Once upon a time, in a land far away, there lived a young princess named Lily. Lily was no ordinary princess; she possessed a special power - she could perform magic. Ever since she was a little girl, Lily had been fascinated by the world of magic. She would spend hours studying spells and practicing her magic tricks. One day, while exploring the enchanted forest near her kingdom, Lily stumbled upon an old, dusty book. It was filled with pages upon pages of ancient spells and potions.
Mozart’s final opera (written before La Clemenza di Tito but first performed later) premiered in Vienna in September 1791, just weeks before the composer’s death, with Mozart conducting the orchestra from the fortepiano. A timeless fairy tale, it was a major success from the beginning and never lost its place as one of the most popular works in the repertoire. Julie Taymor’s beloved Met production opened in 2004. Its abridged English-language version, which returns in December 2013 as the company’s annual holiday presentation for families, inaugurated the Met’s Live in HD series of performance transmissions to movie theaters around the world in 2006.
This abridged, English-language presentation for families launched the Met s Live in HD series of movie-theater transmissions and appeals to music lovers of all ages. If past productions of the opera at The Met by Marc Chagall 1967 , David Hockney 1991 and Taymor 2004 were brilliantly colorful, McBurney s production may seem dark but it emphasizes the opera s music-theater roots.
It was filled with pages upon pages of ancient spells and potions. Excitedly, Lily began flipping through the book, eager to learn more about the world of magic. As she delved deeper into the book, Lily discovered a spell that promised to bring anything she desired to life.
Mozart's 'The Magic Flute' as a portal, at The Met Opera & beyond
I distinctly remember the first time I heard the vengeance aria, “Der Hölle Rache,” from Mozart’s The Magic Flute. It was during Miloš Forman’s film adaptation of Peter Shaffer’s play Amadeus in 1984, at what is now Bryn Mawr Film Institute. Wolfie’s mother-in-law starts berating him for not being a good provider, and her anger morphs into a performance of the opera as the Queen of the Night urges her daughter Pamina to slay Sarastro. The effect on my 16-year-old ear, brain, and soul was magical. The glittering, bell-like qualities of soprano June Anderson’s voice literally took my breath away. I’d never heard anything like it. The aria was a pivotal entry point for me into the world of opera.
The opera is such a great onramp for new and younger audiences to opera that The Metropolitan Opera used it to inaugurate its holiday opera offerings in 2006 with Julie Taymor’s spectacular production in a family-friendly 100-minute abridgement in English. The Met continues to offer that production during the holidays, retiring it from use beyond December performances.
In its place is director Simon McBurney’s acclaimed 2012 Dutch National Opera production, which will be heard this Saturday, June 3 at 1 p.m. on 90.1FM WRTI or at wrti.org as part of the Toll Brothers - Metropolitan Opera International Radio Network. If past productions of the opera at The Met by Marc Chagall (1967), David Hockney (1991) and Taymor (2004) were brilliantly colorful, McBurney’s production may seem dark — but it emphasizes the opera’s music-theater roots.
The Met OperaThe Magic Flute premiered at the Theater auf der Wieden, Vienna in 1791. Its composer had known the theater’s founder, Emanuel Schikeneder, since about 1780, when Schikeneder befriended the Mozart family during a stay in Salzburg. Schikeneder was highly regarded for his theatrical skills, and was one of the most-renowned German-language interpreters of the role of Hamlet in his day.
The Theater auf der Wieden performed plays, operas and singspiels; Schickeneder had an uncanny sense for what audiences wanted and liked. He worked with Mozart on the allegorical, Masonic-themed plot for The Magic Flute, which would feature actors from the Theater troupe that could sing, and opera singers who Mozart knew intimately. The role of the Queen of the Night was played by Mozart’s sister-in-law; Tamino was played by one of his best friends; and the part of Pamina, who was only 17 at the time, had premiered the role of Barbarina in The Marriage of Figaro when she was merely 12! The opera was a spectacular success with 100 performances within 14 months of its premiere. But Mozart did not live to see this success, dying just over two months after the opera’s premiere.
If Mozart and Schickeneder captured the imagination of Vienna’s audiences with the opera’s fantastical elements and extraordinary music, Simon McBurney’s production brings the audience into the work by breaking the fourth wall with musicians coming out of the pit to play Tamino’s flute and Papageno’s chimes, raising the orchestra pit so that the players are easily visible throughout the performance, and starting the overture with the house lights still on. Costumes bring us into the story, too, with the cast in recognizably contemporary clothing that illuminate their characters — from the businessman Sarastro, the elderly wheelchair-bound Queen of the Night, and Pamina in athleisure wear.
For all its allegory, Flute has problematic elements today. Act I tells us that the Queen of the Night is good and Sarastro is bad, yet in Act II we confusingly learn the opposite is true.The opera treats the Moorish character of Monastatos with racist overtones that are downplayed or ignored today. And the libretto is decidedly misogynistic: at one point, Sarastro tells Pamina that “A man must guide your heart, for without that, every woman tends to overstep her natural sphere.” But aside from any dramaturgical or content challenges, McBurney sees the story as a fairy tale, a flight of the imagination, and more.
Still, at the heart of any Flute is its music. It is a work of musical extremes, from the aforementioned Queen of the Night’s Aria,with its vocal acrobatics, to Tamino’s noble utterances and Papageno’s earthy comedic moments. Within those extremes is a central musical energy of profound goodness and love. We can hear that in Pamina’s duet with Papageno in Act I, “Bei Männern, welche Liebe fühlen” (In men, who feel love) and in Sarastro’s profundo “In diesen heil'gen Hallen.” (Within these sacred halls.) The intensity of Pamina’s love for Tamino is easily sensed when she fears that all might be lost between them in “Ach, ich fühl's, es ist verschwunden.” (Ah, I feel it, it is vanished).
There are undeniable riches in Mozart’s final opera. The cast for this performance could not be bettered, with Lawrence Brownlee (Tamino), Erin Morley (Pamina), Thomas Oliemans (Papageno), and Stephen Milling (Sarastro). Soprano Kathryn Lewek has sung the Queen of the Night at The Met more than any other soprano in the company’s history. She took to YouTube to share a little bit about the role and this production.
And if the Queen’s vengeful aria was a pivotal entry point for me into the world of opera, it is certainly familiar to many on Earth — and beyond: soprano Edda Moser’s iconic dramatic-soprano interpretation was the only recorded opera excerpt to be included in a collection of music from Earth on the Voyager 1 and Voyager 2 spacecraft. Maybe extraterrestrials will fall in love with Mozart, too!
This production runs: Dec 8 - Dec 30
The spell required a rare golden flower as an ingredient, which could only be found at the top of the tallest mountain in the kingdom. Determined to try out the spell, Lily packed her belongings and set off on an adventure. After days of climbing, Lily finally reached the top of the mountain. There, she found the golden flower, shining brightly in the moonlight. As she plucked the flower from its stem, a burst of glittering light surrounded her. And in an instant, the flower transformed into a majestic unicorn! Overwhelmed with joy, Lily named her new companion Sparkle. Together, they embarked on countless adventures, using Lily's magic to help those in need and bring joy to the kingdom. The people soon hailed Lily as the Magic Princess, and she became a beloved figure throughout the land. However, with power comes responsibility, and Lily soon realized that not all magic should be used for personal gain. She learned that true magic lies in kindness, compassion, and using her powers for the greater good. As the years passed, Lily continued to spread her magic throughout the kingdom, bringing happiness and hope to those she encountered. And though she had the ability to perform incredible feats, it was her love for others that truly made her a marvel. In the end, Lily's magic tale reminds us that true power comes from within, and that using our abilities to help others can create a world of wonder and enchantment..
Reviews for "Creating Magic: The Craft of Writing Enchanting Tales"
1. Ryan - 1/5 stars - I was highly disappointed by "Magic Tale Marvel." The plot was confusing and didn't make sense, leaving me feeling frustrated throughout the entire film. The characters lacked depth and development, making it hard to connect with any of them. The special effects were underwhelming, and the action sequences felt poorly executed. Overall, I regret wasting my time and money on this underwhelming film.
2. Emily - 2/5 stars - I had high expectations for "Magic Tale Marvel" but unfortunately, it fell short. The story was predictable and lacked originality, following a formulaic plot that we've seen numerous times before. The acting was mediocre at best, with the lead actors failing to deliver convincing performances. Additionally, the CGI was poorly integrated and took away from the overall viewing experience. I wouldn't recommend this film to anyone looking for an engaging and captivating fantasy adventure; it simply didn't deliver.
3. Jacob - 2/5 stars - "Magic Tale Marvel" had the potential to be a great fantasy film, but it failed to live up to its promise. The pacing was uneven, resulting in moments of boredom followed by rushed and confusing scenes. The dialogue felt forced and lacked depth, leaving the characters feeling one-dimensional. The film also failed to establish clear rules for its magical elements, which made the story even more difficult to follow. Overall, I was disappointed with the lackluster execution and lack of originality in "Magic Tale Marvel."
4. Sophia - 1/5 stars - As a fan of fantasy films, I was excited to watch "Magic Tale Marvel," but it turned out to be a complete letdown. The plot was convoluted and hard to follow, jumping between different timelines without proper explanation. The characters felt clichéd and lacked any real emotional depth. The film relied too heavily on CGI, which was unimpressive and took away from the storytelling. Overall, "Magic Tale Marvel" failed to deliver an enjoyable and engaging fantasy experience, and I would not recommend it to others.
5. Andrew - 2/5 stars - "Magic Tale Marvel" had a promising concept, but it failed to deliver a compelling and coherent story. The film lacked a clear direction and often felt disjointed, making it challenging to stay invested in the narrative. The performances were underwhelming, with the lead actors failing to bring their characters to life. The special effects were also subpar and failed to create a believable fantasy world. While the film had potential, it ultimately fell short and left me feeling disappointed.