Stark, Jonathan (2022-03-31). "Tamino, Who Are You?". Jonathan Stark – Conductor . Retrieved 2022-08-16. The opera, Mozart’s last, is a Singspiel, the spoken dialogue providing a tempo change between arias, ensembles and choruses. By omitting that dialogue, the score took on a different contour, not least because those gaps were filled not with continuo ornament, but with a cinema-style honky tonk playing snatches of Mozart’s fantasias in C minor and D minor: real chunks of real music. This introduced a new and decidedly odd key relationship to the score, not necessarily wrong – though Die Zauberflöte is mostly in E flat major – but distracting, like having a few sonnets dropped into Hamlet. At the end, my neighbour said it was all very interesting but she preferred The Magic Flute the normal way. There is no normal way. I do not want to see this one again but I am glad I did, even if afterwards I had to go in search not of the next whisky bar, but of a shop still open and selling asprin. Under the direction of Craig Kier, the Maryland Opera Studio is dedicated to the future of opera. Preparing the next generation of great singers and offering performances ranging from classic repertoire to provocative new works, it is building contemporary audiences for opera and advancing the art that sustains them.

Mozart's delight is reflected in his last three letters, written to Constanze, who with her sister Sophie was spending the second week of October in Baden. "I have this moment returned from the opera, which was as full as ever", he wrote on 7 October, listing the numbers that had to be encored. "But what always gives me the most pleasure is the silent approval! You can see how this opera is becoming more and more esteemed." ... He went to hear his opera almost every night, taking along [friends and] relatives. [10]Rhiannon Vaughn (Pittsburgh, PA), First Lady, soprano, is in her second year in the Maryland Opera Studio. She is a graduate of both the New England Conservatory, where she earned a master’s degree in vocal performance, and the University of Rochester, where she earned bachelor’s degrees in both history and music. Most recently with the Maryland Opera Studio, Vaughn sang the role of Mrs. Julian in Benjamin Britten’s Owen Wingrave and scenes from Die Fledermaus, Eugene Onegin and Così fan tutte. She is a student of Jennifer Casey Cabot. Chailley, Jacques (1992). The Magic Flute unveiled: esoteric symbolism in Mozart's masonic opera. An interpretation of the libretto and the music. Rochester, Vermont: Inner Traditions International. ISBN 9780892813582. When Emanuel Schikaneder wrote the libretto for The Magic Flute in 1790 he specifically chose to write it in his native German rather than Italian (the traditional language of opera in his day). At ENO we perform all our productions in English for the same reason, translating and adapting original texts so they are accessible to anyone. Gruber, Paul, ed. (1993). The Metropolitan Guide to Recorded Opera. London: Thames and Hudson. ISBN 0-500-01599-6.

Lawrence Barasa (Kenya) First Armored Man/Second Priest, tenor, developed his artistic profile as a member and assistant production manager of the Kenyan Boys Choir. In this capacity he interacted and performed with artists including the Jonas Brothers, Ellie Goulding, Ciara and Demi Lovato. Barasa has performed the roles of Spoletta in Astoria Music Festival and Eugene Opera’s production of Tosca. He also appeared as Don Basilio and Don Curzio in Le nozze di Figaro at the Astoria Music Festival in 2018, Hoffmann in Les contes d’Hoffmann and Don José in La Tragedy de Carmen at the University of Oregon. Barasa completed training at the Savannah Voice Festival 2019–20 under the tutelage of Sherrill Milnes and Maria Zouaves. Barasa graduated from the University of Oregon with a vocal performance degree under Karen Esquivel. He is currently a graduate international student at the University of Maryland Opera Studio studying with Professor Dolores Ziegler. Branscombe, Peter (1991). Die Zauberflöte. New York: Cambridge University Press. ISBN 9780521319164. The Queen is sometimes referred to by the name "Astrifiammante", an Italian translation of the German adjective "sternflammende" ("star-blazing") in the original libretto

A magical adventure

Macpherson, Jay (October 2007). " 'The Magic Flute' and Freemasonry". University of Toronto Quarterly. 76 (4): 1080–1083. doi: 10.3138/utq.76.4.1072. Wiseman, Andreas (22 March 2021). "Oscar Winner F. Murray Abraham & Call My Agent Star Stefi Celma Join Modern-Day Magic Flute, Filming Underway in Europe". Deadline Hollywood . Retrieved 27 March 2021. Writer Stephen Jeffreys created the text for this ENO production of The Magic Flute. The role of the translator comes with certain freedoms to make choices for new English words, which director Simon McBurney wanted to make sure had a contemporary edge.

Ntim, Zac; Goodfellow, Melanie (26 August 2022). "Florian Sigl's 'The Magic Flute' To Debut At Zurich & San Sebastian Sets Zinemira Award — Global Briefs". Deadline . Retrieved 11 November 2022. The movie does not live up to the eternally enchanting music, but it serves as an enjoyable delivery system for experiencing it again, which is magic enough. In this new production by director James Brining and designer Colin Richmond, every scene is a visually engaging feast! The set is deceptively simple, with walls that shape-shift and move as the story progresses, creating a feeling of unsettlement and dreaminess. Projections (by Douglas O’Connell) throw some extra magic on proceedings and pull the audience a little more into the fantastical world in which this piece is set. Rathey, Markus (September 2016). "Mozart, Kirnberger, and the idea of musical purity: Revisiting two sketches from 1782". Eighteenth-Century Music. Cambridge University Press. 13 (2): 235–252. doi: 10.1017/S1478570616000063. a vocal score was issued by Kozeluch of Vienna as a periodical in segments from late 1791 through 1793.Kosky was, in his own words, “bored shitless” by his first, youthful encounter with the piece. That is not as blasphemous a reaction as it sounds. Music notwithstanding, the action of Mozart’s last opera can drag. The story is confusing, the spoken dialogue cumbersome. Good for a child’s first opera? No, unless you want to curb an expensive habit early. The worry with this production was not that we would be bored but that we might be smothered by high-octane theatrical excess. The audience oohed and aahed, clapped, gasped and guffawed. There was no let-up Blaney, Martin (9 March 2021). "Sola Media boards the Roland Emmerich-produced The Magic Flute". Screen Daily . Retrieved 13 March 2021.

Monostatos appears with the Queen and her Ladies, as they plot to destroy the world, but Sarastro appears with Tamino and Pamina at his side. The young lovers are united and everyone gives thanks to the gods. Lyric Opera of Chicago is committed to redefining what it means to experience great opera. The company is driven to deliver consistently excellent artistry through innovative, relevant, celebratory programming that engages and energizes new and traditional audiences.While none of Mozart's operas were smash hits during his lifetime, The Magic Flute came closest, playing 20 times in its first month and more than 200 times by the end of the century. And while today Mozart is renowned for his symphonies, piano concertos, string quartets, and so much more, the area he truly dominates is the opera stage. Since 2004, there have been more performances of Mozart operas than those of any other composer save one—Giuseppi Verdi, who wrote more than 20 operas. And yet, four of the 11 most-performed operas worldwide are by Mozart. That is two more than Verdi and one more than the other opera luminary, Giacomo Puccini. And while Don Giovanni, Le nozze di Figaro, and Così fan tutte are all considered masterpieces, Mozart's most popular opera today is the same as it was 230 years ago, The Magic Flute. It is the second most performed opera globally, staged 9,264 times in the past fifteen years. Masonry motifs