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The Met: HD Live in Schools 2015–16 Educator Guide The Magic Flute Lead sponsor

The Met: HD Live in Schools 2015–16 Educator Guide The Magic Flute Lead sponsorship of HD Live in Schools is made possible by Bank of America The program is supported through a partnership with the New York City Department of Education. mozart 1 | | What to Expect from the magic flute THE WORK: the magic flute (Die Zauberflöte) An opera in two acts, sung in English Music by Wolfgang Amadeus Mozart Libretto by Emanuel Schikaneder English translation by J. D. McClatchy First performed September 30, 1791 at the Freihaus-Theater auf der Wieden, Vienna, Austria PRODUCTION James Levine, Conductor Julie Taymor, Production George Tsypin, Set Designer Julie Taymor, Costume Designer Donald Holder, Lighting Designer Julie Taymor and Michael Curry, Puppet Designers Mark Dendy, Choreographer STARRING (In order of vocal appearance): Matthew Polenzani TAMINO (tenor) Nathan Gunn PAPAGENO (baritone) Erika Miklósa QUEEN OF THE NIGHT (soprano) Greg Fedderly MONOSTATOS (tenor) Ying Huang PAMINA (soprano) René Pape SARASTRO (bass) Jennifer Aylmer PAPAGENA (soprano) This abridged production of The Magic Flute is made possible by generous gifts from Bill Rollnick and Nancy Ellison Rollnick and The Andrew W. Mellon Foundation. The original production of Die Zauberflöte was made possible by a generous gift from Mr. and Mrs. Henry R. Kravis. This Live in HD production of The Magic Flute is broadcast as a special encore presentation. It was originally transmitted on December 30, 2006, as the inaugural production in the Live in HD series. huang Miklósa polenzani gunn pape Mozart’s The Magic Flute—his last opera to be produced before his untimely death at age 35—is a remarkable combination of musical and dramatic styles, from the earthly to the otherworldly. The story begins as a magical rescue mission, a plot outline that would have been familiar to Viennese audiences of the popular theater, but soon transforms into a fable of enlightenment and humanity. With its narrative of inner development and illumination, The Magic Flute imagines a world of peace, brotherhood, and love. This Live in HD production, originally seen in 2006, presents the opera in an abridged English-language version of the production by the award- winning director of theater, opera, and film Julie Taymor. Taymor seeks to remain true to the fairy-tale aspect of the story while revealing what she calls its “darker face, the one that is hidden in the innocent shell of the unruly libretto but apparent in the exquisite subtlety of the music.” In developing the colorful visual style of her production, she was inspired by the image of the kaleidoscope, which she sees as an ideal way to express “both the exterior and inner landscapes of The Magic Flute.” Taymor’s whimsical production magnifies the opera’s emotional threads, highlights the humor, and captures the ethereal nature of Mozart’s music. This guide is intended to help your students appreciate the opera within the context of 18th-century politics, philosophy, and musical style. By studying the plot’s themes of enlightenment in relation to the Age of Reason, students will discover some of the elements that make The Magic Flute not only a product of its age but also an enduring masterwork of the operatic canon. The activities on the following pages are designed to provide context, deepen background knowledge, and enrich the overall experience of this Live in HD transmission. This guide will also align with key strands of the Common Core Standards. 2 The activities in this guide will focus on several aspects of The Magic Flute: • The opera’s context in the writings of the European Enlightenment • The aria as a vehicle for personal expression • The production’s distinctive use of puppetry and masks • Creative choices made by the artists of the Metropolitan Opera for this production • The opera as a unified work of art, involving the efforts of composer, librettist, and Met artists This guide is intended to cultivate students’ interest in The Magic Flute, whether or not they have any prior acquaintance with opera. It includes activities for students with a wide range of musical backgrounds, and seeks to encourage them to think about opera—and the performing arts as a whole—as a medium of both entertainment and creative expression. This guide is divided into five sections. • The Source, The Story, Who’s Who in The Magic Flute, and a Timeline • Classroom Activities: Two activities designed to align with and support various Common Core Standard strands used in ELA, History/Social Studies, and Music curricula • Performance Activities: Two activities to be used during The Met: Live in HD transmission, highlighting specific aspects of this production • Post-Show Discussion: A wrap-up activity, integrating the Live in HD experience into the students’ understanding of the performing arts and the humanities • Student Resource Pages: Classroom-ready worksheets supporting the activities in the guide | | A Guide to the magic flute 3 | | The Story The Sources: Emanuel Schikaneder—impresario, writer, actor, and singer—drew from a variety of sources in crafting the libretto for The Magic Flute, or Die Zauberflöte in the original German. Influences include Arthurian romance as well as more contem- porary works such as a short story by the poet Christoph Martin Wieland in the 1780s that features a fairy who enlists a prince to rescue a young maiden, giving him a magic flute to help him along his way; and an essay on Egyptian mysteries by Vienna’s foremost Freemason, Ignaz von Born. Schikaneder also drew from the performance history of Viennese popular theater, which embraced magic, lowbrow humor, mystery, spectacle, and moralizing senti- ments. Its tradition also provided a model for the character of Papageno in the stock role of Hanswurst (“Jack Sausage”), a crafty but coarse type who usually falls prey to his baser instincts and provides much of the comic relief. A mythical land between the sun and the moon. Three ladies in the service of the Queen of the Night save Prince Tamino from a serpent. When they leave to tell the queen, the birdcatcher Papageno appears. He boasts to Tamino that it was he who killed the creature. The ladies return to give Tamino a portrait of the queen’s daughter, Pamina, who they say has been enslaved by the evil Sarastro. Tamino immediately falls in love with the girl’s picture. The queen, appearing in a burst of thunder, tells Tamino about the loss of her daughter and commands him to rescue her. The ladies give a magic Ying Huang as Pamina with Greg Fedderly as Monostatos ken howard / metropolitan opera 4 VOICE TYPE Since the early 19th century, singing voices have usually been classified in six basic types, three male and three female, according to their range: SOPRANO the highest-pitched type of human voice, normally possessed only by women and boys MEZZO-SOPRANO the female voice whose range lies between the soprano and the contralto (Italian “mezzo” = middle, medium) CONTRALTO the lowest female voice, also called an alto counterTENOR a male singing voice whose vocal range is equivalent to that of a contralto, mezzo- soprano, or (less frequently) a soprano, usually through use of falsetto TENOR the highest naturally occurring voice type in adult males BARITONE the male voice lying below the tenor and above the bass BASS the lowest male voice flute to Tamino and silver bells to Papageno to ensure their safety on the journey and appoint three spirits to guide them. Sarastro’s slave Monostatos pursues Pamina but is frightened away by Papageno. The birdcatcher tells Pamina that Tamino loves her and is on his way to save her. Led by the three spirits to the temple of Sarastro, Tamino learns from a high priest that it is the Queen, not Sarastro, who is evil. Hearing that Pamina is safe, Tamino uses his flute to charm the wild animals who threaten him, then rushes off to follow the sound of Papageno’s pipes. Monostatos and his men chase Papageno and Pamina but are left helpless when Papageno plays his magic bells. Sarastro enters in great ceremony. He punishes Monostatos and promises Pamina that he will eventually set her free. Pamina catches a glimpse of Tamino, who is led into the temple with Papageno. Sarastro tells the priests that Tamino will undergo initiation rites. Monostatos tries to kiss the sleeping Pamina but is surprised by the appearance of the Queen of the Night. The Queen gives her daughter a dagger and orders her to murder Sarastro. Sarastro finds the desperate Pamina and consoles her, explaining that he is not inter- ested in vengeance. Tamino and Papageno are told by a priest that they must remain silent and are not allowed to eat, a vow that Papageno immediately breaks when he takes a glass of water from a flirtatious old lady. When he asks her name, she vanishes. The three spirits guide Tamino through the rest of his journey and tell Papageno to be quiet. Tamino remains silent even when Pamina appears. Misunderstanding his action for coldness, she is heartbroken. The priests inform Tamino that he has only two more trials to uploads/Industriel/ magic-flute-guide.pdf