THURSDAY, JULY 14 WOLFGANG AMADEUS MOZART (1756-1791) The Magic Flute Premiered on September 30, 1791, at the Theater auf der Wieden, Vienna, under the direction of the the composer. Director’s Note: If childhood is a time of simplicity where life’s dilemmas fit into a mold of right & wrong, good & evil and likes & dislikes, adulthood is a time of complexity where we grow to accept that great love doesn’t come without great pain, where we knowingly do something wrong because we believe to be doing it for the right reasons, and where we give in to hedonistic temptation in spite of our awareness of its destructive power. The journey from simplicity to complexity is exemplified by adolescence, a time in our lives when we find ourselves questioning the hypocrisies of the world we are trying to understand. For me, these themes are at the heart of Mozart’s The Magic Flute, and the deeper messages, as well as the immediacy and charm of this ingenious work are heightened when told through adolescent eyes navigating the uncharted territory of a personal coming-of-age journey. To this end, I have created a production where we are introduced to a young teenage boy in 1950’s America who is clearly being raised in a household that values reading, learning and imagination. As a gift from his father, he receives a book of The Magic Flute. He drifts off to sleep while reading the book late into the night, and his dreams transport him (along with other members of his family) deep into the story of The Magic Flute. He himself becomes the story’s protagonist, Tamino. Tamino’s journey becomes his journey, Tamino’s rites of passage his rites of passage and Tamino’s rewards his rewards. There is an important idea that is arguably raised in Mozart’s opera — that even supposedly “enlightened and wise” leaders can be so very wrong in their social beliefs and ideals, and that it sometimes takes the heart, mind and voice of a new generation to challenge and reshape those beliefs and ideals. In the Magic Flute, we see discrimination based on gender, race and perhaps age as well, and setting this piece in the 1950’s (more than 150 years after Mozart’s composition was penned), only reminds us how slow we are to change on our own paths toward greater enlightenment. This production is dedicated to the child whose imagination takes him on exciting, magical journeys, as well as to the inner child in all of us that never stops questioning a world that clearly needs further questioning. SYNOPSIS Overture In a typical 1950’s bedroom, we see a teenage boy along with his brothers, getting ready for bed. Their father arrives, sends the younger boys off to bed, and presents the teenage boy with a book of the Magic Flute as a gift. The boy falls asleep while reading the book, and transported through his dreams, becomes Tamino in the magical story of a boy’s journey into manhood. Act 1 In a mythical land, three ladies in the service of the Queen of the Night save Tamino from a serpent. Left alone by his rescuers, Tamino meets the bird-catcher Papageno, who takes full credit for the rescue. The ladies return with a portrait of the Queen’s daughter, Pamina, who is supposedly enslaved by the evil Sarastro. Tamino is enamored by Pamina’s beauty, and the Queen appears commanding her rescue. Tamino receives a magic flute and Papageno magic bells to protect them on their dangerous mission.
Sarastro’s slave Monostatos is pursuing Pamina. Papageno enters and scares him away, telling Pamina about her imminent rescue by Tamino. In the meantime, Tamino learns from a priest about the Queen’s evil character. Grateful for the news, Tamino plays his flute in hope of finding Pamina. Pamina hears Papageno’s pan pipes and follows the sound. Just as Papageno and Pamina are caught by Monostatos, the bird-catcher uses his magic bells, putting his captors under a trance. Sarastro enters, punishes Monostatos and promises Pamina eventual freedom. Tamino is led in. Sarastro orders Tamino and Papageno to be taken into the temple for purification. Act 2 Sarastro presents Tamino to the priests in order to endure the purification trials to ensure his union with Pamina. Tamino and Papageno’s first trial is a vow of silence, during which they encounter the evil Queen’s three ladies. They are able to drive them away without breaking their silence. In another area of the temple, Monostatos is about to kiss the sleeping Pamina. The Queen of the Night appears, giving Pamina the choice to save Tamino and herself by killing Sarastro with her dagger. After the Queen leaves, Monostatos, having overheard the Queen’s plot, demands Pamina’s love in exchange for his silence to Sarastro. Instead, Pamina reveals her mother’s plot directly to Sarastro, begging his forgiveness. Tamino and Papageno, thirsty and still bound to silence, are offered water by an old lady. As she disappears, three boys bring food. Pamina enters. Not knowing of Tamino’s trial of silence, she is deeply hurt by his refusal to speak to her. Left alone, Papageno rings his magic bells and sings about his desire to have a wife. The old woman appears again and asks for his hand in marriage. When Papageno finally halfheartedly agrees, she is revealed as the beautiful young Papagena, but is swept off by the priests who determine that Papageno is not yet worthy of her. Pamina, unsure of her ability to reach enlightenment, is tempted to kill herself with her dagger, but the three of boys bring her new hope, taking her to be with Tamino. Finally together again, Pamina and Tamino are ready to face the trials of water and fire, agreeing never to be separated. With the aid of his magic flute, they are able to negotiate the final challenges together. Papageno is unable to find his bride, and out of sadness, he decides to hang himself. But before he is able to do so, the three boys remind him to use his magic bells which work to bring Papagena back. The Queen of the Night promises Monostatos her daughter’s hand as they attempt to destroy Sarastro’s temple. But their efforts are in vain. The priests drive them out of the temple. Darkness gives way to light, and as the sun rises, we are back in the young boy’s bedroom seeing him greeted by his family as he wakes from his fantastic dream.
- Jeffrey Buchman
2016 Summer Institute & Festival
81