The Queen of the Night appears and orders her daughter to kill Sarastro. Meanwhile, Monostatos again tries to get close to the sleeping Pamina. Tamino remains resolute, while Papageno immedia- tely begins to chatter. Because of the appearance of the ladies and their warnings, their ordeal is a truly testing one. Tamino and Papageno must practise being silent. Sarastro orders that they must first face a series of trials. The long yearned-for encounter between Tamino and Pamina is all too brief. Sarastro and his retinue then enter upon the scene. Papageno’s ma- gic bells put their pursuers out of action. Papageno meanwhile flees with Pamina, but they are caught by Monostatos and his helpers. He begins to play on his magic flute, and enchants nature with his music. Although he is initially refused entry, Tamino begins to doubt the statements made by the Queen of the Night regarding Sarastro. The three boys have led Tamino to the gates of Sara- stro’s domain. Papageno himself is sad that his search for love has thus far proved fruit- less. Alone with Pamina, Papageno announces that her rescuer Tamino will soon arrive. Papageno, who has become separated from Ta- mino on the way to Sarastro, is as scared by the strange appearance of Monostatos as the slave is by Papage- no’s. Pamina is being importuned by Sarastro’s slave Mono- statos. The three ladies dec- lare that three boys will show Tamino and Papageno the way to Sarastro. As a protection against danger, they give Tamino the gift of a magic flute, whi- le Papageno receives magic bells. The three ladies give Papageno back his voice and instruct him to accompany Tamino. Tamino responds with great enthusiasm to her command that he free Pamina.
They show Tamino a picture of Pamina, the daughter of the Queen of the Night, whom Tamino instantly falls in love with.Shortly thereafter, the Queen of the Night herself ap- pears and tells Tamino of her daughter’s kidnapping at the hands of Sarastro. The three la- dies return and punish Papageno for his lies by rende- ring him mute.
Papageno, a bird catcher in search of love, does nothing to dispel the misunderstanding. When he regains conscio- usness, the first thing Tamino sees is Papageno, and he believes him to be his rescuer. Mozart was affected by something he’d created himself? Then what are we supposed to say? Don’t we wait with beating hearts for the aria of the Queen of the Night, the dance of Monostatos, or Papageno and Papagena’s duet? CastĪs he flees from a dangerous giant serpent, Tamino is rescued at the last second by the three ladies who serve the Queen of the Night. Mozart confessed in a letter to his wife: ‘When I go to the piano and sing something from the opera, I have to stop right away – it affects me so’. This kind of staging, in Barrie Kosky’s view, is close to the Viennese theatre of Emanuel Schikaneder, the man who inspired and wrote the libretto for The Magic Flute. Together, they have combined silent film, live video and live music, animation and pantomime. He invited original British theatre group 1927 to work with him.
The current version’s director, Australia’s Barrie Kosky who is the artistic director of Berlin’s Komische Oper, has been a part of the opera world for over twenty years. Even the production is the third staging of the opera at this theatre since it was rebuilt, after the ‘space’ version of Laco Adamik and the ‘school’ version of Achim Freyer. There are three (repeated) chords in the intrada, Three Ladies, Three Boys, Sarastro’s three temples: Wisdom, Reason and Nature the lovers Tamino and Pamina have to undergo three tests: silence, being apart, and fire and water. The Magic Flute is ruled by the magic number three. He brought his mother-in-law, his seven-year-old son Carl, a French horn player friend, and even the envious Antonio Salieri to the theatre. Mozart was so happy that he sold his horse, drank black coffee and smoked a pipe. The opera was enthusiastically received, playing to a packed house every night. The world premiere of The Magic Flute took place on 30 September 1791 in Vienna, with Mozart conducting.
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