsh and unjust rule of the selfish Queen. With great
skill she spread the rumor that she had been betrayed by her husband and robbed by Sarastro. Her only
goal was to possess the Sun Circle. To obtain this prized possession, she allied herself with the powers of
evil and became known as the Queen of the Night. So reigned strife, confusion, and falsehood throughout
the land, and even in the neighboring kingdom of Tamino’s father the Queen’s lies were believed.
2
The magic Flute
THE CHARACTERS
Tamino, a prince from a neighboring kingdom ....................................................................................Tenor
Three Ladies of the Queen of the Night ...................................................... 2 Sopranos, 1 mezzo-soprano
Papageno, bird catcher to the Queen............................................................................................................................................................Baritone
The Queen of the Night ..................................................................................................................... Soprano
Pamina, her daughter ............................................................................................................................ Soprano
Monostatos, Pamina’s guard ....................................................................................................................Tenor
Sarastro, Leader of the Brotherhood of the Temple ..............................................................................Bass
Papagena, a bird-like young woman................................................................................................... Soprano
THE SETTING
A faraway land in the mountains between two kingdoms. Evocative of Ancient Egypt.
Use this box to

draw your
setting of the
Magic Flute!
SYNOPSIS – THE STORY OF THE OPERA
3
A young prince named Tamino, out hunting in the forest,
has strayed into the mountains and is being pursued by a
dragon. He has no more arrows in his quiver, and,
expecting to die, he faints. As he collapses, the Three
Ladies of the Queen of the Night appear with huge spears
and kill the dragon. The Ladies find the prince so
handsome they are reluctant to leave, but finally go off to
report to the Queen.
In wanders Papageno, The Birdcatcher. Tamino awakens

and Papageno introduces himself and explains that in
exchange for food and wine he catches birds for the Queen
of the Night. Tamino spies the dead dragon. “Did you save
my life by killing that monster over there?” Papageno,
seeing that the dragon is truly dead, replies, “Of course!”
No sooner is the boast out of Papageno’s mouth than the

Three Ladies reappear, scold him for lying, and place a
padlock on his mouth. They then present Tamino with a
miniature portrait of the Queen’s beautiful daughter,
Pamina. They tell him that she has been kidnapped by the
evil Sarastro. The sky suddenly grows dark, and The Queen appears. She sorrowfully sings of her
daughter’s abduction, and then turns to the prince, saying “I appoint you to rescue my daughter! If you
succeed, you may have her hand in marriage.” Tamino, already smitten by the princess’s portrait, eagerly
agrees to find and rescue her. Papageno is to accompany him. Before leaving on their quest, The Ladies
and The Queen present them with a magic flute and a set of magic bells to keep them safe.
Meanwhile, Pamina is a prisoner in Sarastro’s Temple grounds, where she is tormented and threatened by
her guard, the ugly Monostatos. The Queen enters Pamina’s quarters and orders Monostatos to leave
Pamina alone. The Queen then demands that Pamina prove her love to her mother by killing Sarastro
with a dagger. Pamina is horrified, but the Queen thrusts the dagger into her hand and leaves.
Approaching Sarastro’s mountain retreat, Tamino and Papageno have become separated. Papageno comes
upon Pamina, and recognizes her from her portrait. He tells her that she is to be rescued by Prince
Tamino, who has fallen in love with her. Pamina, who is desperately lonely, is happy to hear that she is
loved. Papageno tells her he too is lonely and wishes he could find a wife.
Tamino now approaches the Temple grounds and is confronted by a priest (actually Sarastro himself), who
confuses him by asserting that Sarastro is not evil but a wise and just leader. Pamina, he says, is not a
prisoner; Tamino must wait until he learns the real story behind her separation from her mother.
Furthermore, before Tamino can proceed, he must undergo certain trials to prove his courage and
steadfastness.
In lonely desperation, Tamino plays upon his magic flute, which has the power to make the beasts of the
forest dance. In response, he hears the sounds of Papageno’s magic bells in another part of the Temple.
Papageno and Pamina are still trying to find their way to join Tamino when they are accosted by
4
Monostatos. As he threatens to tie them up, Papageno plays his magic bells, which put such a spell on
Monostatos that he hops off dancing a jig.
Finally, Tamino joins them, but Monostatos reenters with Sarastro and lays bare not only their attempt to
escape, but also Pamina and her mother’s plot to assassinate Sarastro. Sarastro, however, sees through
Monostatos’s scheming and banishes him from the Temple forever.
Pamina begs Sarastro to believe that she could have never brought herself to kill him. She also begs
forgiveness for her mother’s impulsive plotting, and not to seek revenge. Sarastro replies that revenge has
no place in his realm.
Before Tamino and Pamina can finally be together, Tamino (and Papageno) must undergo certain trials: of
silence, then fire, then water. Pamina comes upon Tamino when he has been sworn to silence and does
not answer her pleading. She sings of desperate sadness; devastated, she wanders off.
Papageno has utterly failed his test of silence and fortitude, but in comes an old crone who persuades him
that she could be his faithful wife. As Papageno contemplates life married to an old crone, she throws off
her cloak and reveals that she is the lovely Papagena, the perfect wife for him. But Sarastro whisks her
away.
Tamino, having passed the test of silence, is reunited with Pamina, who now determines to accompany
him through the two final tests of fire and water. Together they go through the terrifying initiations,
Pamina leading the way and Tamino playing his faithful flute.
Papageno is desperate to find his Papagena again. Just as he despairs, she appears, and together they plan
their life together with lots of children. Monostatos, now siding with the Queen of the Night and her
Ladies, leads the group into the Temple stronghold to destroy Sarastro, but the power of his Sevenfold
Circle of the Sun sends them into the dark abyss.
5
Opera at a Glance: Introduction
What is opera?
Opera is a dramatic story told through song. It is considered by many to be the most complete art form,
combining all of the elements of art, words, music, art, drama, and dance. The earliest Italian operas were
called several things, such as “favola in musica” (fable in music) and “dramma per musica” (drama by
means of music). This last title is very close to the dictionary definition, and is the correct basis for any
discussion about opera.
The unique thing in opera is the use of music to convey an entire story/plot. This is based on the feeling
that music can communicate people’s reactions and emotions better than words (read or spoken) or
pictures. Opera takes any type of dramatic story and tries to make it more exciting and more believable
with the help of music. Many famous stories have been made into operas, including Cinderella, Hansel and
Gretel, and Romeo and Juliet.
How did opera get started?

The concept of opera was developing many
years before the first opera was written. Its
beginnings can be traced to the ancient
Greeks. They fused poetry and music,
creating plays that incorporate song, spoken
language and dance, accompanied by string or How is Opera different around the world?
wind instruments.
Italy was the first country where opera became popular. It
was the homeland of Jacopo Peri and Claudio Monteverdi.
In the 1100s the early Christian church set
In time this exciting form of entertainment spread to the
religious stories to music, a style known as rest of Europe. France and Germany joined Italy as the
liturgical drama. The first true opera, Daphne, principal opera producers. Eventually opera came to
was composed by Jacopo Peri (1561-1633). It reflect the stories and musical styles of each of these
told the story of a Greek myth. The first great countries.
composer of opera was Claudio Monteverdi
(1567-1643). Some of his operas are still The Italians have always been famous for their love of
performed today. singing, and so in Italian Opera there has always been great
emphasis placed on the singer and the beautiful sounds of
the human voice. It wasn’t until the late 19th century and
early 20th century with the later works of Verdi and the operas of Puccini was a balance achieved between the role of
the orchestra and that of the singer, and the combining of these two forces, to give a more effective presentation of
the story.
The French have favored the pictorial side of drama, and this has led to a continuing emphasis on the visual
spectacle, especially with dancing. An example of this: the Paris opera in the 19th century would not accept a work
for performance if it did not contain a major ballet. Verdi, an Italian composer, had to add ballets to all of his works
to get them performed in Paris.
The Germans have always sought to extract from both the Italian and French traditions, and go beyond both in an
attempt to present more than just a story. In fact, one of the greatest German opera composers, Richard Wagner,
chose legends or myths for most of his opera plots so that he could communicate ideas as well as just tell a story.
6
The Elements of Opera
_____________________________________________________________________________________
A score is the blueprint to an opera. It consists of the words, music, stage directions, and often
performance notes for the entire show. An opera score is often divided into sections. It begins with the
overture, followed by one to five acts, and one or more intermissions. Each act may be divided into
scenes. The scenes are comprised of recitatives, arias, duets, larger ensemble,s and choruses.
Overture
Musical
introduction played
by the orchestra
that often consists
of excerpts from
the opera.
Intermission Act
A break between A group of scenes
acts. This allows the with a common
audience to stretch theme, such as a
and the performers specific time or
to rest. Singing is place. Most operas
hard work! consist of 1-5 acts.
Aria Recitative
AR-ee-uh ress-it-uh-TEEV
A piece sung by one Speechlike singing
person. Arias allow that advances the
singers to “show plot & fills the
off” while reflecting spaces between the
on their emotions. arias & choruses.
Duet Chorus
A musical piece A musical piece
sung by 2 people. sung by a group of
people. The chorus
Trio may sing on stage
A musical piece or off stage.
sung by 3 people
7
Different Styles of Opera
Grand opera
Spectacular opera. It is performed
with elaborate sets and costumes.
Many people are needed to make it
happen. Grand opera involves
royalty, heroism, an elaborate ballet
Bel canto scene, and is often long. Composer
This Italian phrase means “beautiful Jules Massenet wrote opera in this
singing.” These operas grew from a style.
style of singing emphasizing long
phrases, breath control and flexibility
in singing both loudly and softly.
Because the voice is considered the
most expressive element, the words
are often secondary. Gaetano
Donizetti composed in this style.
Opera seria
Opera buffa Serious opera. These stories are
Comic opera, always sung in often tragic, and typically involve
Italian. The jokesters in heroes and kings or ancient
these operas are always the myths and gods. Some of
working class, such as Handel’s operas are in this style.
maids, peasants, or servants,
who keep busy getting the
best of their employers.
Gioachino Rossini Music drama
composed in this style. A style of opera
that is created by a
single artist who
writes both the
text and the music
to advance the
drama. This style
fuses many art
Singspiel forms, and makes
Singspiel evolved in German speaking countries out of the each one as
comic opera tradition. It includes elements of comic important as the
opera, spoken dialogue interjected among the sung others. Composer
phrases, and, often, an exotic or fanciful theme. Mozart’s Richard Wagner
The Magic Flute is an example of this style. (1813-1883)
defined this style.
8
Ladies & Gentlemen…
What type of Opera is
The Magic Flute?
Singspiel…A short Introduction

Since the dawn of history, comic or popular theatre has existed alongside serious or tragic
theatre. In primitive societies and in modern ones as well, comedy was commonly used as
an invaluable way to get at truth. For example, in ancient Greece, satyr plays, those
involving humor and improvisation, were as popular as the tragedies. Medieval morality
plays featured a moral lesson and a goodly dose of clowning. In England, it was the genius
of Shakespeare that managed to bring together these two elements in a single play—not
once but again and again, in one masterpiece after another.
Opera, too, was influenced by the audiences’ need for a good laugh. The first comedies
took the form of entertainment during intermission (called intermezzi) between the acts of
a serious opera. By the 18th century, intermezzi had evolved into opera buffa (comic opera)
which was just as popular as its serious counterpart.
Comedy requires jokes, and jokes require dialogue. Because it is difficult to fit the rhythms
of dialogue into song forms, the Italians developed recitative, or sung dialogue (see
Glossary). Recitative allowed composers to use music throughout an entire opera – not
stopping for dialogue – yet tell dialogue-heavy jokes. The Germans, however, developed a
different approach to musical comedy: singspiel (pronounced “zing-shpeel”), or, literally,
“sing play.” In this form, spoken dialogue is interspersed among traditional arias. You will
notice that this is the case in The Magic Flute. In all of these popular entertainments,
Shakespeare’s plays and Mozart’s The Magic Flute stand virtually alone in their masterful
integration of lowly comedy and high tragedy (or idealism).
9
The Creators
_____________________________________________________________________________________________________________________
Opera is created by a composer who writes the music, and a librettist who writes the words. Most
operas are composed in European languages—mainly Italian, German, French, Russian, and English.
The Composer
The composer has a historically important role in Western culture. Both the nobility and the Church
respected musicians, and thus provided for the care and livelihood of artists throughout the latter part of
the 18th century. Although artists benefited from the personal security of the patronage system, most did
not have the freedom to choose the subject or style of their compositions. It was not until the end of the
1700s that the patronage system declined. The rise of the consumer class allowed composers to write
music that could be published and sold to the public. The result was an explosion of creativity, in both
style and subject, throughout Europe.
Did you know?

Today many opera companies in the United
States project supertitles on screens above or
beside the stage. They are English translations
of the opera designed so that the audience can
read what is being said or sung without taking
their eyes off of the performer. This is distinct
from subtitles where the text is displayed below
the performance and often on a seat-back close
to the spectator.
The Librettist
The librettist creates or adapts a story so that it can be sung. The stories adapted for opera were usually
taken from historical events, myths, poems or plays. Composers often had favorite librettists with whom
they worked regularly. Perhaps the most well-known librettist is Lorenzo da Ponte (1749-1838) who
collaborated with Mozart on three of his most popular operas: The Marriage of Figaro, Don Giovanni, and
Così fan tutte.
10
Mozart and Schikaneder∗
Little Wolfgang Mozart, child prodigy pianist, violinist and composer, was
the darling of most of the crowned heads of Europe before he was ten. At
35 when Mozart wrote The Magic Flute he was acknowledged by many
educated people to be the greatest composer in Europe, but bad luck and
boyish manners had made his career a constant struggle against ruin. It
was Mozart’s fate to live in a century when musicians were, as often as not,
treated like court tailors, or worse.
But opera – this was the point at which the general public most often came
in contact with the music of the great composer. Tunes from The Marriage
of Figaro were being whistled everywhere. So, it was to opera he turned
once again to recoup his finances.
This time he chose as a collaborator Vienna’s most popular man of the
Wolfgang Amadeus Mozart theatre, Emanuel Schikaneder. Schikaneder had a small wooden theatre on
the outskirts of the city, in which he was producer, director, comedian,
tragedian, scriptwriter, and publicist all rolled into one. On alternating nights he might regale his audience
with his comic turns, only to pack them in the next night as a histrionic Hamlet. He and Mozart had
known each other for years, but now at last they would work together to create what would become
Mozart’s final opera, The Magic Flute.
Schikaneder had selected the story Lulu by Liebeskind, which had originally
appeared in a volume of oriental tales. However, it turned out that the tale was
being presented at another German theatre which prevented Schikaneder from
proceeding as originally planned.
Both Mozart and Schikaneder were Masons and during the late 1700’s the
endorsement of Freemasonry was considered controversial (see page 15 on
Freemasonry). Queen Maria Theresa indicted Freemasonry and she ordered her
troops to break up the Masonic lodges. Schikaneder decided that this was his chance
to make a political statement. For the next 150 years, most productions of The Magic
Flute contained heavy Masonic symbolism.
Mozart’s work on the opera was interrupted during the summer of 1791, first to start
work on a Requiem, on commission from a mysterious stranger, then to write a
completely different opera for the Emperor (which he finished in three weeks, Emanuel Schikaneder
La Clemenza di Tito, an opera also full of idealism and forgiveness). The Magic Flute opened on September 30th with
Mozart conducting and Schikaneder in the role of Papageno the Birdcatcher, to great acclaim. It had many
performances that autumn, but Mozart was unable to conduct them. He died on December 5th, leaving his
Requiem incomplete.
∗
Linda Cabot Black created this article for the 1996 Opera New England Study Guide.
11
The Great Opera Composers
_____________________________________________________________________________________
More information about some of the composers who defined and re-defined the opera world!
Wolfgang Amadeus Mozart (1756-1791)

Don Giovanni, The Magic Flute, The Marriage of Figaro
Mozart was a child prodigy who toured throughout Europe, performing and
composing. When he was just 8 years old, his first compositions were
published. Mozart served as performer and composer in a number of royal
and papal courts, but insisted on freedom when composing. He was a
prolific composer, completing more than 20 operas and countless chamber
pieces, concertos, symphonies, and choral works.
Wolfgang Amadeus Mozart
Gaetano Donizetti (1797-1848)

The Daughter of the Regiment, Don Pasquale
Donizetti was trained in music school as a singer and keyboardist, but some
of his teachers did not think he could sing well enough. He was nearly
kicked out of school, but the founder of the school believed in him and let
him stay. Donizetti’s training paid off. He composed nearly 70 operas in his
lifetime. Together with Italian composers Gioachino Rossini and Vincenzo
Bellini, Donizetti is known for introducing a style of opera called bel canto,
which means “beautiful singing.” Operas in the bel canto style focus on the
singer’s voice.
Gaetano Donizetti
Gioachino Rossini (1792-1868)

The Barber of Seville, Otello
Born to musician parents, Rossini was a natural musician himself. He was only
19 years old when he achieved success with one of his early operas. Rossini was
a great lyric composer, always grateful for and attentive to the singer. Speed
was one of Rossini’s most notable characteristics as a composer—in one year,
he wrote five operas. In all, he composed 39 operas in 19 years, most meeting
with great success. Rossini is also known as one of the three Italian composers
who developed the bel canto style of opera (see Donizetti, above). He stopped
writing operas in 1829, although he lived until 1868!
Gioachino Rossini
12
Giuseppe Verdi (1813-1901)
La traviata, Don Carlos, Nabucco
Verdi was born into a lower middle class family of innkeepers and grocers. His
education has been described as “self-taught,” the result of private study with
various composers, as opposed to formal study at the conservatory. In 1839,
his first opera premiered at the most famous theatre in Italy, La Scala. He was
immediately commissioned to compose three more operas, and he began a
rigorous schedule of composing an opera every nine months. His pace
eventually slowed, though the importance of his work did not falter. In all,
Verdi composed 27 operas; at the time of his death, he was regarded as a
cultural icon.
Giuseppe Verdi
Georges Bizet (1838-1875)

Carmen
Bizet was a child piano prodigy, admitted to the Paris Conservatory at the age of
10. Though his short career is marked by many incomplete works, his crowning
achievement is Carmen, one of the best known operas of all time. Bizet is one of
the best-known and best-loved proponents of a musical movement termed
exoticism, that is, a fascination with Asian and Spanish music and themes.
Carmen is a result of this movement. The opera was shunned by Paris audiences
for its risqué themes, but was quickly revered when Bizet died of a heart attack,
three months following the premiere.
Georges Bizet
Giacomo Puccini (1858-1924)

La bohème, Madama Butterfly, Turandot
Puccini had an early music education and proceeded on to the Milan

Conservatory. He fell in love with opera and decided to pursue a career in opera
composition. He soon soared to success, playing with the musical movement of
his time, verismo, or simply, realism. Elements of this style, which includes
unrestrained emotion and drama, violence, and “everyday people,” are apparent
in both La bohème and Tosca. Puccini is regarded as the greatest Italian composer
of his time.
Giacomo Puccini
13
Richard Strauss (1864-1949)
Salome, Elektra
From his early years, the well-educated and financially stable Strauss absorbed the
musical environment that surrounded him. He was deeply affected by Wagner’s
Tristan and Isolde, and this influence is evident in Strauss’s own compositions.
Strauss composed in both the raw, expressionist style of the early 20th century and
the lighter, more Romantic style of his later operas. In all, he wrote 14 operas, and
died peacefully in his home at the age of 85.
Richard Strauss
Richard Wagner (1813-1883)

The Ring Cycle, Tristan and Isolde
Wagner is responsible for revolutionizing opera in the 19th century. He was a

scholar and composer with a strong literary background, and an appetite for
political revolution. In fact, he fled to Switzerland in 1848, shunned by his native
Germany. Wagner’s contribution to the opera world is dramatic—he was the first
to describe his works as “music dramas,” focusing on drama through music. He
wrote the words, he designed the set, he created musical idioms for characters, and
he created an orchestra that could tell the story on its own. Wagner’s principal
music drama is a cycle of four works called The Ring Cycle, which takes several days
to perform.
Richard Wagner
Did you know?

The composer Richard Wagner (VAHG-ner) revolutionized the idea of the libretto. His strong literary
background prompted him to write all the texts to his music dramas. In addition, he took control of all
aspects of the production, including set and costume design, music and stage direction. By unifying music
and drama he demonstrated that drama, complemented by music and visual art, is among the greatest art
forms.
14
A little history…
Freemasonry, the founding fathers, & The Magic Flute
Freemasonry is an ancient secret order devoted to the moral development of individuals who enter it. Its
roots are in the Judeo-Christian tradition: its symbols derive from the building, destruction, and rebuilding
of the Temple of Jerusalem. There is debate over the actual date and location of the origins of modern
Freemasonry, however. Some historians date it to back to the formation of fraternal organizations as an
outgrowth of medieval stonemason guilds in the 1200s; others see the first significant event in modern
Freemasonry as the formation of the first Grand Lodge in London in 1717.
Freemasons insist that theirs is not a religion but a handmaiden to religion, which will make pious or
serious persons better members of their churches. Nevertheless, at various times in the past, Freemasons
have been persecuted by established religions. By the 18th century, particularly in Catholic countries such
as Italy and Austria, Freemasonry and the church were on a collision course.
During the course of the Enlightenment and the American and French Revolutions, certain concepts of
Freemasonry were taken up by the political leaders. “Liberty – Equality – Fraternity," the rallying cry of
the French Revolution, came from a triad of Masonic principles.
Of particular interest to us is the role of Freemasonry in the founding of the United States of America.
The great majority of the signers of the Declaration of Independence were Masons, as were most of the
generals in the Revolution. Except for the two Adamses, all of our Presidents through Andrew Jackson
were Masons. Some of them, particularly deists like Jefferson, may have had philosophical conflicts, since
Freemasons profess absolute allegiance to a supernatural deity, whereas Jefferson, like most of the
philosophers of his time, was interested in natural law, the natural sciences, and the rule of reason.
Both Mozart and Schikaneder were Masons, and had Masonic principles in mind while writing The Magic
Flute. Among the key Masonic principles to consider include meeting “on the level” with other men: the
men who gather in the “Lodge” as Freemasons are all equal and on the same level, regardless of social
status or occupation. Mozart and Schikaneder drew from other sources as well: various exotic tales that
were floating around at the time, and used in other, less distinguished extravaganzas. It was probably
Mozart’s idealism, as much as Freemasonry itself, that took over as the moral principle of the opera;
nevertheless, most productions of The Magic Flute between 1800 and 1950 were overwhelmingly Masonic in
their décor, costumes, and symbolism.
Mozart despised the patronage system (a system of servitude) under which he labored for most of his
career. As a musician, he was treated very much as a servant: when the aristocratic rulers who hired him
(the Archbishop of Salzburg, Emperor Joseph II, various counts and dukes) said “Jump,” Mozart could
usually only ask “How high?” Prior to the early 19th century, the age of Beethoven and Rossini, musicians
were craftsmen, or servants, much like a cook or a tailor. The Magic Flute was Mozart’s first opera to be
written for a popular theatre and not under the patronage of the royalty or nobility. Sadly, it was his last
opera, for he died a few months after its completion. It is fitting, therefore, that the themes in The Magic
Flute reflect Mozart’s visions for a society in which all persons are created equal, and truth and goodness
always triumph over deception and evil.
15
The Role of Women
Like many organizations, Freemasonry has largely excluded women. However, controversy had already
begun in Mozart’s time over whether or not women should be included as full members. There was
already a subordinate membership called the Order of Mopsos: among its symbols was a golden padlock
(women were obviously regarded as chatterers). The idea of man and woman fighting side by side had
already become popular in the French revolution. Mozart, in any case, was far more enlightened on the
subject of women than was orthodox Masonry. He has Sarastro set out to resolve the opera’s conflict by
creating a “new pair,” Tamino and Pamina, who will synthesize the warring elements and herald a new
golden age of peace and wisdom. Mozart has Pamina lead Tamino in their final tests, a young woman who
is not afraid of night or death.
Some Masonic Symbols & Terms

The basic concept of “masonry” is to use the building of a temple, stone on stone, as an allegory of the
building of moral character, step by step.
1. Masonic Symbols: Plumb (pointed piece of lead hanging on a string to give you true vertical- “the
symbol of absolute integrity); Level (carpenter’s tool to establish true horizontal- “the symbol of
equality); Square (carpenter’s tool to find a right angle- “the symbol of morality and righteousness”);
Pickax (the tool that loosens soil – “symbol of breaking bad habits”); and Blue (the predominant color
of Masonry is blue – “representing the vault of heaven).”
2. Audi, Vide, Tace: Listen, observe, and be quiet. (In The Magic Flute we see how badly Papageno fails
on this score.)
3. Number Three: The number three, which keeps recurring throughout the opera, is significant to the
teachings of the Masons. Look for the symbolism of three in the opera. There are many examples:
three ladies, three geniis, the three temples, the three trials, etc. In the music, listen for the three heavy
chords that open the overture and that are again repeated in the temple scene when Tamino begins his
trials. The symbolism of three has been accredited to representing the three knocks on the door by the
brotherhood to enter the Masonic lodge.
4. Egypt: The setting of the opera is in Egypt which is said to be where the rites of freemasonry
originated.
5. Did you know? U.S. President George Washington was a Mason. In Alexandria, Virginia there stands
today one of the most famous Masonic temples in this country - The George Washington Masonic National
Memorial in Alexandria, Virginia. Open to visitors daily, it is an exceptionally beautiful structure that
houses some of the artifacts from Washington’s life.
6. Cardinal Points of the Compass: First the building must be oriented. As with churches, Masonic
temples are oriented toward the East, which represents wisdom, enlightenment, and the rising of the
sun. The South represents Beauty: the West is Strength, and the North is Darkness (obviously,
Freemasonry was born in the northern hemisphere!).
16
The Interpreters
_____________________________________________________________________________________________________________________
Once an opera is created, a team of artists begins the process of transforming the words and music into a
visual spectacle. These artists are called directors and designers. Their role is essential in interpreting the
intentions of the composer and librettist.
The directors and designers develop an opera’s visual concept by first identifying the key themes. Then
they engage in extensive research on the historical context for the work, including the clothing of the
period and the culture of the society. Sometimes directors and designers choose to stay true to the history
and setting of the work. Other times they elect to change the location or historical period of an opera.
Either way, they are required to make countless decisions about everything from costumes to sets to the
action on the stage.
Roles of the Artistic Team

The Stage Director is responsible for the action on the stage. This is
accomplished by working with the singers for weeks before the
performances, directing their movements and helping them develop
their individual characters.
The Music Director, also known as the conductor, interprets the
music of the opera and rehearses it with the singers and the orchestra.
During rehearsal the music is shaped to express different moods of the
opera. For example, the conductor decides how fast or slow (tempo)
and how loudly or softly (dynamics) the music is played.
The Set Designer designs the scenery for the opera.
The Lighting Designer manipulates the lights to create effects which
help set the mood and complement the action on stage.
The Costume Designer creates the clothes that the singers will wear on stage.
The choreographer is responsible for creating and directing any dancing that takes place in the opera.
17
Behind the Scenes
While all the action is happening on stage, some very important people are orchestrating all the action
backstage. They are the production crew, and this is what they do:
The Stage Manager leads the crew and directs all the action that happens backstage.
Stage Managers direct scene changes, artists’ entrances and exits, sound/light changes,
curtain movement and all other activities that make the opera run smoothly. Their job
requires great leadership and quick decision-making
A crew of stage hands work in synchrony with the Stage Manager. They move scenery
and set props (short for “properties”), which are objects used in the scene. The Props
Supervisor makes sure that all props are placed appropriately and are available when the
singers need them. The Wardrobe Supervisor oversees the costumes and attends to last
minute fittings and repairs. The Wardrobe Supervisor may be assisted by dressers, who
help with fast costume changes.
The Makeup Artist assists singers with dramatic stage makeup that must be applied in
order for their features to be seen from the back of the theatre.
Not all crew members work backstage. The Sound Engineer, working from a table in
the rear of the theatre, operates the microphones and adjusts the sound. The Master
Electrician, also working in a booth in the rear of the theatre, directs the positioning of
the lights and then operates the lights during a show. Both need to be in the audience to
hear and see what is happening onstage.
The rehearsal pianist accompanies the artists as they rehearse the opera. This job also
entails serving as a coach, assisting the artists with language and musical preparation.
18
The Performers
_____________________________________________________________________________________________________________________
On the stage
Most likely, singers are the first people we imagine when we think of opera. In fact, in the Italian
tradition, singers were held in the highest esteem. Remember the bel canto style discussed in the Opera at a
Glance section? This style of opera was totally devoted to the vocalist.
Training
Opera singers are specially trained, like athletes. They must acquire skill in
controlling the flow of air, which means developing abdominal muscles and
good lung capacity. Many singers attend a college music school or conservatory.
There, they study their craft and practice technique—including breath control,
vowel production, and diction.
A singer must also develop artistry, the expressive interpretation of songs. This
includes the study of multiple languages, literature, and history. In addition,
singers must have knowledge about a song’s composer and lyricist, as well as an
Maria Callas
understanding of the reason for its creation. Then they can begin the process of
practicing the piece.
Maria Callas
TRY THIS!
Find the singing muscle! Place
your hand on your belly and
laugh. The muscle that is
moving is your diaphragm. This
is the muscle used to support
the flow of air!
Other People on the stage
Supernumeraries
Supernumeraries, or “supers,” as they are often called, are actors who perform a number of functions.
They play crowds of people during large scenes, handle props, and sometimes dance. Supers do not sing
but are essential to the “bigness” of opera.
Down Below: The Orchestra

The orchestra is a group of instrumentalists who accompany the singers. The orchestra performs in a pit,
the sunken area in front of the stage.
Keeping it Together: The Conductor

The conductor has the task of unifying the singers and orchestra. Since the orchestra and the singers
cannot see one another, the conductor is charged with directing all musicians. With the use of his or her
hands she provides tempo, volume, and other expressive elements of the music.
19
Different Types of singers
What type of
Did you know? singing voice
Women singers did not appear on do you
stage until the late 1700s. Until have???
that time, men played all the
women’s roles, wearing dresses and
wigs.
Coluratura Soprano- Female singer with a

very, very high voice, who is capable of
performing fast-moving notes with ease.
Soprano- Female singer with a high voice.
Mezzo-Soprano-Italian term
meaning “middle soprano.”
Countertenor-Male singer Woman with a voice slightly
who can sing in a woman’s lower than a soprano.
voice range. Men are able to
sing in falsetto, a style of
singing that allows them to
reach almost all the notes
that women can reach.
Contralto-Rare female singer
who can sing very low notes.
Tenor- Male singer with a high voice

Baritone- Mid-range male
singer who sings some high
notes and some low notes.
Bass-Baritone- Male singer who can sing

high notes and low notes with ease.
Bass- A male singer with a very low voice.
20
The Libretto
* The words in BOLD type are sung, and the words in plain type are spoken
SCENE ONE
(Tamino runs in, pursued by a dragon)
Tamino Oh help me, protect me!

The poisonous serpent will soon overtake me
I see it draw near!

O rescue me, protect me, save me!
(Tamino faints)
(The Three Ladies enter and kill the dragon)
The Three
Ladies Rejoice! The deed is done, we’ve won the fight!
We’ve saved this prince from certain death.
First Lady What beauty in this gentle face!

Second Lady I never saw such lovely grace!
Third Lady Yes indeed, for fingers to trace
If I should fall in love again
This prince indeed would be my choice.
First Lady You both go on your way, and I would like to stay.
Second Lady No, no, you go ahead, and let me stay instead
Third Lady So, then we must go away
O noble prince, and say farewell,
Until we meet again.
(The Three Ladies exit)
Tamino Where am I? Am I dreaming? Am I still alive? Music!
(He catches sight of Papageno off in the woods.)
Is it a bird…..or is it?
(Papageno enters)
21
Papageno I am a man of wide-spread fame,
And Papageno is my name.
To tell you all in simple words
I make my living catching birds.
The moment they attract my eye
I spread my net and in they fly.
I whistle on my pipe of Pan
In short I am a happy man.

Although I am a happy man,
I also have a future plan;
I dearly love my feathered friends
But that’s not where my interest ends.
To tell the truth I’d like to find
A pretty girl of my own kind
In fact I’d like to fill my net
With all the pretty girls I’ve met.
Once all the girls were in my net

I’d keep the fairest for my pet
My sweetheart and my bride-to-be
To love and cherish tenderly.
I’d bring her cake and sugar plums
And be content to eat the crumbs.
She’d share my little nest with me
A happier pair could never be.
Tamino (Entering)
Hey there! Tell me, my fine feathered friend, who are you?
Papageno Who am I? What a stupid question! I am Papageno, Chief Bird Catcher to the
magnificent Queen of the Night!
Tamino I am Prince Tamino. Are you royalty, too?
Papageno What? No. I mean, of course!
Tamino Now I get it! You must have saved my life!
Papageno What!?
Tamino The dragon—how did you do it? You have no weapons.
Papageno Dragon? Where?
(Papageno walks toward dragon, steps on tail forcing smoke from its nose)
22
AAAAAAAAAAAAAAHHHHHHHHHH!!!!!!!!
(Papageno runs toward Tamino and jumps into his arms)
Are you sure it’s dead? How did I kill it? Oh well, for me a strong squeeze of the
hand is mightier than the sword!
(Papageno demonstrates strangling and wrestling the dragon to the floor)
Tamino You strangled it?
Papageno I strangled it!
(Enter the Three Ladies)
Three Ladies Papageno!
Tamino Who are they?
Papageno Oh, these are the Ladies in Waiting to the Queen of the Night. Everyday I bring
them birds in exchange for wine, cake and sugarplums.
Ladies, here are today’s birds for the Queen.
Second Lady (Spilling water on Papageno’s face)
Today, our Queen sends you water instead of wine.
Papageno Water?
Third Lady And, she ordered me, instead of cake, to give you this stone.
(She throws a large stone to Papageno and he falls to the ground with it)
Papageno A stone for lunch?
Second Lady And, instead of sugarplum, she has instructed us to put this padlock on your
mouth, so that you can tell…..
The Ladies ….NO MORE LIES!
Third Lady Prince Tamino, it was we who saved you.
(All three curtsey to the Prince and he bows)
Our gracious Queen sends you this picture of her daughter Pamina.
Tamino She is quite beautiful.
Second Lady Until we meet again, dear prince.
23
(They exit)
Tamino For here is like an angel fair

No mortal image can with thee compare
I feel it, I feel it
This lovely sight
Bring joy to my heart, my empty heart
I cannot name this strange desire
Which burns my heart with raging fire
Can this emotion love be?
Ah yes, it’s love alone I feel.
Oh how to find my love burning
I would then, what would I do?
Upon this heart would I press her
Within these loving arms I’d caress her
Then evermore she would be mine.
(Two Ladies reenter)
Second Lady Dear Prince, the Queen has heard your every word, and has sent us to beg your
help in rescuing her daughter.
Tamino Is Pamina in danger?!
Third Lady She has been kidnapped!
Tamino Kidnapped!
Second Lady By the evil sorcerer….
Two Ladies …..Sarastro!
(The Two Ladies look at each other and emit frightened sounds)
Tamino Sarastro?
Third Lady He holds her captive in his palace just beyond these great mountains.
The Ladies The Queen! The Queen approaches!
24
Queen Don’t be afraid, my dearest son
For you are blameless, noble, strong
So hear a mother’s plea, do not ignore me
A wilderness of sorrow lies before me.
Alone, abandoned, and forsaken,
How I recall the dreadful day
The day I saw my daughter taken
A wicked man stole her away.
By stealth near her creeping
I still hear her weeping
My poor heart was breaking
I saw her sorrow all too plainly
“Ah help!” I heard my daughter say
All of my power had drained away
You are chosen to defend her
Soon you must hasten to her side
And if success is granted
You may take her for a bride.
Tamino Can it be true? How will I save Pamina from evil Sarastro? Oh gods, give me
strength—give me courage!
Papageno HMMM! HMMMMM!

Tamino The poor lad must surely suffer, He tries to talk, but all in vain!
Papageno HMMM!
Tamino I can no help or comfort offer. I wish I could relieve your pain.
Papageno HMMM!
Three Ladies We now forgive you graciously; from punishment you are freed.
Papageno Oh what a joy again to chatter!
Second Lady Be truthful and you will fare better!
Papageno No lie shall ever come from me!
Ladies This padlock may your warning be.
All If one could seal the lips of liars,
With such a padlock fast and tight,
Then hatred, slander’s poisoned briars
Would yield to brotherhood and right.
First Lady Oh Prince, upon our Queen’s command
I lay this treasure in your hand
This magic flute I give to you
Its mystic music will defend you.
(To Papageno)
These precious bells are meant for you
Papageno Well, may I see it too?
Three Ladies Here are bells of silver swinging
Papageno But shall I learn to set them ringing
Three Ladies O yes indeed!
All Flute and belltones,
Magic power shall be yours in danger’s hour.
Fare you well, we’ll meet again.
Tamino Fairest ladies, tell us, pray!
25
Papageno Who will as guide show us the way.
Three Ladies Three spirits young and wise will guide you
And on your journey stay beside you.
Rely on them where they may lead
Only their counsel shall you heed
All Fare you well!
SCENE TWO
Pamina’s quarters, in Sarastro’s Temple grounds.
Monostatos My dearest treasure come to me

Pamina Oh will my tortures never cease!
Monostatos Your life is at my mercy!
Pamina But Death cannot dismay me.
Yet for my mother’s sake, I mourn
Her heart will break by sadness torn.
Monostatos Bring chains, ye slaves, and fetter her!
I’ll force you to obey me
Pamina I beg you, rather slay me
If naught can stir your evil heart
Monostatos (To slaves) Get out, get out! Leave me alone with her.
Papageno (Entering but not seeing Monostatos at first)
Where am I now? Where have I strayed?
A-ha! There’s something moving
But I am not afraid.
Dear maiden, young and fair
And purer than a snowflake
Monostatos &
Papageno Hoo, that is the devil certainly! Have pity! Be merciful!
(Papageno runs away from the site of Monostatos)
Queen Do not touch that child!
Monostatos The Queen of the Night! (He withdraws in terror)
Pamina Mother! Save me!
Queen Save you? You must first prove yourself worthy of being my daughter and do as I
say.
Pamina Yes mother, anything!
26
Queen Do you see this dagger? I have sharpened it for Sarastro. I want you to take it and
kill him!
Pamina No, Mother! I cannot kill Sarastro!
Queen The wrath of Hell within my breast I cherish

Death and defiance are in my heart
If not by your hand Sarastro’s life be taken
I shall disown my daughter evermore
Abandoned forever, forsaken forever, and shattered forever
All knots that nature tied, abandoned and broken
Hear, hear! Gods of vengeance, hear a mother’s cry!
(She exits)
Papageno (Re-enters)
What a fool I was to let myself be scared. After all, there are ugly birds in the
world, so why shouldn’t there by ugly people?
(Seeing Pamina)
There she is! She is the one, the daughter of the Queen of the Night.
Hair black, eyes blue, cheeks pink—she’s the one alright, except for the hands and
the feet. In this picture she has no hands and feet.
Pamino Who are you?
Papageno I’m Papageno, your mother’s bird catcher. I have come here with Prince Tamino
to rescue you.
Pamina Prince? Is he handsome and brave?
Papageno Oh yes!
Pamina Is he coming to save me? I always knew there would be a happy ending!
Papageno A happy ending for you, but not for me.
Pamina What do you mean, Papageno?
Papageno You may find true love, but I am afraid I never will.
Pamina Oh Papageno! Of course you will!
27
Pamina The man who feels sweet love’s emotion
Will always have a kindly heart.
Papageno Each maid must share his deep devotion
And from this duty never part.
Both Its noble aim shows clear in life
No greater good than man and wife
Man and wife and wife and man
Reach the heights of a godly life.
SCENE THREE
Another part of the Temple grounds.
Tamino Can it be that I reached the grounds of Sarastro’s palace? Is this the place
where Pamina is held prisoner? I must find her.
Speaker (Sarastro) Stand back! Why have you entered these holy grounds?
Tamino Forgive me. I am searching for the palace of the evil sorcerer Sarastro.
Speaker This is Sarastro’s palace, but he is not evil. He rules with wisdom,
compassion, and justice.
Tamino Sarastro stole my future bride, Pamina, from her mother!
Speaker Bride? I see! But you do not understand. You do not know why, you do not
know the whole truth.
Tamino When will I know the whole truth? How can I find my Pamina?
Speaker Before you can be considered worthy enough to marry Pamina, you must
first undergo our trials of wisdom and courage.
Tamino What are these trials?
Speaker I can tell you no more. For now, let the Magic Flute be your guide.
Tamino How strong your tone with magic spell, dear flute, is binding
By your tone, dear flute, each being new happiness and joy is finding!
But Pamina does not hear!
Pamina, hear me, I pray!
In vain! Where shall I discover you? (He hears Papageno’s pipes)
Ah! That is Papageno’s sound!
Oh might he have Pamina found?
Oh might she come with him to me!
Oh might the tone bring her to come!
(He goes off looking for the others)
28
Pamina &
Papageno Nothing ventured, nothing won!
To escape them, let us run
Let us to Tamino go, or they’ll catch us,
They’ll catch us indeed.
Pamina Oh, Tamino!
Papageno Quiet, let me show you how to call him.
Both Then no harm did yet befall him
What a joy to hear his tone
It was he, yes he alone
Now no more we have to worry
Let us hurry, scurry, hurry, scurry!
(Tamino reenters)
Pamina Tamino!
Tamino Pamina!
Papageno Pamina, this is Prince Tamino! This is the Princess Pamina! Oh quick,
quick. There is no time for this. We must get away before Monostatos finds
us.
(Enter Monostatos and Sarastro)
Monostatos A-ha! Not so fast! Just as I told you. They have come to steal Pamina away.
But she will not go until she has followed the wishes of her mother and kills
you with this knife!
Pamina Sire, it’s not true! I didn’t promise! I couldn’t.

(Pamina cries at Sarastro’s feet. He comforts her and helps her up)
Monostatos Yes, it’s true, I saw her!
Sarastro Enough Monostatos! You have lied to me for the last time. I banish you
from my kingdom forever!
Monostatos But sire, I don’t understand.
Pamina Sire, I could never harm you! I beg you to understand. My mother was so
terrified and distracted that she did not know what she was asking. Please
do not seek revenge on her.
Sarastro Revenge?
Sarastro Within these holy portals

Revenge remains unknown
And to all erring mortals,
Their way by love is shown
And guided forth by friendship’s hand
29
They journey to a better land.
Within this holy dwelling,
In brother-love one lives
Of hatred is no telling
For man his foes forgives
Who by this law is led a-right
Will ever share the gods’ delight!
Sarastro Pamina, the young Prince Tamino has come to claim you for his wife. But
before the two of you can be united, he must pass the sacred trials of our
kingdom. Do you love him?
Pamina Yes, oh yes!
Sarastro Then let the trials begin. (Pamina withdraws)
Papageno Lights! I’m afraid of the dark.
Tamino Papageno, are you still with me?
Papageno Oh no!
Tamino What’s wrong?
Papageno I’m trying to muster up enough courage to faint!
Tamino Be a man.
Papageno I am a man. But I’m also chicken!
Sarastro Your first trial—the trial of silence—is about to begin. Tamino, no matter
what happens, you must not speak.
(Pamina enters)
Pamina Tamino.
Tamino, why do you not speak to me?
Pamina Ah, I feel it, has it disappeared?

Forever lost all my complete happiness
Never to return, joy and gladness.
In my heart reigns mournful night.
See Tamino, see my tears,
See my tears for you alone.
If for love you do not languish
Peace I find then in death alone.
(She goes off in complete despair)
30
Sarastro Hail, Prince! You have succeeded in the trial of silence. You will now enter
the Temple, to pray for strength to guide you through the trials of fire and
water.
Papageno This is where I came in and this is where I leave!
Sarastro Human! You should be forced to spend your life here alone forever! But the
gods have mercy and forgive you. However you will never experience the
joys of heavens.
Papageno Who cares? I’ll settle for the earthly joys. As a matter of fact, I’ll settle for a
glass of wine.
Crone Here you are, deary!
Papageno What luck!

(He sees her stooped figure)
AAHHHHHHHHHH!
Crone If you promise to be true to me forever, you will see how dearly I love you!
Papageno Well, it’s the best offer I’ve had all day! How old are you, sweet thing?
Crone Eighteen years and two minutes.
Papageno Well, better an old wife than no wife at all!
Crone Do you swear to be always faithful?
Papageno (Crossing his fingers behind his back)
I swear it….
…..until someone prettier comes along!
(The Crone transforms into a beautiful young girl)
Papageno Pa, Pa, Pa!!
Sarastro Off with you, young woman! He is not worthy of you yet!
Papageno Pa, Pa, Papagena!
Two armed men Man, wandering on his road, must bear the tribulation
(sung by Monostatos Of fire and water, earth and air’s probation
and Sarastro off stage) If he prevails against the lures of evil’s might
He soon will know the joys of heaven’s light
Enlightened, he will now himself prepare.
Tamino By fear of death I am not shaken
31
The path of virtue I have taken
Unlock the fatal doors to me
My course will firm and gallant be
Pamina Tamino, mine! Oh happy fate!
Tamino Pamina, mine! Joy fills my heart!
Beyond the gates of Temple,
Both death and menace hide.
Pamina You’re every act upholding,
I shall not leave your side.
In me your trust confide,
For love shall be my guide
Our path with roses it adorns,
For roses always grow with thorns
Now take the magic flute and play
Its golden tones protect our way
Both The fire’s flames we have transcended
The danger we have firm withstood
And still by magic tones defended
We penetrate the water’s flood
Oh Gods, what visions make us see!
Isis fills the sky with light. (They exit)
Pagageno (Alone, by a small tree)

Papagena, Papagena
Dearest, sweetest, Papagena
Tis hopeless, ah, how she has failed me!
Since I was born bad luck has trailed me!
By chattering, chattering, I lost my maid
And for this crime I am repaid
Since I have tasted of that wine
Well, I’ll wait a while, let’s see,
Till I count from one to three,
One, two, three
No one came, my lot is cast
So this moment is my last
Not a hand will mine restrain
Fare thee well, thou world of pain!
Three Ladies Hold back, hold back!
Oh, Papageno hear our plea!
You live but once, and that enough should be.
Papageno My little friends you are mistaken
For if like me you were forsaken
You too, your luck with girls would try.
Three Ladies Then take your magic bells and play them
Your little sweetheart will obey them!
Papageno Hey very foolishly I acted
I truly must have been distracted
My magic bells, I’ll set you ringing
And you will call my maiden here
And bring my maiden to my side.
32
Magic bells are ringing
Call my maiden here
Three Ladies Now Papageno, turn around!
Papageno Pa, pa, pa, pa!
Papagena Pa, pa, pa, pa!
Papageno Now you will be mine forever
Papagena Now I will be thine forever
Papageno Come and be my little starling!
Papagena I will be thy heart’s own darling!
Both What a joy for us is near!
When the gods, their bounty showing,
And their grace on us bestowing
Will send us tiny children, dear
Such lovely, tiny children dear
Papageno First we will have a Papageno
Papagena Then we will have a Papagena
Papageno Then comes another Papageno
Papagena Then comes another Papagena
It is the greatest joy of any!
Papageno It is the greatest joy of any

When many Papagenos upon
Their parents blessing bring!
(Change of scene
Monostatos and the Queen enter)
Monostatos We must be silent, silent, silent.

As we approach the Temple door.
Queen and Ladies We must be silent, silent, silent

As we approach the Temple door.
Monostatos & Thou great and might Queen of Night

Ladies Their lives are thine by law and by right.
(A great thunder and lightening storm approaches)
Queen, Ladies & Demolished, extinguished, defeated our might

Monostatos We plunge into destruction and infinite night!
(They sink into the earth.

Change of scene—Pamina and Tamino stand before the Temple of the Sun—
Curtain call)
The End
33
Theatre Etiquette
As you enter the theatre you are greeted by an usher who provides you with a program, checks your ticket
and helps you find your seat. Most theatres where opera, plays, and musical theater are performed forbid
food and drink in the auditorium.
It is important to remember to arrive at the theater before the announced curtain time. When you enter,
the curtain is down and the house lights are up. The dimming of the house lights is the signal that the
show is about to begin. As the house darkens, the conductor enters the pit. Arriving at the podium, the
conductor is outlined by a spotlight and he or she turns to greet the audience, which returns the greeting
with applause.
Many operas begin with an orchestral piece, known as an overture, a non-sung musical introduction to the
opera, before the curtain rises. Most operas have intermissions that provide the audience a chance to use
the restrooms, have a drink, get some fresh air and talk while the stagehands change the set. However,
since the performance of The Magic Flute that you will be seeing is only one hour in length, there is no
intermission. Therefore, it is very important that before the show begins you get your drink of water or
make that trip to the restroom. It is very disruptive to other audience members, not to mention to the
performers, when you leave your seat during a performance.
Show your enthusiasm by applause. It is important that you enjoy the show – laugh and cry as you like,
but please do not talk, because that disturbs others who are trying to hear the words and music.
Remember also that the entire company is trying to give you their best performance. Unnecessary noise
from the audience makes it difficult for them to concentrate and it is absolutely forbidden to take
pictures or try to record what is going on.
At the end of the show the performers, conductor and director come back out for curtain calls, giving an
opportunity for the audience to show their appreciation through applause. People who are particularly
enthusiastic shout “Bravo.” When the house lights come up, it is a signal for the audience to leave and let
the tired performers go home.
Etiquette in A Nutshell
Show your enthusiasm by applause, but only at the appropriate times – at the end of arias or songs or at
the end of the show.
BE RESPECTFUL OF OTHERS AND REFRAIN FROM TAKING ANY PICTURES
DURING THE PERFORMANCE.
Talking during a performance interferes with other students hearing the words and the music of the opera.
34
Glossary of Terms
Act A group of scenes, usually related by a passage of time or unified by location.
Allegory (ex. The Magic Flute) A story that often contains a hidden symbolic meaning.
An allegory uses its characters to depict moral qualities. It is closely related to
a parable or fable (fictional stories that use animals as characters to describe a
moral truth). The art of allegory reached its greatest popularity during the
Middle Ages (5th c.-15th c.) in the works of Dante and Chaucer.
Aria A musical piece sung by one character. It usually describes the emotion(s)
they are feeling.
Artistry Expressive interpretation; the way a singer performs a role onstage.
Baritone The middle male voice.
Bass The lowest male voice.
Bel canto An Italian style of opera that emphasizes the voice and beautiful singing as
the most expressive element in opera.
Choreographer Directs and designs dance scenes.
Chorus A musical piece sung by a group of people of all voice types.
Coach Assists artists with musical and language preparation.
Coloratura soprano Female singer with a high voice and the ability to perform fast moving notes
in the extreme high range.
Composer The artist who writes the music of the opera.
Conductor Interprets the music of the opera; keeps the singers and the orchestra
together during the performance.
Contralto The lowest female voice. Sometimes referred to as “alto.”

A female singer who can sing very low notes.
Costume Designer Designs the clothes for the opera.
Countertenor A male singer with a highly developed falsetto; able to produce and sustain
notes in a woman’s range (see “falsetto”).
Diction The process of proper enunciation and communication of text.
35
Dresser Production crew member who assists with quick costume changes.
Duet A musical piece sung by two characters.
Dynamics How loudly or softly a piece is performed.
The Enlightenment This was the age of the great French and English philosophers who set out to
deal with the nature of man not vis-à-vis God but vis-à-vis his fellow man. It
was an age of the philosopher-kings who took note of these developments,
and who tried to put some of these ideas into practice, but who in the end
had to step down from their thrones to allow the transformation of society
and government to take place. The culmination of that transformation, which
took place only two years before The Magic Flute, was the United States
Constitution, and its Bill of Rights, which still stand today. A period
characterized by a loss of faith in traditional religious sources of authority and
a turn toward human rights, science, and rational thought.
Ensemble A musical piece sung by five to nine people.
Exoticism A fascination with Asian and Spanish music and themes; historically, in art
and literature, a Western way of constructing the East (as exotic, as feminized,
as static, as weak) that is built on false, imperialist, racist assumptions
Falsetto The term given to a male voice singing in the female voice range.
Freemasonry In its most idealistic form: a brotherhood devoted to wisdom, truth, and
reason. In The Magic Flute, we see Mozart celebrating the notion of an ideal
society built on these principles. One of the themes the opera explores is the
difference between imposed authority based on inequality and free choice
based on moral education.
Glockenspiel A percussion instrument consisting of metal bars of varying lengths. When

Papageno plays his bells, you’re hearing a glockenspiel.
Grand opera A lengthy style of opera favored by the French featuring royalty and acts of
heroism, and containing a ballet.
Intermission A break between acts that allows the audience and the singers to rest.
Librettist The artist who writes the words of the opera.
Libretto The words of an opera. The word literally means “little book.”
Lighting Designer Develops the lighting scheme for the opera.
Makeup Artist Production crew member who applies the stage makeup to singers and actors.
Master Electrician Production crew member who directs positions of lights and operates lights
during the performance.
36
Mezzo-soprano Middle female voice.
Music Director Oversees all musical aspects of an opera company, from providing input on
the selection of an opera season to the casting of singers; helps to ensure the
quality of the orchestra and the chorus; and often conducts one or more
operas per season (see Conductor).
Music drama Music and text created by a single artist and developed into an onstage
production. Combines all art forms, with each one as important as the
others.
Opera A story that is told through singing, acting, and sometimes dance.
Opera buffa Comic opera that often involves the working class—maids, peasants, and
servants— triumphing over their stupid masters.
Opera seria Tragic opera that involves a hero, a villain, and usually ends sadly.
Orchestra Instrumentalists who perform with the singers.
Orchestra Pit The sunken area in front of the stage where the orchestra plays during the
performance.
Overture Musical introduction played by the orchestra before the singers appear
onstage that sometimes includes excerpts from the major musical moments
of the opera.
Production Crew The team behind the scenes that handles sets, props, lights, costumes, and
makeup.
Props (short for Objects used by characters onstage; they may be hand-held or part of the
“properties”) scenery, such as furniture.
Props Supervisor Production crew member who secures and maintains all props.
Recitative Fast, speech-like musical phrases that advance the action of the plot.
Rehearsal pianist Accompanies artists during rehearsal period.
Score Collection of music, words, stage directions and performance notes—the

blueprint for opera.
Set (Scenery) The background for the opera that helps create a setting or location.
Set Designer Designs the scenery for the opera.
Singspiel Opera originating in Germany and Austria that includes spoken dialogue and
simpler songs.
37
Soprano A high female voice.
Sound Engineer Production crew member who operates the microphones and adjusts sound
in the theatre.
Stage Director Responsible for directing the action on the stage.
Stage Hands Production crew members who assist with changing scenery and props.
Stage Manager Production crew member who coordinates all the action backstage including
scene changes, exits and entrances, and curtain movement.
Supernumeraries Actors who do not sing, but portray characters onstage.
Supertitles (or surtitles) English translations of the opera text, usually projected over or next to the
stage.
Technique The physical functions that a singer utilizes while singing, including breath
control, vowel production, and diction.
Tempo How fast or slow a piece is performed.
Tenor A high male voice.
Trio A musical piece sung by three people.
Vibrato From the Latin word for “to shake,” this is quite literally the vibrating sound
of an opera singer’s voice. String players use it as well – it is the undulating
fluctuation of pitch and intensity they make with the finger of the left hand
that is depressing a string. It also creates a richer, multi-textured, and more
pleasing sound than a “straight,” or unornamented, tone.
38
ACTIVITIES and worksheets
39
The Age of Enlightenment
Also known as the Age of Reason, the 18th century was a time when ideas had the power to direct the
course of history. Define the following concepts associated with the Enlightenment and discuss their
impact on life in the United States today. Consider the Declaration of Independence and the Preamble to
the United States Constitution.
LIBERTY
EQUALITY
FRATERNITY
REASON
NATURAL LAW
Answer the following:
1. Although Freemasonry predates Enlightenment philosophy they share the same political and social
ideals. Discuss one way in which their ideologies differ. ______
2. How does “life, liberty, and the pursuit of happiness” reflect Enlightenment philosophy?
3. List five United States presidents who were Masons.
4. What Masonic principles did Mozart glorify in The Magic Flute? Do you think his vision was too
idealistic?
______
5. What would your ideal society be like?
40
The Art of Storytelling
For centuries storytelling has been a way for people to entertain, to teach, and to explain their history,
culture, and beliefs. Many stories that we read today come from this tradition of storytelling, including The
Lion and the Mouse, Jason and the Argonauts, and Hansel and Gretel.
Review the story of Mozart’s The Magic Flute and the following story types. Discuss the questions below.
Story Types
myth historical stories created to explain

customs or natural occurrences.
fable short stories that give animals a

human voice to teach a moral lesson.
fairy tale cultural stories of folklore and

fantasy, told to teach and amuse.
1. Storytelling is an art form. A good story must have certain elements in order to be successful in
conveying its message. What do you think some of these elements are? Discuss opera as a form of
storytelling.
2. Research and summarize a myth. Then summarize a fable and a fairy tale you have read or know.
What do the stories you summarized have in common? What elements does The Magic Flute have in
common with these stories?
3. An allegory is a story that symbolically represents moral qualities, principals, and ideals through its
characters and events. Is a fable an allegory? How is The Magic Flute an allegory?
4. Now write your own myth, fable, or fairy tale. What elements will you use to best convey your
message? Will you set your story to music?
41
Birdcatcher’s Song
Papageno enters with birdcage and panpipe
In the opera, Papageno is a baritone and sings in the bass clef. This is
written for a boy soprano – who would sing in the treble clef.
Reprinted with permission of the publishers, the Young Patronesses of the Opera and the
Greater Miami Opera Association.
42
Grade 3
1. Papageno and Tamino needed rope to get across a stream. Tamino had 3.5 meters of rope, and
Papageno had 1.7 meters of rope. How much rope did they have together?
2. The realm of the Queen of the Night has 14 districts, and in each district there are four spirits. How
many spirits are there in the entire realm?
3. Ten students were enrolled at the Magic Academy. Seven of these students took alchemy, and five of
them took flute-playing. How many students took both classes?
4. The Queen of the Night hosted an elegant dinner and ball for her citizens. Fifty of her subjects
attended, but seventeen left before the dancing began. How many guests were present for the
dancing?
5. Papageno and Papagena were having dinner. Papageno began with eight potatoes on his plate, and ate
three-fourths of these. Papagena began with five potatoes, and ate all of them. Who had more
potatoes during dinner?
6. During his initiation, Tamino had to undergo six tasks. Each task had seven steps, and each step took
ten minutes. How many minutes did it take Tamino to complete his initiation?
7. Princess Pamina needs to buy pencils for her studies. If a pencil costs three cents, how many pencils
can Pamina buy if she has $1.53?
8. Two attendants to the Queen of the Night were having a contest. They wanted to see who could help
the Queen with the most tasks. The first attendant helped the Queen with three tasks each day for a
week. The second attendant helped the Queen with one task the first day, two tasks the second day,
three tasks the third day, and so on. Which attendant helped the Queen with more tasks during the
week?
9. Tamino has twenty-eight flutes. If he wants to play each flute each week, how many different flutes
must he play each day?
10. Sarastro spends a lot of time in his garden. He spends one hour each day after breakfast. After lunch,
he spends twice as long in his garden as after breakfast. After dinner, he spends three times as long in
his garden as after lunch. How long does he spend in the garden after dinner? How many hours does
he spend in the garden each day?
43
Grade 4
1. The Queen of the Night was giving her annual presents to her attendants. She had three boxes, each with
eight gifts inside. If there were twenty attendants, how many gifts were left over?
2. In the course of his initiation, Tamino had to perform eighteen tasks. Each of these tasks took 17
minutes to complete. How long, in hours and minutes, did it take Tamino to complete all of the tasks
in the initiation?
3. Exam scores at the Magic Academy just came in. The four students taking alchemy received scores of
90, 85, 88, and 93. What was the average score on the alchemy exam?
4. Papageno and Papagena were having a pie for dessert. If Papageno had 3/8 of the pie, and Papagena
had 2/8 of the pie, how much of the pie was left over for dessert the next day?
5. Papageno likes to play music with his bells while he travels. He has five bells, each sounding a
different note. If he wants to take two bells with him on a particular journey, how many different
combinations of bells can he bring?
6. Papageno and Tamino each had a garden in their backyard. Each garden had the same perimeter, 24
feet, but Papageno’s garden was square, while Tamino’s was a rectangle, 2 feet wide. How long was
Tamino’s garden? Who had the most area in their garden?
7. The subjects of the Queen of the Night were electing a prime minister. One hundred citizens voted
for four candidates: Pilastro, Alana, Nostramo, and Wilhelmina. If one fifth of the votes were for
Pilastro, ten of the votes were for Alana, and one tenth of those who didn’t vote for Pilastro or Alana
voted for Nostramo, how many votes did Wilhelmina receive?
8. There are four hundred and seventy-three spirits in the castle of the Queen of the Night, and each has
72 stories to tell. If one listened to each story from each spirit, how many stories would one hear in
all?
9. Six students, Alexander, Beatrice, Claire, Dulcinea, Ernest, and Franklin, are learning to tame six
animals, a dragon, a werewolf, an emu, a lemur, a tiger, and a
snake. Determine which animal each student is learning to
Werewolf
Dragon
tame from the following clues:

Lemur
Snake
Tiger
Emu
• Dulcinea and Beatrice can’t tame birds, and

Dulcinea can’t tame werewolves. Alexander
• Alexander’s creature ends in an ‘r.’ Beatrice
• Snakes and lemurs can only be tamed by a boy, Claire
while werewolves and tigers are best tamed by Dulcinea
girls (but not by Claire). Ernest
• Ernest’s animal ends in a consonant.
Franklin
44
Grade 5
1. Students’ alchemy scores on the last exam at Magic Academy were 93, 79, 82, 61, 93, 84, and 78. What
was the average alchemy exam score, to the nearest tenth of a point?
2. Three attendants to the Queen of the Night are making a healing salve. If the first attendant adds 3/5
of a gallon of sea foam, the second adds 1/3 of a gallon of lilac water, and a third adds 5/6 of a gallon
of liquified magic, what is the total volume of the salve?
3. Ten thieves steal some gold pieces from a dragon’s horde. They divide the loot evenly. That evening,
six of them conspire and take all the gold pieces, again dividing the loot evenly. The next day, the
other four catch up with the double-crossers, take all of the gold back, and divide it evenly. What is
the minimal number of gold pieces the band could have originally stolen?
4. In the realm of the Queen of the Night, the citizens are electing a prime minister. There are 360 votes
in all, divided among Pilastro, Nostramo, and Wilhelmina. If Pilastro receives 17.5% of the vote, and
Nostramo receives 112 votes, how many votes does Wilhelmina receive?
5. As part of his initiation, Tamino must determine the combination on a magic lock. He knows the
combination’s numbers follow a pattern, and has found the first five numbers to be 1, 5, 10, 16, and
23. What is the sixth and last number in the combination?
6. There are four hundred and ninety-eight districts in Papageno’s homeland. In each district there are
twenty-seven neighborhoods and in each neighborhood 144 residents. How many residents would be
in each neighborhood if the land were divided into 32 districts, each with 27 neighborhoods?
7. As another part of Tamino’s initiation, he had to determine the length of a rectangle which had width
33.18 cm, knowing that its area was the same as that of a rectangle measuring 13.86 cm by 41.08 cm.
Did he have enough information? If so, what was the height?
8. Six students, Alexander, Beatrice, Claire, Dulcinea, Ernest, and Franklin, are learning to tame six
animals, a dragon, a werewolf, an emu, a lemur, a tiger, and a snake. Determine which animal each
student is learning to tame from the following clues:
Werewolf
• Dulcinea and Beatrice can’t tame birds, and

Dragon
Lemur
Dulcinea can’t tame werewolves.

Snake
Tiger
Emu
• Alexander’s creature ends in an ‘r.’

• Snakes and lemurs can only be tamed by a boy,
Alexander
while werewolves and tigers are best tamed by
girls (but not by Claire). Beatrice
• Ernest’s animal ends in a consonant. Claire
Magic Math Dulcinea
Ernest
Franklin 45
Grade 6
1. Tamino and Papageno required that their gardens be of exactly equal area. Papageno’s garden was
10.03 feet long and 17.496 feet wide. If Tamino’s garden had to be only 4.131 feet wide, how long
must it have been?
2. Sarastro is a great fan of reading. He spends sixty florins on books for each 100 florins he spends on
other interests. If Sarastro spends 255 florins on books in one month, how much money must he have
spent on all of his interests combined?
3. One of Tamino’s initiation rituals is to find the combination of a magic lock. He knows that the
numbers of the combination form a pattern, and that the first four numbers are 5, 14, 30, and 55.
What are the next two numbers of the combination?
4. There is stiff competition to become an attendant to the Queen of the Night. There are three days of
tryouts. On the first day, 45% of the 400 applicants are accepted. On the second, 15% of the 300
applicants are taken, and on the final day, 22% of 600 applicants are chosen. What is the overall
acceptance rate over the three days, to the nearest percentage point?
5. Fifteen thieves steal some gold pieces from a dragon’s horde. They divide the loot evenly. That evening,
six of them conspire and take all the gold pieces, again dividing the loot evenly. The next day, the other
nine catch up with the double-crossers, take all of the gold back, and divide it evenly. What is the minimal
number of gold pieces the band could have originally stolen?
6. Six students, Alexander, Beatrice, Claire, Dulcinea, Ernest, and Franklin, are learning to tame animals.
Each is learning to play one instrument to tame one
animal. Determine which animal each student is taming,
Harmonica
and with which instrument:
Werewolf
Dragon
Lemur
Drum
Snake
Oboe
• The bell player has a knack for taming birds.
Tiger
Harp
Flute
Bells
Emu
• Ernest’s animal’s name has an ‘r’ at the end.

Alexander
• Werewolves are usually tamed by a drum. Beatrice
• Dulcinea plays harmonica. Claire
• Franklin plays an ‘H’ instrument. Dulcinea
• Alexander needs his lungs to play his Ernest
Franklin
instrument. Harp
• Ernest doesn’t care much for lemurs. Harmonica
• Flutes and harps don’t work on dragons, and Flute
flutes don’t work on lemurs. Drum
Oboe
• Lemurs like neither harps nor harmonicas.
They don’t like Frank, either.
• Neither Claire nor Dulcinea has much luck with werewolves.
46
Grade 7
1. A band of seven thieves robs a dragon’s horde of gold pieces, and divides the loot evenly. That
evening, a gang of twenty-five rascals steals the gold, and also divides the loot evenly. The next day, a
society of forty-five crooks robs the rascals. They, too, divide the loot evenly. What is the smallest
number of gold pieces that could have been thrice stolen?
2. One of Tamino’s initiation rituals is to find the combination of a magic lock. He knows that the
numbers of the combination form a pattern, and that the first four numbers are 5, 14, 30, and 55.
What are the last two numbers of the seven-number combination?
3. Spirits are required to take classes in haunting, helping, and hiding. Thirty-four spirits are taking
classes presently, with 23 taking more than one class. If the sum of the three classes’ enrollments is 64,
16 students take hiding, and 9 students take both helping and haunting, how many students take only
hiding?
4. There is stiff competition to become an attendant to the Queen of the Night. There are three days of
tryouts. On the first day, 45% of the 400 applicants are accepted. On the second, 15% of the 300
applicants are taken, and on the final day, 22% of 600 applicants are chosen. What is the overall
acceptance rate over the three days, to the nearest percentage point?
5. The Magic Music Shop repairs broken bells. The cost is 72 florins, plus 4.5 florins per bell fixed. How
much does it cost Papageno to have all 329 of his bells repaired?
6. Six students, Alexander, Beatrice, Claire, Dulcinea, Ernest, and Franklin, are learning to tame animals.
Each is learning to play one instrument to tame one animal. Determine which animal each student is
taming, and with which instrument:
• The bell player has a knack for taming
Harmonica
birds.
Werewolf
Dragon
Lemur
Drum
• Lemurs like neither harps nor
Snake
Oboe
Tiger
Harp
Flute
Bells
Emu
harmonicas. They don’t like Frank,

either. Alexander
Beatrice
• Ernest’s animal’s name has an ‘r’ at the Claire
end. Dulcinea
• Werewolves are usually tamed by a Ernest
Franklin
drum.
Bells
• Alexander needs his lungs to play his Harp
instrument. Harmonica
• Ernest doesn’t care much for lemurs. Flute
Drum
• Neither Claire nor Dulcinea has much Oboe
luck with werewolves.
• Franklin plays an ‘H’ instrument.
• Flutes and harps don’t work on dragons, and flutes don’t work on lemurs.
• Dulcinea plays harmonica.
47
The Meaning Of Storytelling
Every culture in the world has stories that have been passed down through the generations. These
stories, repeated over and over within homes, neighborhoods, and towns, were not only a form of
entertainment, but also a way to communicate fundamental truths about society and the natural
environment. Eventually, many of these oral traditions were compiled and recorded.
In literature these stories are categorized as myths, legends, fables, folktales, and fairy tales.
Fact or Fiction?
Literature derived from the oral tradition can be entirely fictional or a combination of both fact and
fiction. Myths are historical stories representative of a culture’s beliefs regarding its customs and natural
phenomenon. Legends are historical stories based on truth usually about famous individuals. Many legends
may contain mythological elements. Fables are fictional short stories that describe a moral truth or lesson
using animals as characters. Folktales and fairy tales are often representative of the beliefs, customs, and
traditions of a people. Like fables, these stories often convey a moral or lesson regarding human behavior.
Common among this group of literature is the use of heroes, villains, adventure, romance, wonder and
enchantment to communicate fundamental human values.
Allegory
An allegory is a literary work that uses symbolism to disguise its true meaning. In order to fully
understand an allegory the reader must decipher what moral, spiritual or political meaning the characters
and events within the story represent. Myths and fables are allegories and some folktales and fairy tales
can also be viewed as allegories. Mozart’s The Magic Flute is an allegory.
Discussion Questions
(1) How is Mozart’s The Magic Flute an allegory? What moral and philosophical values are represented?
(2) Who is the hero of The Magic Flute? Who is the heroine? What tests do these characters go through
and why?
(3) What elements of myth, legend, fables, and folktales does The Magic Flute use?
(4) What are the hidden moral or political messages in the story?
(5) Discuss some other examples of allegories and their meanings.
48
Mozart and the American Revolution
While Mozart was performing and composing his musical masterpieces, American colonials were
transforming their government. Research the statements below regarding the American Revolution and
then place the name of the event the statement refers to in the appropriate order on the timeline to the
left.
Timeline 1. At this event, angry merchants, disguised as Indians,
1732 threw British tea into Boston harbor.
2. This act imposed a tax on every printed document in the

1743 colonies including deeds, wills, and mortgages.
3. During this event, British troops killed five citizens,

including Crispus Attucks, and wounded others in
1756 Mozart Born in Salzburg
Boston.
1760
4. He was king of Great Britain when the Revolution broke
out. When did he become king?
1761 Mozart learns his first musical piece at
age 5 5. These acts were passed by Parliament in response to the
Boston Tea Party.
1763 Mozart begins tour of Europe 6. Ratified at the Philadelphia Convention this document
firmly established the new government.
1765
7. General of the Continental Army becomes the first
1766 President of the United States. When and where was he
born and when did he die?
1770
8. Treaty between Britain, France, Spain and the U.S. that
1773 officially ended the Revolutionary War.
9. This man made his famous midnight ride to warn

1775 colonists that the British troops were approaching.
1776 10. The Revolution began here with “the shot heard round
the world.”
1783
11. Author of the Declaration of Independence and future
1786 Mozart completes: president born in Virginia.
The Marriage of Figaro
1787 Mozart completes:
Don Giovanni
Mozart’s father Leopold dies
1788
1789
1790 Mozart completes: Così Fan Tutte
1791 Mozart completes The Magic Flute

Mozart dies in Vienna
1799
49
Opera Connoisseurs
Test your knowledge of opera and The Magic Flute by answering the following questions.
1. What is opera? What is the difference between opera and singspiel?
2. What ingredients go into making an opera? Be sure to use your opera vocabulary words.
3. Who are the major characters in the opera, The Magic Flute? How does Mozart use music to
portray the personality of each of those characters?
4. There is much symbolism in The Magic Flute, including using the number three. How many references
to the number three can you list?
5. Some scholars have cited similarities between The Magic Flute and the movie Star Wars. What do you
think those similarities are?
6. Mozart completed The Magic Flute just before his death at the age of
35. How has this opera influenced other operas that were written
afterwards? Why do you think he was considered such a musical
genius?
50
Quest For Pamina
Tamino must pass through the four trials of water, fire, air and earth in order to
win his true love Pamina. Help Tamino find his way through the trials.
51
Sevenfold Sun Circle
Use the circle patterns below to create your own replica of The Magic Flute Sevenfold Sun Circle.
Next, design your own version of the Sun Circle.
Directions:
• Copy these patterns onto different color

construction paper.
• Cut out along the solid lines.
• Glue or tape the patterns together to form the
Sevenfold Sun Circle as pictured below.
• Experiment with color and textures.
Discussion Questions:
1. What is the significance of the Sevenfold Sun Circle in Mozart’s The

Magic Flute?
2. Why did the Queen of the Night wish to possess it?
3. What was the nature of its power?

Sevenfold Sun Circle
52
Travels with Mozart
The young Mozart began touring Europe and performing for royalty at the age of six! Locate the
countries and cities Mozart performed in during his lifetime (found in the suitcases) on the map of
Europe below. Write the number of the city on the appropriate place on the map. You can also cut out
the suitcases and pin them on a larger map in your classroom.
1.
SALZBURG
2.
3. VIENNA
MUNICH
5.
4.
LINZ FRANKFURT
· ·· ··
6.
·
· · ····
LONDON
PARIS
7.
· ·
8.
·
BRUSSELS
9.
AMSTERDAM
10.
13.
FLORENCE
14.
11. 12. 15.
INNSBRUCK
VENICE ZURICH
DIJON
PRAGUE
53
On the map, identify the home nation of each composer, then draw an
arrow from the composer’s name to the different countries in which he
set his operas.
54
The Magic Flute
Use this list of words from The Magic Flute to answer the questions which follow.
captive feathers search suspicious

courage initiates Sevenfold Circle of the Sun undergo
dagger magic flute sorcerer wisdom
enchant padlock steadfast worthy
1. Papageno has a multicolored suit of .
2. In the beginning of the opera, the birdcatcher is of

Tamino.
3. Papageno is punished for lying and the women attach a golden ______________ to Papageno’s
mouth.
4. If Tamino shows great ______________, the Queen promises Pamina’s hand in marriage.
5. Papageno is given a silver glockenspiel to ___________ his enemies.
6. What does the Queen of the Night give her daughter? __________
7. Tamino has to a series of trials to marry Pamina.
8. What does the Queen give Tamino to keep him out of danger? ____
9. Tamino and Papageno set out in of the Princess

Pamina.
10. Papageno goes to embrace Papagena but he is told that he is still not
11. Tamino remains in his determination to keep silent.
12. The members of the temple order have to determine if Tamino is brave enough to pass the
difficult tests of the .
55
13. Sarastro wears a golden medallion around his neck. It is called the
_________________________________________________ __.
14. By the end of the opera, both Tamino and Pagageno have gained much
___________________________________________________.
Bonus question: What three things does Papageno wish for?
1. __________________________________
2. __________________________________
3. __________________________________
56
Questions For Discussion
The following questions ask for your opinion. Explain your answer.
1. Who are the key characters in the opera?
2. What challenges did the main characters have to face?
3. Why did Mozart write this opera?
4. What are the most memorable events in the opera?
5. How does Papageno earn his living?
6. What is opera?
57
58
59
Words as Imagery
This worksheet is based on the

Massachusetts Department of Education language arts standards 15 and 19.
An author’s choice of words can paint a visual picture for the reader. Words appeal to the sense; they
create imagery and can suggest a mood. How do these words appeal to the reader’s senses? How do these
words create imagery and set the tone for the story? Select at least five examples. Be sure to explain how
each word or phrase of words conveys a particular mood.
Word or Phrase Mood (Frame of Mind) Explanation
Example #1: thundering tension • introduces the character
drums and majestic violins of The Queen of the Night;
thundering indicates
nervousness, possible danger,
fear of the unknown; majestic
represents regal and someone
important.
Example #2: clenching and Boasting • introduces the character of
flexing his muscles. Papageno, pretending he’s
strong, is ready to fight.
#1:
#2:
#3:
#4
#5
Writing Exercise: Write a paragraph on the following theme: Describe one character in
the story who you thought was good but who turned out to be bad, or vice versa. What
imagery was used to lead you to your opinion?
60
Opera Soup
To make soup you need a recipe that lists the right combination of
ingredients. Some ingredients are necessary and others add flavor. Begin
your recipe by making a list of the ingredients you need to have in your
opera soup. Add flavor to your soup by adding ingredients that make your
opera soup unique. What percentage or number of each ingredient do you
need to make your soup work?
Country:
Setting:
Time Period:
Ingredients:
____________
________________________________________________________________________
OPERA SOUP INGREDIENTS
Acting Baritone Tragedy Lights Orchestra
Comedy Foreign language Mezzo Soprano Piano
Costumes Heroes Moral Plot
Dancing Jazz Music Props
Rock and Roll Romance Scary Music Sets
Singing Soprano Symphony Tenor
61
62
Opera Crossword
Test your opera vocabulary by solving the puzzle below. The answers are found throughout Part One of
this study guide.
1. 2. 3. 4.
5.
6. 7. 8.
9. 10.
11.
12.
13. 14.
15.
16.
17.
ACROSS DOWN
2. It is absolutely forbidden to do 1. The voice type of the person who sings the role of
this during an opera performance. (2 words) Papageno.
8. The person who stands with his/her 3. The person who figures out the plan of action on the
back to the audience in front of the pit. stage. (2 words)
9. An instrument consisting of pipes of graduating 4. A percussion instrument with tuned metal bars.
lengths joined together. 5. The person who compiles the “production book.” (2
11. People who move about the stage and help fill words)
crowd scenes. 6. Important secondary characters in an opera.
12. A term used to discuss how loud or soft the music 7. The person who wrote the libretto of The Magic Flute.
is. 8. Something a conductor does to let the singers know it
13. The setting of the opera The Magic Flute takes place is time to sing.
in this country. 10. The person who wrote the first play where all the
14. The orchestral music that begins an opera. words were sung was Jacopo .
16. The voice type of the person who sings the role of 11. A German art form that has singing and spoken
the Queen of the Night. dialogue.
17. A story that often contains a hidden symbolic 15. The original language of The Magic Flute. 63
meaning.
Project Ideas
These projects can be developed into something as simple or as comprehensive as you like.
Consider simply cutting these pages into strips and having kids draw projects from a hat.
POSTCARDS
Postcards are a quick way to present a snapshot and a brief bit of information. Design a postcard
of an outdoor scene from The Magic Flute. Pretend to be one of the members of the cast, writing
to a friend or family member about the events of the day. Make sure one of the events is from the
actual story, but other realistic details can be creatively added.
SCRAPBOOKS
Scrapbooks are collections of pictures, writing, and other items that people put together to
remember events and special times in their lives. Create a scrapbook for one of the characters in
The Magic Flute. Draw old “photographs” and create newspaper articles, letters, or other items that
might be found in this character’s scrapbook.
CHARACTER PROFILE
A character profile is a piece of writing that tells about a person’s life. A profile may include
information about the person’s family, activities she likes to do, and important events in her life.
It might also include personal facts such as her age, height, weight, birthdate, and so on. Create a
profile for one of the characters in The Magic Flute.
JOKE COLLECTIONS
Create a class joke book about The Magic Flute. Each student can contribute his or her own.
Adding illustrations can make the collection even more fun.
REBUS STORIES
Rebus stories are short stories with a unique detail. In some places in the story, a word is
replaced with a . The reader has to “read” the pictures to make sense of the story.
Create a rebus story for a portion of The Magic Flute.
64
INTERVIEWS
In an interview, one person asks questions and another person answers. The person asking
questions may ask about the other person’s life, likes and dislikes, and other information, and
then writes down the answers. Pretend you are conducting an interview of a character from
The Magic Flute. What will you ask him or her? Next, invent the answers you think your
character would give. Write interview questions and the character’s answers as if you really
conducted the interview.
INFORMATIONAL ARTICLES
Informational articles give readers new ideas or facts about a subject. These articles are
nonfiction, which means that they contain true information. The information is presented in
an organized format. Sometimes an informational article presents the author’s opinion about
the subject, and the article contains facts that support that opinion. Choose any subject that relates to
opera or The Magic Flute and write an informational article about that subject. Here are some ideas:
Costume design
Operatic singing
Instruments in an orchestra
BROCHURES
Brochures are written to give information about a subject. They often tell about a certain place.
Usually they are made from a sheet of paper folded into two or three sections. In addition to
written descriptions, brochures often include pictures, diagrams, maps, or other images. Write a
brochure about the kingdom The Magic Flute takes place in, encouraging the reader to visit.
ADVICE COLUMNS
In advice columns, readers write to the author of the column explaining their problems. The
author writes back with ideas to help the readers solve their problems. Choose a character
from The Magic Flute and, based on the story, create a problem for that character. Have each
character write to the author of the column. Now you be the advice columnist and respond
with advice for each character.
65
DRAMA: Walk like a…
Opera singers are also actors. They must convincingly play their roles to the audience. The
following exercise encourages students to physically respond as you suggest different emotions,
environments, and situations.
Materials
Large space for moving
Procedure
1. Have students walk slowly around the space. Call this the Self Walk. Students will periodically return
to the Self Walk throughout this exercise.
As they walk, students should “ignore” the other members of the class. Part of the challenge of this
activity is to pretend that you are alone. Be careful not to bump into others. Students must remain
silent—another challenging aspect of this activity.
2. Tell students that you will be calling out instructions, and they are to respond to the instruction in
movement only.
3. Once students find their Self Walk, call out one of the suggestions on the list below. Allow students a
few moments to respond physically to your suggestion. Some suggestions elicit more active, excited
movements than others. Return to the Self Walk as a neutral action when needed. Continue calling
out suggestions.
Suggestions: You are 90 years old
You are sneaking up on someone
You are late for school
You are waiting impatiently for the bus
…It is raining out
…It is cold
…You forgot your umbrella
You are in a new city and using a map to get around
…You see the site you’ve been looking for all day
…You take a picture
You just got off a ride that spins around and around
Actions relating to The Magic Flute
You are a birdcatcher
Your options with this activity are nearly endless. Make up additional suggestions of your own.
4. Once you finish the exercise, discuss. Was it difficult to ignore your neighbors or to stay silent? Were
some suggestions easier to act out than others?
66
SOUND SCIENCE: Make your own musical instruments
Courtesy of the Museum of Science, Boston
Background: Introducing High and Low

What we hear as the pitch or frequency of a sound is determined by how rapidly the sound source is
vibrating. Faster vibrations produce highest sounds. The ability to hear one sound as higher or lower
takes practice. Younger students may need more time to learn to hear the distinction.
Be aware that students may confuse “high” with “loud” and “low” with “soft.” Have student imagine a
musical staircase. As you go up, sounds get higher. As you go down, sounds get lower.
Try the following activities to demonstrate how sound works.
Sound Science Activity 1: Bottle Sounds
Materials
Clear glass bottles of the same size and shape
Water
Paper towels (for spills)
Pencils or other objects for tapping bottles
Procedure
1. Set up stations where groups of student can work with 3 or more bottles containing different amounts
of water.
2. Have the students tap the bottles with pencils below the water line and listen carefully to the sounds
produced. Which bottles sound higher and which sound lower?
3. Have students arrange the bottles from high to low. When they have done this, ask them to describe
what happens to the water level from high to low. Write down the “rule” relating water level to pitch
that they discover. Try having the students play simple songs on the bottle “xylophone.”
67
Sound Science Activity 2: Straw Oboes
Oboes are part of the woodwind family of instruments.

This means sound is created by a vibrating column of air.
Materials
Drinking straws
Scissors
Procedure
1. Flatten about ¾ of an inch at one end of a straw by pulling it between your closed teeth. With scissors
snip off the two sides of the flattened portion to create a point at the tip of the straw. (See Figure 1)
2. Use scissors to cut off the very tip of the point. (See Figure 2)
3. Gently squeeze the sides of the flattened portion of the straw so that the two flaps do not stick
together. Tuck your lips inside your teeth and put the flattened end of the straw into your mouth.
4. Blow moderately hard. You may have to adjust the pressure of your lips and the way you are flowing
to produce a good steady sound.
5. Distribute the straws and scissors and assist students in making straw oboes.
6. Vary the pitch by
a) altering the position and pressure of your lips and
b) shortening the length of the straw by cutting a way part of the round end.
7. Ask your students: What is vibrating? What part of the instrument resonates or makes the sound
louder? How can you make a higher or lower sound with your instrument?
Step 1 Step 2
Figure 1 Figure 2
68
MUSIC AND ART: Drawing music
Students will demonstrate tempo, mood, and style through drawing.
Materials
White paper (12 x 18 is best)
Newspaper (to protect surfaces)
Crayons, markers, and/or or paints for each student
Pencils
Recording of a musical piece that has lots of variances
(Try: Dukas’ “The Sorcerer’s Apprentice,” Grieg’s “Hall of
the Mountain King” from the Peer Gynt Suite, or Liszt’s “Les
Preludes”)
Procedure
1. Have students place the white paper on top of a sheet newspaper in order to protect the surface
beneath.
2. Discuss the ways in which a piece of music might change as it goes (fast/slow, loud/soft, etc.) Explain
to students that with their pencils they are to respond to the changes in the music they are about to
hear. For example, they may draw slowly during slow sections or quickly during fast sections.
Encourage students to use the entire sheet of paper. They may draw with their eyes either open or
closed.
3. Play the piece for a few minutes. Discuss the drawings.
4. Replay the piece and have students use crayons, markers, or paint to add color to the drawing.
Remind them that the music is the inspiration for their color choices. If you are using a long piece of
music, you may want to play the entire piece at this point, giving students several minutes to complete
their work of art. If the piece is shorter, play it several times.
5. Use the discussion questions below to encourage students to think about and share the reasons behind
their choices.
6. Have students title their pieces. Create a gallery of their work.
Discussion Questions
What do certain colors signify?
How are different emotions brought out in music?
Why do you think composers use different tempos and styles in their music?
Do tempo or style changes in a piece of music change the feelings of the music?
69
Styles of Poetry
Courtesy of the Opera Company of Philadelphia
Write your own poems based on an aspect of The Magic Flute. Your poems could be about one of the
characters in the opera or any subject in the opera that interests you. Use the samples on the next page to
help you.
Haiku
Haiku is a form of Japanese poetry that has three unrhymed lines containing 17 syllables:
Line 1 = 5 syllables
Cinquain
A cinquain is a five-line poem with the following form:
Line 1 = Noun or subject
Line 2 = Two adjectives
Line 3 = Three verbs
Line 4 = Four or five words to describe subject
Line 5 = Synonym for the noun in Line 1
Diamante
A diamante is a diamond-shaped poem which tells about a chosen subject with the following form:
Line 1 = Noun or subject
Line 3 = Three verbs ending in –ing
Line 4 = Four words about the subject
Line 5 = Three verbs ending in –ing
Line 7 = Synonym for the subject in line 1
Tanka
A tanka is a poem with a total of five lines with the following patterns:
70
Haiku
_________________________________________
_________________________________________
_________________________________________
Cinquain
_________________________________________
_________________________________________
_________________________________________
_________________________________________
_________________________________________
Diamante
_________________________________________
_________________________________________
_________________________________________
_________________________________________
_________________________________________
_________________________________________
_________________________________________
Tanka
_________________________________________
_________________________________________
_________________________________________
_________________________________________
_________________________________________
71
Examples of Poetry Styles
Haiku
Spring goes, summer comes,
With the warm heat from the sun
Swimming, picnics, fun!
--Meghan, age 10
Cinquain
tree
tall, green
growing, reaching, standing
a witness to the past
future
--Girl Scouts of America
Diamante
Penguins
big, small
sliding, regurgitating, sleeping
black white flippers waddling
feeding, sliding, huddling
cool, fascinating
Emperor
--Joey, 3rd grade
Tanka
The slow rising sun

Gleaming light through my window
Causes me to wake
I cannot quite remember
Is it Sunday or Monday
72
Always a critic!
Write your own opera review
What is an opera critic?

An opera critic attends an opera and writes his or her opinions about the performance. Those opinions,
also known as reviews, are often printed in newspapers or magazines. Critics write reviews about all sorts
of things—books, movies, dance, music, plays, and more.
Because a critic’s job is to share his or her honest opinion, a review can be positive or negative. Whether a
critic enjoys a performance or dislikes it, she says what she feels. People sometimes read reviews to help
them decide if they should see a performance or not.
Think About It!

Some people say that any review is a good review. What does
this mean? Do you think even a negative review might make
people want to see a performance? Is it better to get a poor
review, or no review at all? Why or why not?
What does it take to be an opera critic?

Language- An opera critic must have fine speaking
and writing skills. Some critics even write reviews
in other languages.
Interest- It is important that an opera critic be interested

in opera. Knowing a lot about a subject helps
a critic write an interesting review. Since a critic
can spend a lot of time writing about one
subject, it helps if it is something he or she enjoys!
Confidence- A critic should be confident in her opinion. Some

critics say that to be a good critic, you must think your opinion is always right.
Exposure- Go to as many performances as you can, and listen to lots of opera. Learn as much as you
can about how productions are created (the “behind the scenes” stuff). The more a critic knows in
advance, the better!
Now…you be the critic!

You can follow the steps below to create a review about a song, book, CD, TV show, or performance.
Once your class has seen The Magic Flute, use the next page to create a review about the performance.
Your teacher can mail it to us. We want to hear your critical opinion!
Turn the page for tips on how to write your own review!
73
four tips for writing a review
1) Create a catchy first sentence.

You want to get the readers’ attention, so the opening, or “lead” sentence, is very
important. This can be a difficult part of writing a review.
Ask yourself:
How can I sum up my opinion in one sentence?
What would catch my attention if I were reading this review?
2) Clearly state what performance you saw.

Tell who gave the performance, the name of the opera, where the performance took
place, and the date of the performances.
Ask yourself:
What if people want to come see this performance?
What details do the readers need?
3) Tell why the performance was wonderful, all right, or bad.

Be sure to say WHY you feel the performance was good. It is easy to say what you think. It is more
difficult to say why you think it. For most beginning reviewers, the “why step” is the most difficult.
Ask yourself:
What did I like/not like about the performance?
How was the singing?
Were the costumes nice?
Was it too loud? Too soft?
How did the orchestra sound?
Readers like to know the reasons for your opinions. Don’t forget to tell them how you developed your
opinions about the performance.
4) Talk about individual performances.

Toward the end of the review, you may write about the details of singers’ performances.
Ask yourself:
Did Kiko sing well?
Did Manuel play his character convincingly?
Whose performances stood out?
74
expanding sentences
A critic needs to write sentences that really describe how she or he feels about a performance.
Practice writing descriptive, interesting sentences on this page.
***********************************************************************************
All English sentences have two basic parts: a subject and a predicate. The subject is the noun that is the
“do-er” in the sentence. The predicate is the verb that tells what the subject is doing. Take this sentence:
The orchestra played.
Orchestra is the subject of the sentence. Played is the predicate because it tells what the orchestra did.
This sentence gives some information but it could give more details.
Ask yourself: What did the orchestra play?

How did the orchestra play?
What other details can I give?
Then change the sentence to answer the questions:

The overture to the opera was skillfully played by the 17-member orchestra, complete with regal-sounding
french horns and soaring violins.
Adding details and descriptions gives the reader more information. It also creates a more
interesting sentence.
YOU TRY IT! Change the following sentences so they give more information. Use details and
descriptions to make them more interesting.
The costume glittered.

______________________________________________________________
_____________________________________________________________.
She sang a song.
______________________________________________________________
______________________________________________________________
The main character danced.
______________________________________________________________
_____________________________________________________________.
The audience cheered.

______________________________________________________________
_____________________________________________________________.
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The Lyric Review
As a writer for The Lyric Review your assignment is to critique the opera’s performance. Let the Review’s
readers know what you think. What did you like about the opera and why? Did Boston Lyric
Opera/Opera New England give a good performance? Should your readers attend this opera? Remember
that it is the critic’s job to report both the positive and the negative accurately. Have your teacher send us
your review. Make sure that your name, grade and school are on your review. Your opinion really counts!
The Opera Critic

By
______________________
____________________________________________________
_____________________________________ __________
____
____
____
____
____
____
____
____
___________________________________________________________________________________________________
___________________________________________________________________________________________________
___________________________________________________________________________________________________
___________________________________________________________________________________________________
___________________________________________________________________________________________________
___________________________________________________________________________________________________
___________________________________________________________________________________________________
___________________________________________________________________________________________________
Have your teacher send this student evaluation to the Education Department,
Boston Lyric Opera/Opera New England
45 Franklin Street 4th Floor; Boston, MA 02110-1300
76
Set Design
Opera brings stories to life! A set helps it happen. A set, or scenery, is what you see on a stage behind and
around the characters. Sets can tell us the time and place of an opera. If an opera takes place in the forest,
the set might include trees and flowers. Set designers are the people who decide what the set will look like.
They play an important part in creating the mood for the story.
Creating a Design
Set designers work with the stage director to come up with ideas about how the set will look. Together,
they answer important questions to come up with a design. Here are a few examples:
Where does the opera take place? What year is it?

What does the landscape look like? What are the characters like?
Is it in the city or country? Is it indoors or outdoors?
What time of day does the opera take place? Is it fall, winter, spring or summer?
Using the answers to these questions, the set designer creates sketches, or drawings of her ideas. After
many changes, a set is chosen. The result is a visual image of the story!
Research is the answer!

A designer must learn a lot about the time and place of an opera. For example, Donizetti’s opera The
Daughter of the Regiment takes place in the Alps Mountains in Europe. To make realistic scenery, designers
of a set for a production of The Daughter of the Regiment must study buildings and landscapes from the Alps.
This is a sketch of an original design for The Daughter of the Regiment set:
77
Look at the following pictures. Do you notice any similarities between these images and the
sketch of The Daughter of the Regiment set? Do you think the set designer used any ideas from
these pictures in the sketch?
Hard Work
Becoming a set designer takes hard work. Designers must go through four years of training in college.
They take classes in art, theatre, mechanics, and architecture, or building design.
Turn the page to practice designing your own set!
78
DESIGN YOUR OWN MINI-SET
Set designers follow careful steps to make decisions about what the set will look like. Many
questions must be answered before designing ever begins. Try using the following steps to create
your own set.
1. Choose a story. You may write one yourself or choose your favorite.
Ask yourself
What are the characters like?
What is the mood of the story? Is it happy or sad?
2. Determine where the story takes place.
Ask yourself
What is the year?
What is the season?
What does the environment look like? Is it hot or cold there?
Is it mountainous or flat? Is there a body of water nearby?
3. Describe the scenes of the story.
Ask yourself
How many scenes are there?
Are the scenes indoors or outdoors?
What time of day do they take place?
Now you are ready to begin creating. Using all the information you have gathered, make decisions
about how your set will look. Gather objects and decorating supplies and go to work! You might want to
use a shoebox, a crate, an old shoe, empty cans, or other household items to create your set. Decorate
with beads, buttons, cut outs, fabric, yarn, ribbon, or anything you wish. You can add characters and
costumes using leftover materials.
79
Your Sense of Sound: Energy and Equipment
Sound is important to human beings because it helps us to communicate with each other. Your sense of
sound also helps you to enjoy music like opera. Musicians use sounds to communicate thoughts or
feelings. But what is sound exactly? How do we hear it?
THE ENERGY: How sound is made

Sound is vibrating air. Sounds can vibrate in many different patterns. These patterns are called sound
waves. The different patterns change the sound we hear. Listen to traffic on a busy street. Noise like
this is disorganized sound. Now listen to a piece of music. Music is sound that is organized into patterns.
THINK ABOUT IT!

How are the sounds of traffic and music
different? How does each sound make
you feel? Can traffic sound like music?
Can music sound like traffic?
Sound waves can vibrate many times in one second. The number of times a sound wave vibrates in one
second is called its frequency. The frequency tells how high or low the sound will be. This is called
pitch. High-pitched notes vibrate at a fast rate, so they have a fast frequency. Low-pitched notes have a
slow frequency. In opera, the highest pitches are usually sung by women. Very low pitches are sung by
men.
Just as the speed of the sound wave determines pitch, the shape of the wave determines how loud or soft
the sound will be. This is called volume.
This is what sound waves look like!
80
TRY THIS!
Stretch a rubber band between your thumb and forefinger on one hand. Pluck it a few times. Can you see
and feel the vibrations? What happens if you pluck the rubber band harder? Softer? Change the shape of
the rubber band by making it longer and thinner. What do you hear?
THE EQUIPMENT: How sound is heard

Now that we understand how sounds are created, you want to know how you hear those sounds, right?
Your ear has an important job. It collects sounds, interprets sounds, and sends the sound signals to your
brain. Human beings, like most mammals, have two ears to do all this work.
Your ear has three different sections:
1) outer ear
2) middle ear
3) inner ear
Each of these sections has a different role to play in collecting and

interpreting sound.
Diagram of the ear
The Outer Ear

This is the only part of your ear that you can see. Your outer ear has two jobs: to collect sound and
protect the rest of the ear. Invisible sound waves travel through the air and enter the outer ear through the
canal. The canal is the opening in your ear. The outer ear also makes earwax.
DID YOU KNOW?

Earwax (the yellowish stuff that forms
in your ears) is your friend! It protects
the rest of the parts of your ear from
getting dirt in them.
The Middle Ear

After the sound waves travel through the canal, they reach your middle ear. The middle ear turns the
sound waves into vibrations before it sends them to the inner ear. Sound passes through your eardrum
and three tiny bones called ossicles (OSS-ih-kulz). Each ossicle has a name. They are the hammer, the
anvil, and the stirrup. The eardrum is a thin piece of skin attached to the hammer. The hammer is
attached to the anvil and the anvil is attached to the stirrup. When these three tiny bones vibrate, sound is
passed on to the inner ear.
81
The Inner Ear
Once vibrations enter your inner ear, they travel to the cochlea (COK-lee-uh). The cochlea is a small,
curled tube. It is shaped like a snail’s shell. It is filled with liquid and lined with millions of tiny hairs.
Vibrations cause the liquid and the hairs to move. Then the hairs change the sound into nerve signals for
your brain. The brain interprets the nerve signals and tells you what sound you are hearing.
The Balancing Act

Your ears do more than just hear…they also help keep you standing upright! Three small loops are
located directly above the cochlea. The loops are called the semi-circular canals. They help us maintain
our balance. The semi-circular canals “talk” to your brain just like the cochlea, using liquid and tiny hairs.
The semi-circular canals tell your brain the position of your head—is it looking up? Turned to the left?
Your brain determines where your head is and then keeps the rest of your body in line.
What are the 3 smallest bones in

your body???
Give up?
The ossicles! The stirrup is the tiniest
of all!
TRY THIS!
Fill a cup halfway with water. Move the cup around a bit, then stop. Notice how the water keeps swishing
around even after the cup is still. Sometimes this happens in your semi-circular canals when you spin
around very fast. The fluid that continues to move around in your ear is what makes you feel dizzy!
82
Educator Resources
Books
Opera Reference Books
Opera 101: A Complete Guide to Learning and Loving Opera
by Fred Plotkin
Published by Hyperion Books, 1994
Getting Opera: A Guide for the Cultured but Confused by Matt Dobkin
Published by Pocket Books, 2000
100 Hundred Great Operas and Their Stories by Henry W. Simon

Published by Random House, 1989
Opera by Alessandra Taverna and Thomas Trojer

Published by Barron’s Educational Series, 1999
Note: Great book for older children to learn about major episodes in music history. It tells stories of
important composers and performers and explains details of instrument construction. For ages 11 and
older.
The Definitive Kobbé’s Opera Book by The Earl of Harewood

Published by G.P. Putnam’s Sons New York, 1987
The Splendid Art of Opera by Ethan Mordden

Published by Methuen, 1980
The Oxford Illustrated History of Opera edited by Roger Parker

Published by Oxford University Press, 1994
The NPR Curious Listener’s Guide to Opera by William Berger

Published by Berkeley Publishing Group, 2002
Bravo! A Guide to Opera for the Perplexed

By Barrymore Laurence Scherer
Published by Dutton, 1996
The Definitive Kobbé’s Opera Book by The Earl of Harewood

Published by G.P. Putnam’s Sons New York, 1987
The Viking Opera Guide, edited by Amanda Holden.

London: Viking, The Penguin Book, 1993
The Young Person’s Guide to the Opera

By Ariane Csonka Comstock, Mark Roberts, illustrator
Published by Monarch Media, Inc., 1997
83
Opera for Grades 3-7
Opera Cat by Tess Weaver, illustrated by Andrea Wesson

Madame SoSo is an opera star who practices every afternoon with the maestro. What
the two don't realize is that behind the curtain, Madame's cat is singing along sotto
voce. (School Library Journal) Clarion Books, 2002.
The Magic Flute by Anne Gatti, illustrated by Peter Malone

Enter a magical world of monster serpents, mysterious ladies, and flying machines
where giant flowers and butterflies abound. Readers will thrill as Prince Tamino
strives to save Princess Pamina from the wicked Queen of the Night. Accompanied by
a CD.
Chronicle Books, 1997.
The Barefoot Book of Stories from the Opera by Shahrukh Husain, illustrated by
James Mayhew
A beautifully illustrated retelling of seven popular operas.
Barefoot Books, 1999.
Aïda, A Picture Book for All Ages by Leontyne Price

Opera diva Leontyne Price tells the compelling, romantic story of Aida, the captive
Ethiopian princess who falls in love with her country’s greatest enemy.
Harcourt, Brace and Vox, 1990.
Pet of the Met by Lydia and Don Freeman

Maestro Petrini is the only mouse at the Metropolitan Opera House, the perfect place
for a music loving mouse and his family. The only danger is Mefisto, the opera house
cat, who hates music (and mice!) until one day when he listens to The Magic Flute and
becomes enchanted.
Viking Press, 1989.
Opera for Young Adults

The Random House Book of Opera Stories, illustrated by Adele Geras and Ian Beck
Originally published in Great Britain as The Orchard Book of Opera Stories, this large-
format book presents the stories of popular eight operas. Each selection begins with
an introduction to the composer and the opera, followed by a simplified retelling,
complete with pictures and conversation. Each story is illustrated.
Random House Library, 1998.
Sing Me A Story: The Metropolitan Opera’s Book of Opera Stories for Children
by Jane Rosenberg, with introduction by Luciano Pavarotti
In this vibrantly illustrated collection, 15 thrilling opera stories are brought to children in
a most enjoyable way. These all-time favorites will stimulate a child’s interest in the
magic of opera.
Thames and Hudson, 1989.
84
The Young Person’s Guide to the Opera: Book and CD Set by Anita Ganeri and
Nicola Barber
This book features bright color photos and a dynamic layout that is ideal for readers
who are after a more informal, friendly approach to the subject. Ganeri and Barber
cover many aspects of opera, from the origins of the form to the stories behind the
great works to the most famous opera singers and the venues in which they perform.
(School Library Journal)
Harcourt, 2001.
The Young Person’s Guide to the Opera by Ariane C. Comstock

Provides kid-friendly synopses to 30 popular operas.
Monarch Media Publishing, 1997.
The Catropolitan Opera by Susan Herbert

After amusing the world with her feline versions of famous paintings and plays of
Shakespeare, Susan Herbert now turns her witty paintbrush to the great operas. With
a captivating variety of operatic scenes and set pieces, Herbert’s latest will delight all
who enjoyed the artist’s previous books. Bulfinch Press Book, 1997
Video and DVD

The Magic Flute
The film version of The Magic Flute to which all others will forever be compared. A
delightful, magical film that captures opera in a way that most films do not or cannot.
Directed by Ingmar Bergman and first released in 1975, it is available on video and
DVD from the Criterion Collection. In Swedish with English subtitles.
Who’s Afraid of Opera? Volume 2

Directed by Ted Kotcheff. Conducted by Sir Richard Bonynge.
Joan Sutherland and three puppets introduce the uninitiated to the magnificent world
of opera.
Willie the Operatic Whale

Walt Disney Mini-Classics, distributed by Buena Vista Home Video
The charming story of a melodious mammal who is destined to be the biggest thing yet
to hit the Met.
Audio RecordingS
The Magic Flute by Wolfgang Amadeus Mozart.
Conducted by Karl Böhm. With one of the best all-around casts, including Fritz
Wunderlich, Dietrich Fischer-Dieskau, Evelyn Lear, et al. The complete score, with
English libretto.
Re-released on CD by Deutsche Gramophone in 1997.
World’s Very Best Opera for Kids…in English!

Contains familiar selections from well-known operas such as Carmen by Bizet, The
Barber of Seville by Rossini, The Magic Flute by Mozart, and more.
Children’s Group, 2003. Sung in English.
85
websites
Arts in Education
www.teachopera.net
A comprehensive website that includes innovative lesson plans for bringing opera into
your classroom.
www.nycopera.com/learning/
The education website of the New York City Opera. Offers information for everyone,
from the adult first-timer to elementary school lesson plans.
www.metguild.org/education/
The education website of the Metropolitan Opera. Well-organized and well-written, this
website is worth checking out.
Music and Opera

www.blo.org
Boston Lyric Opera’s official website. Provides complete information about BLO’s
season operas, including mainstage productions, synopses, events, and Opera New
England school and family performances.
www.operaworld.com
A public access opera education program and information resource center whose
mission is to encourage greater enjoyment of opera by audiences at all levels of
experience. This site is a good resource for information about opera broadcasts and
video and DVD recordings of operas. There are also links to dozens of opera-related
websites.
www.pbs.org/wnet/gperf/aidas/
Information on many great African-American opera singers
www.quia.com/shared/music/
Music games and quizzes for kids and adults
www.theoperacritic.com
Great reviews, articles, and photos from opera around the world
www.operaamerica.org
A service organization for North American opera companies, OPERA America offers a
comprehensive website, including an excellent section on opera education.
www.aria-database.com
Interesting and useful information about over a thousand opera arias, including decent
translations and synopses
86
Worksheet Answer Guide
Page 59
The Magic Flute Word Search
M
A S I L E N C E E F
G K E G N O
I I L Y O U
C D P G R
A N T M A T
L U A L L E G O R Y R
S P T D I
E P I P N A P A
E R E G G A D L
B I R D C A T C H E R S
Bonus: 1. Water 3. Fire

2. Silence
Page 55
Page 53
The Magic Flute Vocabulary
Travels with Mozart
1. feathers 10. worthy
2. suspicious 11. steadfast S C O R E P R O P S
3. padlock 12. initiates D U E T N O
4. courage 13. Sevenfold Circle of A B A S S P
5. enchant the Sun
A G E R
6. dagger 14. wisdom
7. undergo R E M V A
8. magic flute I D B I N
9. search D Y N A M I C S L I B R E T T O
Bonus: 1. Food R E R
2. drink E A
3. girlfriend C C T B
C O S T U M E O P E R A
M O I R
P R E H E A R S A L I
O N T
S O O
E N
R E
Page 43
Opera Crossword
87
Page 51
Quest for Pamina
Page 46
Page 44 Magic Math Grade 6
Magic Math Grade 4
1. 42.48 feet
1. 4 2. 680 florins
2. 5 hours, 6 minutes 3. 91,140
3. 89 4. 27%
4. 3/8 5. 199
5. 10 6. 90
6. 10 feet long, Papageno had the bigger garden 7. 41%
7. 63 8. Alexander tames Lemurs with an Oboe
8. 34,056 Beatrice Werewolves Drum
9. Alexander tames Lemurs Claire Emus Bell
Beatrice Werewolves Dulcinea Dragons Harmonica
Claire Emus Ernest Tigers Flute
Dulcinea Tigers Franklin Snake Harp
Ernest Dragons
Franklin Snakes
Page 45 Page 47
Magic Math Grade 5 Magic Math Grade 7
1. 81.4 1. 1575
2. 1 23/30 gallon 2. 140, 204
3. 60 gold pieces 3. 2
4. 185 4. 27%
5. 93 5. 1552.5 florins
6. 31 6. Alexander tames Lemurs with an Oboe
7. 2241 Beatrice Werewolves Drum
8. 17.16 cm Claire Emus Bell
9. Alexander tames Lemurs Dulcinea Dragons Harmonica
Beatrice Werewolves Ernest Tigers Flute
Claire Emus Franklin Snakes Harp
Dulcinea Tigers
Ernest Dragons
Franklin Snakes
88

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2004/2005

Wolfgang Amadeus Mozart

PART ONE: What Is Opera? What is The Magic Flute?

PART TWO: Activities and Worksheets

PART THREE: Educator Resources

 Part Two, a series of informational pages and activity sheets, offers an

Massachusetts K-8 Curriculum Standards

ONE for all!

Thorough, creative use of this guide will help your students to

CD Recordings of The Magic Flute

 # 3: Der Vogelfänger bin ich ja (I am a man of wide-spread fame)

 # 4: Dies Bildnis ist bezaubernd schön (O image angel-like and fair!)

 # 7: O Isis und Osiris (O Isis and Osiris)

 # 10: In deisen heilgen Hallen (Within these holy portals)

 # 13: O Isis und Osiris (O Isis and Osiris!)

 # 14: Ein Mädchen oder Weibchen (I’d give my finest feather)

Calling All Teachers!

Calling All Teachers!

ARRANGED BY PAGE NUMBER

ARRANGED BY SUBJECT AREA

Standard 7: Students will read music written in standard 42

The Sevenfold Sun & the magic flute

Use this box to

In wanders Papageno, The Birdcatcher. Tamino awakens

No sooner is the boast out of Papageno’s mouth than the

How did opera get started?

Singspiel…A short Introduction

Did you know?

This time he chose as a collaborator Vienna’s most popular man of the

Wolfgang Amadeus Mozart (1756-1791)

Wolfgang Amadeus Mozart

Gaetano Donizetti (1797-1848)

Gioachino Rossini (1792-1868)

Georges Bizet (1838-1875)

Giacomo Puccini (1858-1924)

Puccini had an early music education and proceeded on to the Milan

Richard Wagner (1813-1883)

Wagner is responsible for revolutionizing opera in the 19th century. He was a

Did you know?

Freemasonry, the founding fathers, & The Magic Flute

Some Masonic Symbols & Terms

Roles of the Artistic Team

Down Below: The Orchestra

Keeping it Together: The Conductor

Coluratura Soprano- Female singer with a

Soprano- Female singer with a high voice.

Tenor- Male singer with a high voice

Bass-Baritone- Male singer who can sing

Bass- A male singer with a very low voice.

(Tamino runs in, pursued by a dragon)

Tamino Oh help me, protect me!

I see it draw near!

(The Three Ladies enter and kill the dragon)

First Lady What beauty in this gentle face!

(The Three Ladies exit)

Tamino Where am I? Am I dreaming? Am I still alive? Music!

(He catches sight of Papageno off in the woods.)

In short I am a happy man.

Once all the girls were in my net

Tamino I am Prince Tamino. Are you royalty, too?

Papageno What? No. I mean, of course!

Tamino Now I get it! You must have saved my life!

Tamino The dragon—how did you do it? You have no weapons.

Part Two, a series of informational pages and activity sheets, offers an

# 3: Der Vogelfänger bin ich ja (I am a man of wide-spread fame)

# 4: Dies Bildnis ist bezaubernd schön (O image angel-like and fair!)

# 7: O Isis und Osiris (O Isis and Osiris)

# 10: In deisen heilgen Hallen (Within these holy portals)

# 13: O Isis und Osiris (O Isis and Osiris!)

# 14: Ein Mädchen oder Weibchen (I’d give my finest feather)