"Die Zauberflöte," an opera in two acts, words by Emanuel Schickaneder, was first produced at Vienna, Sept. 30, 1791, with the following cast:
QUEEN OF NIGHT Mme. HOFER.
PAMINA Mlle. GOTTLIEB.
PAPAGENA Mme. GORL.
TAMINO Herr SCHACK.
MONOSTATOS Herr GORL.
SARASTRO Herr SCHICKANEDER, Sr.
PAPAGENO Herr SCHICKANEDER, Jr.
The "Magic Flute" was the last great work of the composer, and followed the "Cosi fan tutte," which was given in January, 1791. In 1780 Mozart had made the acquaintance of Schickaneder at Salzburg. He was a reckless, dissipated theatre manager, and at the time of the composition of the "Magic Flute" was running a small theatre in Vienna. The competition of the larger theatres had nearly beggared him, and in the midst of his perplexities he applied to Mozart to write him an opera, and intimated that he had discovered an admirable subject for a fairy composition. Mozart at first objected; but Schickaneder, like himself, was a Freemason; he had been his companion in dissipation, and exercised a great influence over him. Mozart at last consented. A compact was made, and Schickaneder set to work on the libretto. As he was a popular buffoon, he invented the part of Papageno, the bird-catcher, for himself, and arranged that it should be dressed in a costume of feathers. It is a trivial part, but Schickaneder intended to tickle the fancy of the public, and succeeded. The first act was finished, when it was found that the same subject had been chosen by a rival theatre, the Leopold Stadt, which speedily announced the opera of "Kaspar der Fagottist, oder die Zauber-Zither," by a popular composer, Wenzel Müller. The piece had a successful run, and in order to prevent a duplication, Schickaneder reversed the point of his story, and changed the evil magician, who stole the daughter of the Queen of Night, into a great philosopher and friend of man. It is owing to this change that we have the magnificent character of Sarastro, with its impressive music.
The scene of the opera is laid in Egypt. Sarastro, the high-priest of Isis, has induced Pamina to leave her mother, Astrifiamenti, the Queen of Night, who represents the spirit of evil, and come to his temple, where she may be trained in the ways of virtue and wisdom. At the opening of the opera the dark Queen is trying to discover some plan of recovering her daughter and punishing Sarastro. In the first act appears Tamino, an Egyptian prince, who has lost his way, and is attacked by a huge serpent, from which he is rescued by the three attendants of the Queen. The latter accosts him, tells him her daughter's story, and demands that, as the cost of his deliverance, he shall rescue her. He consents. She gives him a magic flute, and with his companion Papageno, a rollicking bird-catcher, who is also presented with a magical chime of bells, they set out for Sarastro's temple. Papageno arrives there first, and in time to rescue Pamina from the persecutions of Monostatos, a slave, who flies when he beholds Papageno in his feather costume, fancying him the Devil. They seek to make their escape, but are intercepted. Tamino also is caught, and all are brought before Sarastro. The prince consents to become a novitiate in the sacred rites, and to go through the various stages of probation and purification, and Pamina again returns to her duties. They remain faithful to their vows, and the last ordeal, that of passing through a burning lake up to the altar of the temple, is triumphantly accomplished. The Queen of Night, however, does not abandon her scheme of revenge. She appears to Pamina in her sleep, gives her a dagger, and swears that unless she murders Sarastro she will cast her off forever. Pamina pays no heed to her oath, but goes on with her sacred duties, trusting to Sarastro's promise that if she endures all the ordeals she will be forever happy. In the closing scene, Monostatos, who has been inflamed against Sarastro by the Queen, seeks to kill him, but is vanquished by the might of the priest's presence alone. The night of the ordeals is over. At a sign from Sarastro, the, full sunlight pours in upon them. The evil spirits all vanish, and Tamino and Pamina are united amid the triumphant choruses of the priests and attendants, as the reward of their fidelity.
In the opening scene, after the encounter of Tamino with the serpent, Papageno has a light and catching song ("Der Vogelfänger bin ich ja"), which, like all of Papageno's music, was specially written for Schickaneder, and has been classed under the head of the "Viennese ditties." Melodious as Mozart always is, these songs must be regarded as concessions to the buffoon who sang them. Papageno's song is followed by another in a serious strain ("Dies Bildniss ist bezaubernd schön") sung by Tamino. In the sixth scene occurs the first aria for the Queen of Night ("O zittre nicht, mein lieber Sohn"), which, like its companion to be mentioned later, is a remarkable exercise in vocal power, range, and gymnastics, written for an exceptional voice. The next scene, known as the Padlock Quintet, is very simple and flowing in style, and will always be popular for its humorous and melodious character. In the eleventh scene occurs the familiar duet between Pamina and Papageno, "Bei Männern, welche Liebe füllen," which has done good service for the church, and will be recognized in the English hymn version, "Serene I laid me down." It leads up to the finale, beginning, "Zum Ziehle führt dich diese Bahn," and containing a graceful melody for Tamino ("O dass ich doch im Stande wäre"), and another of the Viennese tunes, "Könnte jeder brave Mann,"—a duet for Papageno and Pamina, with chorus.
The second act opens with a stately march and chorus by the priests, leading up to Sarastro's first great aria ("O Isis und Osiris"), a superb invocation in broad, flowing harmony, and the scene closes with a strong duet by two priests ("Bewahret euch vor Weibertücken.") The third scene is a quintet for Papageno, Tamino, and the Queen's three attendants ("Wie ihr an diesem Shreckensort?"), and is followed by a sentimental aria by Monostatos ("Alles fühlt der Liebe Freuden"). In the next scene occurs the second and greatest aria of the Queen of Night ("Der Hölle Rache kocht"), which was specially written to show off the bravura ability of the creator of the part, and has been the despair of nearly all sopranos since her time. In striking contrast with it comes the majestic aria for Sarastro in the next scene ("In diesen heil'gen Hallen"), familiarly known on the concert-stage by its English title, "In these sacred Halls," the successful performance of which may well be the height of any basso's ambition. In the twelfth scene there is a terzetto by the three boys ("Seid uns zum zweitenmal"), and in the next scene a long and florid aria for Pamina ("Ach! ich fühl's es ist verschwunden"), full of plaintive chords and very sombre in color. The sixteenth scene contains another stately chorus of priests ("O Isis und Osiris"), based upon a broad and massive harmony, which is followed by a terzetto between Sarastro, Pamina, and Tamino ("Soll ich dich, Theurer nicht mehr sehen?"). Once more a concession to the buffoon occurs in a melody "Ein Mädchen oder Weibchen," which would be commonplace but for Mozart's treatment of the simple air. The finale begins with another terzetto for the three boys ("Bald prangt, den Morgen zu verkünden"). It may be termed a finale of surprises, as it contains two numbers which are as far apart in character as the poles,—the first, an old choral melody ("Der, welcher wandelt diese Strasse"), the original being, "Christ, our Lord, to Jordan came," set to an accompaniment, strengthened by the trombones and other wind instruments; and the second, a nonsense duet ("Pa-pa-Papageno") for Papageno and Papagena, which would close the opera in a burst of childish hilarity but for the solemn concluding chorus of the priests ("Heil sei euch Geweithen").
The great charm of the opera is its originality, and the wonderful freshness and fruitfulness of the composer in giving independent and characteristic melodies to every character, as well as the marvellous combination of technicality with absolute melody. Beethoven said of it that this was Mozart's one German opera in right of the style and solidity of its music. Jahn, in his criticism, says: "'The Zauberflöte' has a special and most important position among Mozart's operas. The whole musical conception is pure German, and here for the first time German opera makes free and skilful use of all the elements of finished art."
ROSSINI.
Gioachini Antonio Rossini was born at Pesaro, Italy, Feb. 29, 1792. His early lessons in music were taken with Tesei, and as a lad he also appeared upon the stage as a singer. In 1807 he was admitted to the class of Padre Mattei at the Bologna Conservatory, where he took a prize for a cantata at the end of his first year. At the beginning of his career in Italy he was commissioned to write an opera for Venice. It was "La Cambiale di Matrimonio," an opera buffa in one act, and was produced in 1810. During the next three years he wrote several works for Venice and Milan, which were successful, but none of them created such a furor as "Tancredi." This was followed by "L' Italiana in Algeri," "Aureliano in Palmira," and "Il Turco in Italia." In 1815 appeared "The Barber of Seville." Strange as it may seem, it was at first condemned, not on its merits, but because the composer had trenched, as it was supposed, upon the ground already occupied by the favorite Paisiello, though he applied to the latter before writing it, and received his assurances that he had no objection to his use of the same subject. "Otello" followed the "Barber" at Naples in 1816, and "Cenerentola" in 1817, and both were extraordinarily successful. The "Gazza Ladra" was produced at Milan in 1817, and was followed by "Armida" at Naples in the same year. His next great work was the oratorio, "Moses in Egypt," which is also given as opera. The "Donna del Lago," based upon Walter Scott's "Lady of the Lake," was produced at Naples in 1819. The same year he opened the Carnival in Milan with "Bianca e Faliero," and before its close he produced "Maometto secondo" at Naples. During the next two or three years his muse was very prolific, and in 1823 appeared another of his great works, "Semiramide," which made a furor at Venice. That year he went to London and gave concerts, in which he sang, and thence to Paris, which now became his home. His greatest work for Paris was "William Tell," which was produced in 1829, and it was also his last, though by an arrangement with the Government of Charles X. it was to be the first of a series of five. The revolution of 1830 destroyed his plans. In 1836 he heard Meyerbeer's "Huguenots," and resolved to write no more. Four years before this he had written the "Stabat Mater," but it was not produced complete until 1842. From this time on he lived at his villa at Passy the life of a voluptuary and died there Nov. 13, 1868. The catalogue of his works is immense, including fifty operas alone, of which in a necessarily brief sketch it has been possible to mention only those best known.