The Magic Flute: Washington National Opera Look-In

Cuesheet Performance Guide

Opera Look-in featuring scenes from Wolfgang Amadeus Mozart’s

With members of the Domingo-Cafritz Young Artist Program and the WNO Orchestra Conducted by Eun Sun Kim Directed by Christopher Mattaliano

he

agic lute

A Faraway Fairy Tale

The Power of Three

The Story Behind The Magic Flute

Beyond these many threes, you’ll also encounter Sarastro, a high priest whose commitment to reason, friendship, and freedom connects him directly to beliefs associated with Mozart’s time—a historical period known as “the Enlightenment.” In the opera, Sarastro’s wisdom is seen as the “light” that will battle the “dark” represented by the evil Queen of the Night. Which side do you think will win?

Heroic prince? Check. Princess in distress? Check.

Funny sidekicks? Evil villains? We’ve got those, too. Welcome to The Magic Flute, where classical opera meets classic fairy tale. Expect adventurous quests, tales of true love, magical objects, and some twists along the way. But be careful: In the faraway world of Magic Flute, night and day are at war, and ferocious beasts lurk around every corner. All this, plus a production with artwork by children’s author and illustrator Maurice Sendak, and you can bet things are about to get a little…well…wild.

You may notice a lot of threes happening throughout today’s performance (hint: three ladies, three “wise young boys,” three chords that open the opera’s exciting overture). Well, guess what?

This is no accident. Three was a meaningful number for Mozart and for Magic Flute storywriter Emanuel Schikaneder because it was a special symbol of a secretive brotherhood they’d both joined.

A mix of folk tale, ancient lore, and eighteenthcentury philosophy, The Magic Flute premiered in Vienna in 1791 and was one of legendary composer Wolfgang Amadeus Mozart’s final works. Though its story is famously confusing, The Magic Flute’s music, along with its coded references to a secret society to which Mozart belonged, has managed to keep audiences fascinated for centuries.

Wait…What Is an Opera Anyway?

An “opera” is a story told through music. Instead of speaking, the characters sing through their thoughts and emotions. Sometimes the characters sing by themselves and sometimes they sing in groups of two or more. There’s also an orchestra that plays with the singers using different combinations of instruments at different times.

What’s the Story?

In a dark and ancient kingdom, a serpent chases a lost prince named Tamino (tah-MEE-noh). Luckily, three mysterious ladies arrive just in time to save him.

As the ladies rush off to tell their queen—the powerful Queen of the Night—all about the prince, a bird catcher named Papageno (pah-pahGEH-noh) dances in. He tries to take credit for the prince’s rescue, but the ladies soon return to clear things up. They then offer Tamino an exciting proposition on behalf of their queen: If he can save the queen’s daughter, Princess Pamina (pah-MEE-na), from the clutches of an evil sorcerer named Sarastro (zah-RAH-stroh), Tamino can have Pamina’s hand in marriage.

Tamino accepts the challenge, bringing Papageno along as his sidekick.

But when Tamino discovers the queen has been lying about Sarastro, the adventure soon becomes more complicated than anyone ever imagined.

Meet the Cast

Operatic music calls for many different kinds of singing, from the very high to the very low. Here are some of the leading roles in The Magic Flute: Tamino, a prince (tenor—the highest male voice) Papageno, a bird-catcher (baritone­—a middle-range male voice) The Queen of the Night (soprano—the highest female voice) Pamina, the queen’s daughter (soprano) Sarastro, a high priest in the Temple of Wisdom (bass­—the lowest male voice) Three Ladies, servants to the Queen of the Night (sopranos and mezzosoprano—a middle-range female voice)

About the Composer…

Even if you’ve never heard classical music before, odds are you’ve heard of Wolfgang Amadeus Mozart (1756–1791). Mozart began composing at age five and went on to become a master musician, writing symphonies, operas, and more—all in just 35 years of life. The Magic Flute was the last of Mozart’s operas to premiere on stage, debuting just a few months before his untimely death.

Learning to Listen

Going to the opera means you’ll have to start listening in a new way if you want to take everything in. But don’t worry: This is less complicated than it sounds.

Try thinking of opera singing as its own type of language.

When we’re speaking, our emotions can change the way our voices sound—and one word can have a thousand meanings depending on how you say it (loudly, softly, quickly, slowly, with a high- or low-pitched voice, etc.). The same is true for the characters in an opera. Each voice you’ll hear will have its own special flavor depending on who the character is and what they’re saying.

The Queen of the Night, for example, is a supernatural ruler who’s out for revenge. Her voice will be on the higher side (a sign she’s literally out of this world), but will sometimes jump from light to dark as she describes her hatred for Sarastro. The speed and flexibility of her sound help make her what’s called a “coloratura” (kuhl-er-ah-TOOR-ah) soprano.

Sarastro, on the other hand, is the high priest of the Temple of Wisdom, and he’s always calm and in control. His deep voice will stay in a comfortable low range that falls easily on the ear, providing a clue that he’s a just and strong leader.

When in doubt about how a character is feeling or what they’re thinking, always pay close attention to exactly how they sound.

(The instruments in the orchestra will give you hints as well.)

More Things to Listen for: many different styles of singing (hint: the smooth, sweet melodies sung by Pamina and Sarastro versus the frantic, choppy sounds sung by the queen, Papageno, and Papagena). Which style do you prefer? Why?

J J

spoken words (The Magic Flute is a special type of opera known as “singspiel”—pronounced ZING-shpeel—in which songs are occasionally broken up by regular speech)

J

musical sounds that represent noises from real life, such as the woodwinds and horns that stand in for Papageno’s birds

On Stage and Behind the Curtain It takes a lot of work and a lot of people to create an opera—both on stage and off. As you watch today’s performance, keep some of these key players and important aspects of the show in mind:

In the Spotlight

Singers The stars of the production. Their voices are responsible for telling the story and expressing the emotions of the characters. Today these performers will be singing in English, though The Magic Flute was originally written in German.

Sets and Props Things that give the opera a sense of time and place, including the stone staircase in the queen’s kingdom, Papageno’s birdcages, and Tamino’s magic flute.

Costumes Anything the characters wear, including Papageno’s feathery outfit and Sarastro’s priestly robes.

Lights Special lights set up all around the theater and in the space above. These help you see the action on stage and give you hints about the story, such as the time of day.

Behind the Scenes

Orchestra Players Located in the dark pit at the foot of the stage, their instruments keep the opera on its musical feet and provide the singers with much-needed assistance.

Listen up for the way the orchestra sometimes echoes the singers’ tunes exactly and sometimes plays its own themes underneath the voices.

The Conductor In charge of all things musical. Conductor Eun Sun Kim keeps the instruments and singers in time by maintaining a strong beat and also by providing clues about how the music should sound (i.e., loud, soft, or excited). Keep a close eye on her during the performance.

The Stage Manager Using special headsets, the stage manager oversees all technical (electronic or mechanical) elements of the production from lighting and sound systems, to moving set pieces, and beyond—“cueing” the action in time with the music. They’re also in charge of more practical things like singers’ entrances and exits.

Designers The individuals who design the sets, costumes, lighting, sound effects, and props. For this version of The Magic Flute, the writer and illustrator of Where the Wild Things Are, Maurice Sendak, created sketches for the costumes and sets, and collaborated with the production team (which included the director, the person who’s always responsible for all the onstage movements and overall look of the show). Working together, the team eventually came up with a polished design that was built and sewn into life.

For Teachers

Here are some thoughts and activities to share with students before the curtain rises and a little bit of homework fun for when it comes down.

Before the Look-In

Pre-Opera Prep Ask students what they think the experience of opera might be like. What sights and sounds do they expect? Be sure to point out that operas are similar to books and movies; they have something for everyone (comedy, action, thrills, etc.).

Fun with Instruments Today, students will hear a full-sized orchestra. Can they list the four orchestra families? (Hint: strings, woodwinds, brass, and percussion.) Ask students what instruments they can identify by ear. Learn more about them (and how to listen for them) in our online Field Guide to the Orchestra: bit.ly/NSOGirlPower

After the Look-In

Favorite Flavors Remind students to consider singing voices in terms of colors or “flavors.” Have students choose some of their favorite vocal artists and create a list of words to describe each voice. Encourage them to choose words that apply to sensations other than hearing, such as touch (“this voice reminds me of velvet”), sight (“those notes sound like they’re shimmering”), or taste (“his singing makes me think of chocolate mousse”). Ask students if these sound qualities inspire different emotions for them.

The Good, the Bad, and the In Between The Magic Flute is highly unusual in that no one— including the characters—can be entirely sure who’s evil or who’s good until almost the very end. Ask students if they’ve encountered stories in movies, TV, books, or theater in which the line between good and evil is similarly blurred. Next, have them make of list of characters whose motives are unclear or whose actions can count as good or bad, depending on the situation. Ask the students how they feel about these characters. Do they find them interesting? Can they identify with them at all? (If students want to dive deeper, have them choose a partner and act out a two-person scene from one of the stories they’ve chosen, and then ask them to switch roles.)

Flute Fun, Anyone?

How about making your own flute? Here are two sites to help you along the way with both requiring adult supervision: To make a pan flute out of drinking straws: https://www.youtube.com Nowatch?v=sglOT1J80Ss Or a flute out of PVC pipe: https://www.youtube.com/watch?v=AGhA4-Q4VqI

David M. Rubenstein Chairman

Major support for WNO is provided by Jacqueline Badger Mars.

Deborah F. Rutter President

WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

Mario R. Rossero Senior Vice President Education

Support for Opera Look-In is provided by the Paul M. Angell Family Foundation and The Prince Charitable Trusts.

Timothy O’Leary General Director Francesca Zambello Artistic Director

David M. Rubenstein is the Presenting Underwriter of WNO. WNO’s Presenting Sponsor Additional support for Opera Look-In is provided by A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.

© 2019 The John F. Kennedy Center for the Performing Arts