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Performance artist and opera director Robert Wilson sees the characteristic light of Mozart : When obtained through struggles (including the elemental ones of earth, air, fire and water), Pamina aids Tamino in overthrowing the dark power, and establishing a new world of Light within Sarastro’s temple of the Sun/Son.

The hero-in-the-making, Tamino, at first chased by the Serpent, traverses the shadow world of the Queen of the Night, toward his desired goal, the beloved Pamina. Underneath the opera’s weirdness, the story is universal, one that appears in every culture, throughout history – the quest.Ī kingdom has fallen under the shadow of a dark power.

Nevertheless, the work, in the right hands, is pure theatrical magic. Now follows a padlock, a magic flute, a magic glockenspiel and five singers who step out of character to talk directly to the audience.” “ An overture, then a dragon, three ‘cabaret’ ladies, a quasi-folk song, an intensely passionate invocation to a portrait, and a virtuoso tirade. Mozart scholar, and a former director of the Glyndebourne Festival, Myer Fredman once remarked on how oddly the plot of THE MAGIC FLUTE unfolds: No opera that he saw was as different from everyday life, even wartime life, than Mozart’s MAGIC FLUTE. He replied, “I must have a change, or I will die.” During the Civil War, President Lincoln was criticized for attending the opera so often.