Sung in German with projected English supertitles. Music Director … Benjamin P. Production Advisor … James Rose ' WEEK 1. WEEK 2. Pamina … Jahnavi Rao ' Tamino … Samuel Rosner ' Queen of the Night … Natalie Choo ' Sarastro … Luke Minton ' Papageno … Henrique Neves ' Monostatos … James Rose ' Papagena … Alina Dong ' Second Lady Heidi … Isabella Kopits ' Third Lady Heidrun … Ruva Chigwedere ' First Spirit Margit … Sydney Penny ' Second Spirit Morgen … Kath Courtemanche ' Third Spirit Marta … Olympia Hatzilambrou ' Speaker of the Temple … Alexander Chen ' Stage Director … Madeleine Snow ' Wenzelberg ' Production Adviser … James Rose ' Assistant Director … Jessica Shand ' Stage Manager … Ava Hampton ' Set Designer … Sabrina Richert ' Costume Designer … Rena Cohen ' Lighting Designer … Finn Bamber ' Choreography … Laura Coe ' Tristan Yang 'Hills on both sides.
A temple. Tamino comes down from a rock, with a bow but no arrows.
He is pursued by a serpent. Help, or I am lost, doomed to fall prey to the cunning serpent! Merciful gods! Now it's coming nearer! Ah, save me! Ah, defend me! He faints. Three veiled ladies come out of the temple, each with a silver javelin. They kill the serpent. It is accomplished, the heroic deed! He is delivered by the boldness of our arms! Truly, as pretty as a picture.
Let us hasten to our sovereign, and give her these tidings: it may be that this fair man can restore her lost repose. I'll stay here meanwhile. I'll watch over him here! That cannot be. I will guard him alone. I'm supposed to go? Well, well, that would be a fine thing! They want to be alone with him. No, no, that cannot be! What would I not give to live with this young man! If only I had him quite alone! Yet no one's going; it cannot be. It is best if I go now!See our picks. In Act 1, Tamino is sent on a mission by the Queen of the Night to rescue her daughter from the evil lord Sarastro.
He is accompanied by the friendly bird-catcher, Papageno. But Tamino will soon discover that what he has been told was false, and if he really wishes to win Pamina's hand, he himself will have to undergo his own personal transformation.
Mozart turns the "rescue opera" formulas inside out - as he often did with other musical forms - and by the end of Act 1, we realize that everything we have been led to believe up to this point is untrue. Act 2 sets matters right. The opera is one of Mozart's last creations he died two months after the premierebut considering that he was only 35 at the time, he was a young man and still developing new styles; The Magic Flute hints at what "might have been" had he lived a longer life.
Written by dnitzer. This production dates from ; it is the second film of the Magic Flute for which James Levine is the conductor. If I much prefer the first version he conducted, fromthat's not to say that I don't find some pleasures in the new one. Julie Taymor won two Tony Awards for her design of The Lion King on Broadway, and this Magic Flute is visually splendid: The Queen of the Night's costume alone is a knock-out, with those wonderful butterfly wings, and Papageno wears a great green jumpsuit that suits his athletic bearing very well.
But sets and costumes can't be everything in an opera film, we must judge the singers too. Matthew Polenzani has a fine lyric tenor and makes the boring character of Tamino somewhat appealing, Nathan Gunn in his jumpsuit has an irresistible charm and agility on stage I see that he was voted one of the sexiest men by People; they weren't wrong.
Rene Pape seems a little ill-at-ease as Sarastro--he would probably like to sing in German. Erika Miklosa sings the Queen well, and seems not to be troubled by the coloratura.
The real problem for me is the rushed nature of the performance, with all the cuts to the music. It clocks in at minutes, whereas Levine is minutes. So we are missing almost a solid hour of music. Tamino asks "when will the darkness be cast aside It's very slow, very dramatic and effective: one of Mozart's most gorgeous moments.
It seems to pass unnoticed in this performance--Polenzani even seems a little befuddled by the haste of it all. This Magic Flute is for people who have never seen an opera, and who don't want too many moments that will stop them from texting. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates.The work is in the form of a Singspiela popular form during the time it was written that included both singing and spoken dialogue.
In this opera, the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro; instead, he learns the high ideals of Sarastro's community and seeks to join it. Separately, then together, Tamino and Pamina undergo severe trials of initiation, which end in triumph, with the Queen and her cohorts vanquished.
The earthy Papageno, who accompanies Tamino on his quest, fails the trials completely but is rewarded anyway with the hand of his ideal female companion, Papagena.
The opera was the culmination of a period of increasing involvement by Mozart with Schikaneder's theatrical troupe, which since had been the resident company at the Theater auf der Wieden. Mozart was a close friend of one of the singer-composers of the troupe, tenor Benedikt Schack the first Taminoand had contributed to the compositions of the troupe, which were often collaboratively written.
Mozart's participation increased with his contributions to the collaborative opera Der Stein der Weisen The Philosopher's Stoneincluding the duet "Nun liebes Weibchen", K. Like The Magic FluteDer Stein der Weisen was a fairy-tale opera and can be considered a kind of precursor; it employed much the same cast in similar roles. The libretto for The Magic Flutewritten by Schikaneder, is thought by scholars to be based on many sources.
The libretto is also a natural continuation of a series of fairy tale operas produced at the time by Schikaneder's troupe, including an adaptation of Sophie Seyler 's Singspiel Oberon as well as Der Stein der Weisen. Many scholars also acknowledge an influence of Freemasonry. In composing the opera, Mozart evidently kept in mind the skills of the singers intended for the premiere, which included both virtuoso and ordinary comic actors asked to sing for the occasion.
Thus, the vocal lines for Papageno—sung by Schikaneder himself—and Monostatos Johann Joseph Nouseul are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments. In contrast, Mozart's sister-in-law Josepha Hoferwho premiered the role of the Queen of the Night, evidently needed little such help: this role is famous for its difficulty.
In ensembles, Mozart skillfully combined voices of different ability levels. The vocal ranges of two of the original singers for whom Mozart tailored his music have posed challenges for many singers who have since recreated their roles. At the low end, the part of Sarastro, premiered by Franz Xaver Gerlincludes a conspicuous F 2 in a few locations.
The opera was premiered in Vienna on 30 September at the suburban Freihaus-Theater auf der Wieden. On the reception of the opera, Mozart scholar Maynard Solomon writes:.Mozart - The Magic Flute (Complete)
Although there were no reviews of the first performances,  it was immediately evident that Mozart and Schikaneder had achieved a great success, the opera drawing immense crowds and reaching hundreds of performances during the s. As Mozart's letters show, he was very pleased to have achieved such a success.
Solomon continues:. Mozart's delight is reflected in his last three letters, written to Constanzewho with her sister Sophie was spending the second week of October in Baden. You can see how this opera is becoming more and more esteemed. He went to hear his opera almost every night, taking along [friends and] relatives. The opera celebrated its th performance in Novemberthough Mozart did not have the pleasure of witnessing this milestone, as he had died 5 December The opera was first performed outside Vienna 21 September in Lemberg then in Prague.
It then made "triumphal progress through Germany's opera houses great and small",  and with the early 19th century spread to essentially all the countries of Europe—and eventually, everywhere in the world—where opera is cultivated.
As Branscombe documents, the earlier performances were often of highly altered, sometimes even mutilated, versions of the opera see Ludwig Wenzel Lachnith. Productions of the past century have tended to be more faithful to Mozart's music, though faithful rendering of Mozart and Schikaneder's original quite explicit stage directions and dramatic vision continues to be rare; with isolated exceptions, modern productions strongly reflect the creative preferences of the stage director.
On 28 Decemberthree and a half weeks after Mozart's death, his widow Constanze offered to send a manuscript score of The Magic Flute to the electoral court in Bonn. Nikolaus Simrock published this text in the first full-score edition Bonn,claiming that it was "in accordance with Mozart's own wishes" Allgemeine musikalische Zeitung13 September The Magic Flute is noted for its prominent Masonic elements,  although some scholars hold that the Masonic influence is exaggerated.
The Queen of the Night is seen by some to represent a dangerous form of obscurantismby others to represent Roman Catholic Empress Maria Theresa and still others see the Roman Catholic Church itself, which was strongly anti-Masonic.
The names of the performers at the premiere are taken from a preserved playbill for this performance at rightwhich does not give full names; "Hr. While the female roles in the opera are assigned to different voice typesthe playbill for the premiere performance referred to all of the female singers as "sopranos".We're watching " Tiger King " on Netflix for sure. Our recommendations also include " Night on Earth ", " Ozark ," and more. See our picks. Title: The Magic Flute 30 Apr Based on the opera by Wolfgang Amadeus Mozart, this story is about a young prince who was given a magical flute by the Queen of the night to help him find the princess and return her to the Queen.
The prince is captured by the King, and both the prince and the young princess discover the truth of her past, and that the treachery of the Queen of the night has serious consequences for the entire kingdom. The feature is true to the Mozart story and is very well done so as not to frighten small children. Surprisingly the film is still enjoyable for an adult.
The animation is good and so are the actor's vocalizations. This is one of the better fairy tale movies for children. Sign In. Keep track of everything you watch; tell your friends. Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords.
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Alternate Versions.Introduction: Zu Hilfe, zu Hilfe! Quintetto: Hm!
The Smurfs and the Magic Flute
Quintetto: Wie? Coro: O Isis, und Osiris, welche Wonne! Terzetto: Soll ich dich, Teurer, nicht mehr sehn? Halt ein! Andante: Tamino mein! Allegro: Papagena! Allegretto: Halt ein!
The Magic Flute (Die Zauberflote) in Full Score
Allegro: Pa-pa-pa Anhang: Wind parts to some movements. Engraving files Noteworthy Composer without Nos. PDF scanned by m. PDF scanned by Unknown M. PDF scanned by archive. PDF scanned by piano. Introduction: "Zu Hilfe, zu Hilfe! PDF typeset by arranger Roe.
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Fleet and joyous, Ingmar Bergman's filmed staging of Mozart's The Magic Flute captures the opera's mirth and satire with Scandinavian flair. Tap to review this movie. Rate this movie. Oof, that was Rotten. Meh, it passed the time. So Fresh: Absolute Must See! You're almost there! Just confirm how you got your ticket. AMC Coming Soon. Cinemark Coming Soon. Regal Coming Soon.
By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie. Ingmar Bergman has never before made a movie so warm, happy and innocent It's as if all this joy has been building up inside him during the great decade of metaphysical films beginning with Persona.
Roger Ebert. Using the opera's timeless whimsy and inventiveness, the movie replicates a performance on the stage that is so good that it almost makes you forget the participants' ABBA-like hairstyles.
John Monaghan. The intelligence and clarity of Bergman's The Magic Flute is a marvel. Peter Bradshaw. Ingmar Bergman's mounting of the Mozart masterpiece is appealingly conventional. Dave Kehr. An absolutely dazzling film entertainment, so full of beauty, intelligence, wit, and fun that it becomes a testimonial not only to man's possibilities but also to his high spirits.
Vincent Canby. The film doesn't offer much. It's a true version, with some glimmers of irony and good humor, always in between cinema and theater. If anything, The Magic Flute gives viewers the clearest window into Bergman's fascination with the otherworldly, as the project allowed him to realize his childhood dream of filming his favorite opera.