The magic flute, second part. the maze
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| Title: | The magic flute, second part. The labyrinth or the struggle with the elements |
The central scene of the opera: The Queen of the Night instructs Monostatos to bring her daughter back. Julia Novikova and Klaus Kuttler , Salzburg Festival 2012 |
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| Shape: | Singspiel |
| Original language: | German |
| Music: | Peter from Winter |
| Libretto : | Emanuel Schikaneder |
| Premiere: | June 12, 1798 |
| Place of premiere: | Vienna, Wiedner Theater |
| Playing time: | about 3 hours |
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The magic flute, second part. The Labyrinth or The Battle with the Elements (also: Second Part of the Magic Flute ) is the title of an opera by Emanuel Schikaneder with music by the composer Peter von Winter and the earliest continuation of Wolfgang Amadeus Mozart's Magic Flute .
Emergence
The text book of this “great heroic-comic” opera was written by Mozart's librettist Schikaneder, who had already written the text for Die Zauberflöte (1791). Composed in 1797/1798, the premiere took place on June 12, 1798 in the Wiedner Theater ( Vienna ). Participants were: Schikaneder herself as Papageno, Josepha Hofer as Queen of the Night (which was sung in Frankfurt am Main in 1806 by her sister Aloisia Lange ), Josepha's second husband Sebastian Mayer as Sarastro, and Mozart's posthumous brother-in-law Jakob Haibel as Monostatos.
The plot
The plot of this opera (for further sequels see below) begins shortly after the end of the plot of the "Magic Flute" and describes the rivalry and the renewed fight between the Queen of the Night and Sarastro on the one hand, separation, testing (in further trials with the elements of earth and Luft) and reunification of the couple Tamino and Pamina on the other hand, as well as the events surrounding the couple Papageno and Papagena; these, too, are separated, brought together again and, especially Papageno, exposed to various temptations.
In the first act, Pamina is kidnapped by her mother at the wedding party in order to marry her off to Tipheus, Papageno is separated from Papagena and coupled with a Mohrin. In the second act, Papageno finds Pamina for Tamino, and both pass their final exam. Papageno returns to Papagena, Tamino defeats Tipheus, the queen of the night, and her entourage is forged on a rock.
The plot in detail (the information on the scene division follows the first libretto print of the song numbers (1798) and the additions from the handwritten records of the libretto after the edition by Jahrmärker / Waidelich):
first act
1st picture. Magnificent garden in front of Tamino's palace
Scene 1-5. The Queen of the Night, her three ladies and Monostatos meet in the garden. They plan the separation of Pamina and Tamino: Two of the ladies are supposed to seduce the bride and groom to infidelity in the shape of Venus and Adonis, the third lady appears as a page. Tipheus, to whom Pamina was promised by her mother, and Sithos join the conspiracy, but want to find their own way. Monostatos pursues his own goal of taking revenge on Papageno through disguise. The transformed ladies go to the wedding party, which is still going on.
Scene 6. Papageno and Papagena step happily on and off, praising their luck.
2nd picture. Arbor, moonlit night
Scene 7-13. Sarastro is preparing for Tamino and Pamina's second exam. Pamina joins them and is confident that she will be able to pass this exam together with Tamino. She goes to meet him in the grove by the arbor.
The two women, transformed into Cupid and Venus, meet Tamino and Pamina in the grove in front of the arbor and want to say goodbye. They hand the wedding couple a farewell potion, which is a love potion and causes Tamino to fall in love with Venus and Pamina with Cupid. Sarastro, however, has observed everything, removes the effects of the potion and drives the two women away.
A high priestess appears with Papageno and Papagena and announces their first test: Papageno's loyalty is tempted by the high priestess and two of her priestesses, but Papageno passes this test, from a hiding place Papagena observed.
The Queen of the Night learns from her two transformed ladies about the unsuccessful "attack" on Tamino and Pamina. Together with Tipheus, the queen wants to disrupt the Sun Circle Festival and kidnap Pamina.
3rd picture. Audience hall
Scene 14–15. The initiates, Sarastro with Tamino and Pamina, have gathered in Sarastro's castle to witness the handover when Sithos and Tipheus appear in front of the castle. Sarastro receives them and they hand over a letter from the Queen of the Night to Tamino, in which she demands her daughter back and threatens the castle to be destroyed if the demand is not met. Sithos and Tipheus are pushed out of the hall and the castle, while Sarastro separates Tamino and Pamina and leads them individually into the underground labyrinth to put them to an examination.
4th picture. Straw huts and a view of a forest
Scene 16. Meanwhile, Papageno wanders alone through the woods and finds his parents and countless siblings there.
Scene 17-18. Monostatos tries (in black feather disguise) to persuade Papagena to go with him by making false promises. However, Papageno and his family prevent him from doing so. Monostatos then promises a Mohrin to be her lover. The Queen of the Night appears in the disguise of a priestess and makes her way to the labyrinth with Monostatos, while Papageno celebrates a party with his family.
5th picture. Labyrinth, rocks, sea
Scene 19-22. The Queen of the Night pursues Pamina through the labyrinth together with Monostatos and three other Moors and can finally kidnap her under the eyes of the helpless Tamino.
6th picture. ruins
On a lonely island, the Queen of the Night meets the rest of her entourage and they can escape Tamino and Sarastro into the subterranean starry realm just in time.
7th picture. Gulf, behind a magnificently lighted ship
On Tipheus' anchored ship, the Queen of the Night is about to hand over her daughter as bride when her pursuers appear. The Queen of the Night turns the ship into a cloud and all occupants can escape.
Second act
1st picture. Egyptian forest with monkeys and parrots
Scene 1-5. Papageno and Papagena are having a party with their new family when Monostatos joins them and Papageno offers three Moors to choose from as lovers. He is then kidnapped by the angry Papagena, while Papageno has to defend himself against Gura, the lover he has chosen, who forcibly forces him to stay with her.
2nd picture. Like I / 6. ruins
Scene 6-7. Sarastro lets the labyrinth guards lead him to Tamino.
3rd picture. Like I / 3. Audience hall
In the throne room, the half-mad Tamino is encouraged to continue the search for Pamina and the fight together with the initiated.
4th picture. Forest
Scene 8-10. Meanwhile, Papageno has to deal with his new lover Gura in the forest when Tamino and priests arrive and instruct Papageno to find Pamina for him. For this adventure he gets his chimes back.
5th picture. Like I / 7. Gulf with clouds, without a ship
Scene 11-14. In the bay from which Pamina was kidnapped by her mother, Tamino and Papageno meet, Papageno is placed in a cloud to get to Pamina. The three ladies and the queen of the night try in vain to steal Papageno's chimes and Papageno sets off with the three boys on a journey.
6th picture. Cabinet of smoke and mist
Scene 15-17. Pamina is being prepared for her wedding to Tipheus in a smoke and fog room belonging to the Queen of the Night. Papageno appears and despite the three women he is able to kidnap Pamina on his cloud.
7th picture. Like II / 4. Forest
Scene 18-19. Meanwhile, Papagena has to fend off the reenactments of Monostatos.
8th picture. Clouds, water, fire, two mountains, as high as the Queen's Palace
Scene 20. In front of the cloud palace above a mountain range, Tamino can lead Pamina to him with the sound of his flute with the help of the three boys. As they flee, they are followed by the Three Ladies and the Queen of the Night.
Scene 21.-23. With the help of Papagenos and his family, Papagena is freed from Monostatos in the forest and locked in a bird cage. The queen flees from the victorious Sarastro through this very forest.
Scene 24. The armies of Sarastro and Tipheus face each other on the battlefield. At Sarastro's suggestion, the decision should be made in a duel between Tamino and Tipheus. Tamino wins the wrestling match and hurls Tipheus into the fiery abyss of a volcano. The Queen of the Night, who is forged there, as well as her three ladies and monostatos, who are also forged on, are visible on its mountain tops.
A cheering choir ends the opera.
layout
libretto
Emanuel Schikaneder is still regarded today as “certainly one of the most original and influential theater makers of his generation”. On the basis of the (detailed) table of contents it becomes clear what discontinuous structure Schikaneder's libretto has, which is entirely in the tradition of the “heroic-comic opera” and is almost exclusively designed for striking effects. The plot is confused, but it can create numerous lively situations for ensemble numbers. The scene in which Papageno finds his family again and many little Papagenos and Papagenas populate the stage was and is particularly well received. Alexandra Liedtke , the director of the Salzburg Festival production in 2012, saw Schikaneder's libretto "as a great fairy tale [...] in which the exemplary and playful are in the foreground."
Instrumentation
The orchestral line-up for the opera includes the following instruments:
- Woodwind : two flutes , two oboes , two clarinets , two bassoons
- Brass : two horns , two trumpets , three trombones
- Timpani , glockenspiel
- Strings : violin 1, violin 2, violas , cellos , double basses
- Incidental music: two oboes, bassoon, two horns, pan flutes , tambourines
music
Schikaneder had the highest expectations in the " Electoral Palatinate-Bavarian " Kapellmeister Peter von Winter, because after the work of Babylons Pyramiden , written jointly by Johann Mederitsch and Winter in 1797, the work should also become a powerful opera. An illness Schikaneder initially caused an overdraft of the leave of absence of the Munich Kapellmeister from the Bavarian court services, which meant that his salary there was cut. Winter's artistic demands came into conflict with the "everyday theater" of Schikaneder's Wiedner Theater, so that his actual skill, as he demonstrated in The Interrupted Sacrifice Festival ( Hofoper Vienna 1796) or later in Maometto ( Milan Scala 1817), was not fully demonstrated Dimensions could come into their own. The overture is designed as a kind of potpourri of the opera in which some themes from the finals are quoted and processed. In his article, Sonnleithner emphasizes the scenic and musically attractive ensemble numbers, which he criticizes, however , based on models from the Magic Flute . Sonnleithner's résumé is that the music is “partly pleasing, but not infrequently boring; nowhere warming and moving. "
Work history
Lore
Today contemporary piano reductions are known in three different editions and (at least) six score copies. The printed libretto that appeared at the premiere only contained the text of the song numbers. The dialogues, on the other hand, have only been preserved in handwritten text or role books, but apparently remained unknown until 1991. The full text book contains the book by Jahrmärker / Waidelich.
Contemporary criticism
The extraordinary success of the Magic Flute was not repeated. The number of performances (67 performances are recorded for Vienna) confirm an interested reception by the audience, also when both parts of the Magic Flute were performed on consecutive evenings between 1799 and 1803 .
All contemporary critiques and reviews criticize the libretto's shortcomings in plot and language in the first place. The music is described as mediocre, with few highlights. In the eyes of contemporaries, both Schikaneder and Winter fell far short of their capabilities. Throughout all statements about this opera, its evaluation as an “equipment spectacle” runs without value or claim. In his extensive description of the opera in the “Reviews and Mitheilungen über Theater, Musik und bildende Kunst” (1862), Leopold von Sonnleithner did not skimp on critical remarks and swipes.
Versions and arrangements
For the first performance in Berlin in 1803, which largely followed the original version, interlude arias were composed by Vincenzo Righini .
In 1803 Schikaneder himself re-staged the opera in Vienna and made considerable cuts in the two finals, which above all brought about a streamlining of the plot in these parts. Schikaneder also had Abbé Vogler edit the introduction of the second act as well as composing interludes and a ballet.
For the performances in Frankfurt in 1806 there were insertions by Fernando Orlandi and Giuseppe Farinelli (i.e. G. Francesco Finco). Dialogue parts have also been expanded, changed or replaced for these two productions. The production in Nuremberg in 1807 brought about a profound treatment of the dialogues with passages that were critical of social and class.
The duet by Papagena and Papageno from the first act (“Here, here you guys”) was the template for piano variations by Joseph Wölfl , which appeared in the year of the premiere.
Productions in the 19th century
- 1803 Nationaltheater Berlin and new production in the Theater an der Wien
- 1806 Frankfurt
- 1807 City Theater Nuremberg
- 1817 Estates Theater in Prague
- 1818 Royal Court Theater Stuttgart
- 1821 City Theater Königsberg
- 1822 Cluj-Napoca
- 1828 Budapest (last verifiable production in the 19th century)
Productions in the 20th and 21st centuries
Because of the dialogues that were no longer known at the time, the opera was re-staged with a new plot
- 1930 as Papageno's wedding in the Stadttheater Kiel in the adaptation of the director and artistic director Georg Hartmann and
- 1978 in Munich in the Cuvilliés-Theater by August Everding (direction), Jürgen Rose (equipment), musical arrangement by Hans Martin.
- In 2002 the opera was staged in Chemnitz with the shortened text of the dialogues , the music (conductor: Fabrice Bollon ) was also shortened and partially changed here.
- In 2011 the opera will be performed as "Oper in short" and as an opera for children in the Opernloft in Hamburg. The new dialogue version is by Sören Ingwersen, the musical arrangement for piano, clarinet and flute by Markus Bruker.
- In 2012 the opera was performed on August 3rd at the Salzburg Festival in the courtyard of the Salzburg Residence on the occasion of the 200th anniversary of Schikaneder's death. The musically and lyrically (strongly) shortened version - with Malin Hartelius as Pamina, Julia Novikova as Queen of the Night, Regula Mühlemann as Papagena, Michael Schade as Tamino, Thomas Tatzl as Junge and Anton Scharinger as Alter Papageno and Clemens Unterreiner as Tipheus - was also recorded for television and radio ( Unitel Classica in coproduction with ZDF / 3sat ). Directed by Alexandra Liedtke , the conductor was Ivor Bolton , choreography Ismael Ivo , the furnishings came from Raimund Orfeo Voigt and costumes by Susanne Bisovsky and Elisabeth Binder-Neururer.
Further sequels of the Magic Flute in the 19th century
Mozart's Magic Flute found numerous admirers soon after its premiere. And although the text found little appreciation, there were, in addition to Schikaneder himself (who announced a second sequel to the Magic Flute in 1803 , but no longer carried out this project), three other authors who dealt with a sequel to the Magic Flute .
First of all, there is the Magic Flute project by Johann Wolfgang von Goethe , who dealt with it from 1795 to 1801 and considered setting it to music by Paul Wranitzky . An opinion expressed by Schiller in a letter may have caused Goethe to put the work aside. Various others were interested in this text, first the playwright and theater director August Wilhelm Iffland (1798 and again 1810), then later the composer Carl Friedrich Zelter (1803 and again 1814). Zelter seems to have set some parts of Goethe's text to music, but these are lost today, the composition of a few pieces by Bernhard Anselm Weber is attested.
In 1886 two more sequels came on the stage. Zelter's grandson Wilhelm Rintel set the libretto of his father Ludwig Rintel, Zelter's son-in-law, to music. The title of this opera is Die Zauberflöte, Part II . Another opera, Nitokris, the second part of the Magic Flute , is based on a libretto that includes Goethe's fragment, here Heinrich August Schultze set the libretto of his son Martin Schultze to music .
As the last independent continuation of that century, the "music drama" Sarastro by Liszt student Karl Goepfart was premiered in 1892 based on a text by Gottfried Stommel.
literature
- Leopold von Sonnleithner : The magic flute, second part ; in: Reviews and communications on theater, music and visual arts , 8 (1862), No. 29/30, 20./27. July, pp. 449-466.
- Fritz Brukner (Ed.): The Magic Flute. Unknown manuscripts and rare prints from the early days of Mozart's opera . Gilhofer & Ranschburg publishing house, Vienna 1934.
- Fritz Brukner: The "Magic Flute" second part. A heroic opera by Emanuel Schikaneder and Peter Winter , in: Österreichische Musikzeitschrift 1949, pp. 180–184.
- The magic flute part two under the title: The labyrinth or the struggle with the elements. A great heroic-comic opera in two acts by Emanuel Schikaneder. Set to music by Mr. Peter Winter, Kapellmeister in Churpfalz-Bavarian services. Complete text book. First publication based on contemporary sources and with an afterword ed. by Manuela Jahrmärker and Till Gerrit Waidelich, Hans Schneider Tutzing 1992.
- Werner Wunderlich, Doris Ueberschlag and Ulrich Müller (eds.): Mozart's “Magic Flute” and its poets. Schikaneder, Vulpius, Goethe, Zuccalmaglio . Facsimiles and editions of textbooks, arrangements and continuations of the Mozart opera , Mueller-Speiser Verlag, Anif / Salzburg 2007.
- Ronny Dietrich / Christian Arseni (eds.): Peter von Winter Das Labyrinth or The Struggle with the Elements Der Zauberflöte, second part , program book of the Salzburg Festival 2012.
- Till Gerrit Waidelich: "Schikaneder seemed to have designed it specifically to flatter the tastes of the audience" Papageno's self-marketing in Peter von Winter's "Labyrinth (The Magic Flute, Second Part)" as well as unknown documents on its creation, tradition and reception in Vienna and Berlin 1803 , in: Acta Mozartiana , 59 (2012), pp. 139–177.
Web links
- The piano reduction by Henneberg (Verlag N. Simrock) in the digitized collection of the Bavarian State Library, Munich.
- Libretto of the performances from 1806 in the digitized collection of the Bavarian State Library, Munich.
- The variations for piano by Joseph Woelfl on "Herbey, herbey you people" in the digitized collection of the Bavarian State Library, Munich.
- 6 variations for piano by Joseph Woelfl on the duet “Weibchen, treu wie euer Schatten” in the digitized collection of the Bavarian State Library, Munich.
- Performances (1770–1830) of The Magic Flute, second part. The labyrinth in the DFG opera project
- Overture on YouTube
- Score from the furnishings by Hans Martin for the 1978 performances in the digitized collection of the Bavarian State Library, Munich.
Individual evidence
- ↑ The Drei Knaben are also referred to as "geniuses" in the list of persons in the libretto of the Magic Flute 1791.
- ↑ Jahrmärker / Waidelich (see sources and literature), 1992, p. 135.
- ↑ Peter von Winter • The labyrinth. Program of the Salzburg Festival, August 3, 2012
- ↑ Peter von Winter • The labyrinth. Program of the Salzburg Festival, August 3, 2012
- ↑ Manuela Jahrmäirker, Gerrit Waidelich: The labyrinth or the fight with the elements. In: Piper's Encyclopedia of Musical Theater. Vol. 6 works. Spontini - Zumsteeg. Piper, Munich and Zurich 1997, ISBN 3-492-02421-1 , p. 748.
- ↑ Piano reduction by Johann Baptist Henneberg ; First published in 1798 by Schikaneders, later taken over by Tranquillo Mollo; 1799 with Nikolaus Simrock , Bonn; c. 1799 at Johann André , Offenbach.
- ^ 1 .: Copy of the score for the Berlin performance in 1803; now Berlin State Library (call number: mus.ms.23153); 2 .: copy of the score from 1812, used for the performances of 1818; now Württemberg State Library Stuttgart (signature S1, HB XVII 682 a, b); 3 .: City and University Library Frankfurt am Main (signature: Mus.Hs. Opern 628.1); 4 .: State and University Library Hamburg (shelf mark: Hs Ma 259); 5th: Herzog August Library , Wolfenbüttel ; a sixth copy of the score is in the library of the Florence Conservatory; a seventh copy of the score burned in Darmstadt during World War II . Contrary to what Robert Eitner claims, no score has survived in the archive of the Gesellschaft der Musikfreunde in Vienna .
- ↑ Opera collection of the Frankfurt City and University Library (signature Mus.Hs. Opern 628.6) and Lippische Landesbibliothek Detmold (signature: ms. N. 238, Nuremberg version).
- ↑ Jahrmärker / Waidelich, 1992, pp. 85–93.
- ↑ Jahrmärker / Waidelich, 1992, Fig. 18a-h.
- ↑ The labyrinth on the website of the Salzburg Festival.
- ↑ Jahrmärker / Waidelich, 1992, p. 133.