The Magic Flute

EDUCATOR’S
GUIDE
Dear Educator,
The acclaimed actor and director
Kenneth Branagh marks the
celebration of Mozart’s 250th birthday
in 2006 with his spectacular new film
version of Mozart’s The Magic Flute.
Set in the dark days of the first global
conflict of the 20th century, Branagh’s
version employs a newly adapted
English-language text by the multitalented actor and author Stephen Fry.
The Magic Flute has been celebrated
since its first performance in 1791 as
a dramatic quest story of love, bravery
and transition similar in many ways to
The Lord of the Rings.
Using the CD accompanying this
programme, you can now bring The
Magic Flute into your own classroom
so that students can develop greater
music appreciation and language
skills. The eight activities focus on the
rich storytelling narrative of The Magic
Flute, as well as providing a basis for
analyzing the opera’s musical
elements. They can be used with
students ages 12 to 16 and adapted
to their abilities. You may wish to
schedule a class trip to see the film
when it is released in 2007, although
it is not necessary in order to use
these activities. Pre- and post-viewing
suggestions are included in this guide.
The Magic Flute is a Peter Moores
Foundation production, written and
directed by Kenneth Branagh and
produced by Pierre-Olivier Bardet,
with James Conlon as musical
director. Branagh has commented that
“this is a very exciting departure for
me as a filmmaker...to help bring this
masterpiece to a different audience is
an immense and thrilling challenge.”
Young Minds Inspired (YMI) is excited
and pleased to support that challenge
through this teaching guide designed
to inspire today’s young people
towards an appreciation of Mozart’s
legendary opera and its application to
their own lives.
PROGRAM OBJECTIVES
• To enhance students’ appreciation of Mozart’s The Magic Flute through
a greater understanding of musical composition and opera.
• To better understand how traditional art forms can be re-created for
new audiences using contemporary creative platforms, such as film.
• To use The Magic Flute as a context for developing language skills and
to extend student comprehension of storytelling as an important
component of opera.
• To provide a connection to students’ own lives through the themes of
journey, trial and resolution as portrayed in The Magic Flute.
• To show that the relationship between historical events, a narrative, and
a musical score can ensure the timeless quality of great works of art
regardless of setting.
TARGET AUDIENCE
This program has been designed for students ages 12 to 16, but the
activities can be tailored to the interests and abilities of your students.
Throughout this teacher’s guide, applications and extension ideas to
promote fluency in language expression are noted with:
PROGRAM COMPONENTS
¨
• Educator’s guide
• Eight reproducible student activity masters
• Highlights CD from the film’s soundtrack
HOW TO USE THIS GUIDE
• Review the accompanying materials and schedule them into your classroom
lessons. Preview the film if you plan to use it with students.
• Have students view the film at a local theater/cinema.
• Use the Related Activities as a springboard for further exploration and
discussion of the concepts presented in the film and guide.
S YNOPSIS OF K ENNETH B RANAGH ’ S
T HE M AGIC F LUTE
On the eve of the first global war, a magical drama unfolds as Tamino sets
forth on a perilous journey in pursuit of love, light and peace in a world
afflicted by darkness, death and destruction. An eerie quiet descends over a
landscape still untouched by conflict as Tamino waits anxiously with his fellow
recruits for the command to go into battle. In the ensuing chaos he is
transported to a twilight world caught between dream and nightmare where
he is rescued from certain death by a seemingly celestial trio of field nurses.
When Papageno (keeper of the canaries employed to detect the presence of
gas in the trenches) stumbles onto the scene and attempts to take credit for
saving Tamino, the three ladies dispatch the two soldiers on a deadly mission.
The duo must rescue Pamina, the lovely daughter of the Queen of the Night,
who has been kidnapped by the dark lord, Sarastro. What follows is a
spectacular musical adventure in which the destiny of a pair of young lovers
may help determine the fate of nations and the lives of millions.
The film premiered in 2006 at the Venice, Toronto, and Seville Film Festivals.
Sincerely,
Roberta Nusim
YMI Publisher and former teacher
is the only company developing free, creative and innovative
classroom materials that is owned and directed by award-winning
former teachers. All YMI teaching materials are approved by our
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PRE-VIEWING TEACHING STRATEGIES
POST-VIEWING
TEACHING STRATEGIES
Review the plot's highlights, and the main characters and
themes of the opera and film. Introduce some background
material about the global nature of World War I, the film’s
setting, if you plan to use the activities in this guide
after viewing the film.
• As a class, discuss what students
felt were the highlights of the film,
what they liked best and least, what
was most entertaining, and what they
learned that was new to them about
opera.
Review the terminology below.
Terms appear in boldface in the
teacher’s guide where noted.
You may choose to write all or
some of the terms on the board
and either discuss the
definitions first or ask students
to copy the terms and suggest
possible definitions. Individual
words can be assigned to
individual students to research,
if desired.
• Focus on the film in the context of its
period setting. Do students feel that it
made an effective connection between
the outcome of the war and that of
the lovers? Why or why not? What
could have been done differently?
• Have students ever seen opera
produced for film as opposed to
staged opera filmed for
preservation? What are the
similarities and differences? If
not, have they ever seen a
musical on film? What are the
similarities in terms of how they
reflect popular culture?
VOCABULARY TERMS
Aria (Activity 3, page 6): in opera,
solo song accompanied by the
orchestra
Tamino
Baritone (Activity 8, page 16): the voice
between the tenor and bass
Bass (Activity 8, page 16): the lowest male voice
Chorus (Activity 5, page 10): group singing; can be all male
or all female or mixed
Coda (Activity 3, page 6): the ending section of a
composition
Coloratura aria (Activity 3, page 6): employs the highest
possible range, testing the limits of the human voice
Coloratura soprano (Activity 8, page 16): The highest type
of soprano voice
Duet (Activity 5, page 10): two singers singing independent
melodies with accompaniment
Enlightenment (Activity 1, page 2): 18th-century intellectual
movement that embraced the ideals of reason and acquiring
wisdom, defeating darkness with light, finding order, and
bettering mankind
Ensembles (Activity 5, page 10): singing in groups of threes
(trio), fours (quartet), or fives (quintet)
Freemasonry (Activity 1, page 2): brotherhood (or fraternity)
of individuals whose beliefs included the quest for
knowledge, secularism, love, justice, and liberty
Mezzo-soprano (Activity 8, page 16): the voice between
the soprano and alto
Opera (Activity 3, page 6): a staged play that is sung
throughout
Overture (Activity 1, page 2): instrumental introduction
before the action begins
Recitative (Activity 3, page 6): an introduction to an aria,
often in a declamatory style
Singspiel (Activity 3, page 6): an opera, usually comic and in
German, that uses song and spoken dialogue
Soprano (Activity 8, page 16): the highest female voice
Strophic song (Activity 3, page 6): song whose music is
repeated to different lyrics
Tenor (Activity 8, page 16): the highest male voice
THE
THE MAGIC FLUTE QUIZ
Test students’ recall and understanding with the following
quiz, as time permits:
• What musical genius thought The Magic Flute was
Mozart’s greatest work? (Beethoven)
• Name two Viennese composers who were Freemasons.
(Haydn and Mozart)
• What other famous film directors have made versions
of Mozart’s operas? (Joseph Losey’s Don Giovanni,
1979; Ingmar Bergman’s The Magic Flute, 1975)
CD SOUNDTRACK HIGHLIGHTS
1.
2.
3.
4.
5.
6.
7.
8.
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10.
11.
12.
13.
14.
15.
16.
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18.
19.
MAGIC
1
Overture
6:33
Oh help me, God help me!
3:32
The Birdman
2:42
This picture
4:04
Don’t be afraid
5:02
Hm! Hm! Hm!
6:29
You darling creature
1:57
What brings you here, young man of a blood? 8:07
Your time of trial has begun
3:41
March
1:37
They always think before they speak
3:13
Infernal fury
3:04
Let me die
4:07
The whole world
2:56
Look east!
5:43
Sarastro’s warriors
3:19
So goodbye, you cruel world
5:18
Pa-Pa-Pa
2:29
Softly, softly
5:22
FLUTE
Activity 1
THE AGE
TEACHER’S GUIDE
OF
ENLIGHTENMENT 1900S STYLE
OBJECTIVES
PART C.Have students use the Internet to research
Mozart’s life and works.
1. Mozart (1756-1791) lived during the high point of the
Enlightenment. Composer Franz Joseph Haydn introduced
him to Freemasonry, a brotherhood (or fraternity) of
individuals with similar beliefs including the quest for
knowledge, secularism, love, justice, and liberty.
2. Have students answer these questions aloud in class.
Answers can include: Other well-known operas are The
Barber of Seville (Rossini), La Bohéme (Puccini), and Don
Giovanni (also by Mozart). Student preconceptions about
opera might include that opera is for older, wealthy
audiences only. The Magic Flute is a Singspiel, a type of
German opera that includes both sung and spoken
dialogue, a popular art form that was intended for broad
audiences. Musicals are a type of light musical theater, too.
As with musicals, The Magic Flute lends itself to a film
version because of its wide appeal, and the fact that it was
originally intended as popular, vaudeville style
entertainment.
3. After playing the Overture to The Magic Flute, tell students
that they will learn more about this opera in further
activities. Tell them that an overture is a purely
instrumental introduction to an opera. Then, point out that
The Magic Flute is full of references to the ideals of the
Enlightenment, including the acquisition of wisdom and
the defeat of darkness with light. The Overture begins with
three orchestral chords (3 is a Masonic number). The slow
beginning is appropriately solemn and rigorously simple. It
soon moves to a faster, more complex section in imitative
counterpoint (a melody chases, echoes, or answers
another). This mixture of simplicity and complexity reflects
the egalitarian goals typical of the Enlightenment.
To explore the ideals of the Age of Enlightenment and
how they affected The Magic Flute. Students will compare
that age to the period surrounding World War I, the setting
for Kenneth Branagh’s 2006 film production of the opera.
MATERIALS
The Magic Flute highlights CD. You may wish to have a
map of 1914 Europe handy when discussing the period
setting and World War I specifically.
TEACHING TIME/TIPS
(50 minutes) You can broaden the scope of the activity
by beginning with an overview of famous European
composers and artists apart from Mozart, such as
Leonardo da Vinci (born in Italy), Picasso (Spain),
Beethoven (Germany), and Shakespeare (Great Britain).
Challenge students to identify the time period during
which Mozart, who was born in what was then called
Austro-Hungary, lived.
PART A. Possible answers:
1. The Age of Enlightenment was the 18th-century
intellectual movement that embraced the ideals of
reason and acquisition of knowledge, defeating
darkness with light, finding order, and bettering
mankind. Faith was placed in the exercise of reason
rather than the practice of traditional beliefs.
2. The French Revolution of 1789 (two years before the
debut of The Magic Flute)—whose architects included
Rousseau, Diderot, and Voltaire—reflected
Enlightenment ideals in the principles of “liberty,
equality, and fraternity.” Europe was profoundly
changed by this anti-monarchist view. In 1776, the
Founders of the United States, among them Benjamin
Franklin, George Washington, and Thomas Jefferson,
wanted to create the first country guided by “life,
liberty, and the pursuit of happiness”—ideals that
would better society.
RELATED ACTIVITIES
1. Enlightenment thinkers believed that old, revered laws
and forms of government should be replaced if
necessary by more ideal concepts that would better
society. Musicians such as Mozart reflected these beliefs.
Have students think about how musicians in more
recent times have reflected thinking that was perhaps
radical for its time, i.e., the songwriters of the 1960s
who helped stimulate the civil rights, feminist and
environmental movements, and even hip-hop artists
who have raised the profiles of the conditions under
which many urban youth have led challenged lives. Lead
students to discuss the comparisons and contrasts.
PART B. Answers:
1. 1914-18, in France, Britain, Russia, Austria-Hungary,
Germany, and Italy. World War I saw the advent of the
mechanisation of war (aerial bombing, nerve gas,
machine guns, and tanks), where technology enabled
killing to be effected on an industrial scale.
2. Possible answers: car, telephone, sound recording,
cinema; in the arts—cubism, dadaism, surrealism; in
music—Ravel, Debussy and Stravinsky
3. Possible answers: Both periods showed a rapid
intellectual development in the arts, philosophy, and
sciences; both periods re-shaped the map of Europe.
THE
¨
2. Have students identify the themes found in
today’s musical compositions (love, rage, political
dissent, overcoming difficulties or handicaps,
societal problems, etc.). Challenge them to write an
essay analyzing the contemporary aspects of Mozart’s
work in The Magic Flute in comparison with today’s
songwriters. Are there similar themes?
MAGIC
2
FLUTE
Activity 1
THE AGE
Kenneth Branagh’s new
film of Mozart’s classic
opera, The Magic Flute,
was made in the year
that marks the 250th
anniversary of Mozart’s
birth. Branagh interprets
the story in a different
setting than that of the
original, ancient Egypt. His
production is set during the
dark days of World War I,
although its setting
represents war in general.
REPRODUCIBLE MASTER
OF
ENLIGHTENMENT 1900S STYLE
2. The early years of the 20th
century also saw a great deal of
creativity and accomplishment in
the arts and sciences. Name some
technological innovations and
musical innovators of that era.
______________________________
_____________________________
_____________________________
____________________________
___________________________
e Boys
The Thre
__________________________________________
Mozart lived during the Age
of Enlightenment in the late
18th century, when thinkers and artists sought to advance
humanity from darkness into light. Similar hopes were
held high in the period following World War I—“the war
to end all wars”—that the aftermath would lead to a
new golden age. Both periods saw the humanities and
arts flourish with renewed vigor.
3. What, if any, connections are there between the
Enlightenment and the period around World War I?
________________________________________________________
________________________________________________________
________________________________________________________
PART A.
PART C.
1. What do we mean by the Age of Enlightenment?
When did it start and what are some of its principal ideals?
1. After researching the life and works of Mozart, discuss
as a class how his music reflects the ideals of the
Enlightenment. How did Freemasonry affect the music
he composed for The Magic Flute? Which symbolic
references can be easily recognised and identified?
________________________________________________________
________________________________________________________
________________________________________________________
2. Discuss as a class: What do you know about the world
of opera? Have you ever seen an opera? What do you
think about opera in general? Can you name some
operas and opera composers? What is the difference
between an opera, a musical, and a Singspiel? Have
you ever seen a musical performed on stage or seen a
musical at the cinema? What are the differences
between opera and musicals? What are the similarities
between a Singspiel and a musical? Why do you think
that The Magic Flute lends itself to a film version?
2. How do the ideals of the Enlightenment relate to the
French Revolution as well as to the founding of the
United States? Name some of the thinkers who
inspired both movements. How did these changes
affect the rest of Europe?
________________________________________________________
________________________________________________________
________________________________________________________
3. Now listen to the Overture of The Magic Flute. Do you
see any kind of connection between it and the ideals
of the Enlightenment? Write your thoughts below:
PART B.
1. When did World War I start and end? Where did most
of the fighting take place? What troublesome scientific
and technological developments came into being
because of the war?
________________________________________________________
________________________________________________________
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________________________________________________________
THE
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MAGIC
3
FLUTE
Activity 2
TEACHER’S GUIDE
LOVE
LIFE
PART B.
FOR
OBJECTIVES
Have students work in groups to discuss
the points highlighted in this section. Possible answers are:
To have students learn that Mozart possessed an intense
zest for life that was reflected in The Magic Flute, a
quality that is also reflected in the opera’s narrative and
the motivation of the leading characters.
1. The Magic Flute celebrates a zest for love and
brotherhood, and the power of music to defeat
darkness, war, and the manipulation of power. Papageno
is a lighthearted figure who provides “comic relief.”
Mozart himself was described as fun-loving, honest,
reliable, humanistic in his concerns, and hard-working,
with a vivid imagination and inexhaustible creativity.
MATERIALS
Photocopies of the opera’s synopsis (inside front cover).
TEACHING TIME/TIPS
(35 minutes) Depending on students’ previous
knowledge, you may wish to increase or decrease the
amount of information you provide.
2. Papageno is temporarily confined inside his gas mask by
the Three Ladies, “dresses to impress” with a surplus of
military equipment when he rescues Pamina, and hurtles
passionately toward the large red lips that beckon like a
phantom.
PART A. Students should use the research they did
3. The magic flute itself, the magical bells, and the flying
sequences of the Queen of the Night
on Mozart’s life in Activity 1 to answer the questions in
this section (information corresponding to the questions
on the activity sheet appears below). First challenge
students to recall what they researched about Mozart.
Discuss their answers when they are finished.
RELATED ACTIVITIES
1. Have older students watch the film Amadeus, about
Mozart’s possible relationship with composer Antonio
Salieri. Some of the most enjoyable scenes depict
productions of Mozart’s operas, including the Queen of
the Night aria from The Magic Flute.
Wolfgang Amadeus Mozart (1756-1791) is one of the
world’s most famous composers. He was a genius and a
prodigy, a person who was extremely talented at a young
age. He started playing the keyboard at age 3 and
composed his first pieces at 5. By age 7, he, his sister and
his father were touring Europe, including France and
England. At age 8, Mozart wrote his first three
symphonies and at age 12 composed his first opera. He
worked in Salzburg and later in Vienna. There at age 26
Mozart married Constanze Weber. He supported his family
in Vienna by performing in public and private, teaching,
and composing. He died on December 5, 1791. His
compositions number over 600, including 41 symphonies,
22 stage works and operas, 25 piano concertos, and 5
violin concertos. During his last year he wrote, among
other things, The Magic Flute and a Requiem (a musical
setting for the Mass of the Dead). Mozart’s father early on
exploited his son’s genius, and Mozart’s life was a roller
coaster of emotional highs and lows. He died penniless
with his Requiem unfinished, and he was buried in a
communal grave that to this day has never been found.
2. Encourage students to read a selection of Mozart’s
letters, available in bound versions at
www.wwnorton.com/catalog/spring00/
04719.htm or www.amazon.com/gp/
product/0393328309/103-1250784-0755064?v
=glance&n=283155, among other sources. A reading
of extracts from his letters gives a fascinating insight
into Mozart’s state of mind.
¨
3. Using more contemporary examples, ask
students to research the life of a musician of their
choice to discover how that musician overcame or
ultimately was overcome by circumstances. How did
the musician's life affect his or her musical
compositions? Students then can write a minibiography of that musician and compare his or her
background to that of Mozart. Was Mozart the first
rock ‘n’ roll hero—the first international music star to
live fast and die young?
Answers:
1. over 600
2. 5
3. 8
4. 41
5. 35
6. A concerto consists of a solo instrument accompanied
by an orchestra.
7. A Requiem is a musical setting for the Mass for the
Dead.
THE
MAGIC
4
FLUTE
Activity 2
LOVE
REPRODUCIBLE MASTER
FOR
LIFE
Kenneth Branagh’s new film production of The
Magic Flute continues an ongoing fascination with
Mozart’s creative genius. Mozart was uniquely
gifted, and although he was compulsively driven at
times by a need for success, excellence and
notoriety, it was his personality that allowed him to
compose a large volume of great work in a
relatively short lifespan of only 35 years. Mozart
believed that love prevailed over all things and
that mutual tolerance and brotherhood were the
center of being—ideals which are seen in The
Magic Flute. While he was writing this lifeaffirming opera, he was also composing his
Requiem, which remained unfinished due to his
untimely death 10 weeks after the premiere of
The Magic Flute. Mozart’s was a brilliant and
playful mind—he even played the glockenspiel
during one performance and intentionally
mistimed his entrance as a joke on his friend
and original Magic Flute librettist, Emanuel
Schikaneder, who was performing on stage at the time.
PART B.
First
review the main story
of The Magic Flute:
The beautiful Pamina
is held captive by
Sarastro. Her mother,
the Queen of the
Night, finds a prince,
Tamino, to send on a
mission to rescue her.
Tamino, having seen a
portrait of Pamina, is
determined to win her.
He takes with him
Papageno, a birdcatcher. Pamina is
rescued by Papageno
Pamina
from the clutches of
Monostatos, Sarastro’s
servant. Tamino is
persuaded that Sarastro is not a cruel enemy but
concerned with the cause of virtue. Tamino and Papageno
agree to undergo the trials of initiation into Sarastro’s
brotherhood. The adventurers are assisted by magic bells
and a magic flute, given to them by the Queen, and Three
Boys who act as their guides. The trials demand silence and
restraint. Papageno is less successful than Tamino, but he
still finds reward in the person of Papagena. Tamino,
eventually with Pamina at his side, completes the final trials
by fire and water. The Queen of the Night launches an
attack on the battlefield but is repulsed by Sarastro, whose
spiritual power has been renewed by the virtue of Tamino
and Pamina.
PART A. From the research you did in Activity 1,
test your knowledge about Mozart by answering these
questions:
1. How many pieces did Mozart write during his lifetime?
___________
2. How old was Mozart when he wrote his first piece?
___________
3. How old was Mozart when he began composing
symphonies?___________
4. How many symphonies did he write?___________
Now, with your group, discuss the following points and
then present your findings before the class.
5. How old was Mozart when he wrote The Magic Flute?
___________
1. Name a way in which Mozart expressed his zest for life
and his humor in The Magic Flute. How would you
describe Mozart’s character?
2. Name several comic elements in The Magic Flute.
3. Name several fantasy-like elements in The Magic Flute.
6. What is a concerto?_______________________________
7. What is a Requiem?_______________________________
Sarastro (center) and Monostatos (closest left)
THE
MAGIC
5
FLUTE
Activity 3
TEACHER’S GUIDE
OPERA
MASSES?
PART B.
FOR THE
OBJECTIVES
Play “The Birdman” ( track 3 ). Answers:
1. Yes
2. A man sings.
3. The music is repeated to different lyrics; therefore, it is
a strophic song.
4. The lyrics say that Papageno, the Birdman, takes care
of birds, but he also is anxious to meet a sweetheart.
5. The music is very direct in order to reflect Papageno’s
uncomplicated needs, life, and character. All he aspires
to do is to meet a girl.
6. Possible answers: Both his music and his character can
be described with adjectives such as straightforward,
honest, direct, truthful, simple, fun, plain, etc.
To enable students to understand why its mix of popular
and learned musical styles made The Magic Flute an
instant success among all types of audiences in Vienna in
1791.
MATERIALS
The Magic Flute highlights CD
TEACHING TIME/TIPS
(50 minutes) The following activities involve repeated
listening from The Magic Flute highlights CD. First share
this version of The Magic Flute’s synopsis with students:
PART C. Play “Don’t be afraid” (track 5). Answers:
1. A woman, the Queen of the Night
2. She tells Tamino, the protagonist, that he must free
and rescue Pamina.
3. Yes, in part because of the vocal gymnastics
4. Most likely, an untrained voice cannot sing this music.
5. This is a coloratura aria crammed with vocal
pyrotechnics, including many fast and high notes on a
syllable.
6. The structure follows the mold of many tragic Italian
operas of the time with a recitative (“Don’t be afraid
my dear one”), slow movement of the aria (“The
Queen of pain she kneels before you”), and fast
movement of the aria (“You, you, you”).
7. Possible adjectives: furious, mad, enraged, complex,
difficult, demanding, etc.
The Queen of the Night dispatches Tamino and Papageno
to rescue Pamina, her daughter, who has been kidnapped
by Sarastro. (In reality, Sarastro protects Pamina from her
evil mother.) Tamino and Pamina fall in love, but before
they can fulfill their love, Tamino has to pass several tests
and gain wisdom through them. He does that successfully
and lives happily thereafter with Pamina. Papageno also
finds love with Papagena and they also live happily
thereafter.
Be sure you are familiar with the CD player and the track
numbers needed. Write on the board the terms opera,
Singspiel, aria, recitative, strophic song, coda and
coloratura aria. For Part A, play some excerpts before
having students answer the questions. For Parts B and C,
ask students to read the questions before, not whilst,
listening to the excerpts. Play each excerpt for a minute or
so and then discuss the answers as a class.
RELATED ACTIVITIES
1. Mozart’s The Magic Flute is generally accepted as being
popular classical music of high quality. Ask students to
give, and defend, examples of other very popular
composers (in any genre of music) who are also
generally accepted as being of high quality.
PART A. Answers:
1. An opera is a play staged and sung throughout. A
musical is partly spoken and its subject matter is often
light.
2. La Bohème, by Puccini, The Barber of Seville, by
Rossini, and Carmen, by Bizet, are three very popular
operas.
3. Many popular operas are in Italian, the country where
opera originated. Some also are in German, French, or
Russian, as well as English.
4. The Magic Flute was intended as a Singspiel, which is a
German light opera with some spoken dialogues.
5. Yes
6. German
7. The magical and fantasy elements and the pleasant
melodies are entertaining. The difficult solos for some
of the singers show some of its more serious or
learned elements.
THE
2. The Magic Flute owes part of its success to its special
effects, including fire, trap doors, flying machines for
actors, and special props. Discuss with students what
these effects do to propel the narrative, focus
attention, and lend emphasis, and have them give
examples of films or plays in which they feel that such
effects have been used successfully.
contemporary culture that mix elements from
¨ popular
and learned sources. Have them write a
3. Challenge students to think of examples in
brief synopsis for a play or film that pulls from these
elements to create a new “twist” on something well
known and/or highly esteemed.
MAGIC
6
FLUTE
Activity 3
REPRODUCIBLE MASTER
OPERA
FOR THE
MASSES?
Unlike the more traditional operas of the same period,
The Magic Flute was originally composed to entertain an
audience that was decidedly un-royal and musically
unsophisticated. It was popular entertainment for the
people. The audiences for The Magic Flute were similar to
the commoners attending plays in Shakespearean times
and to mainstream audiences of today. Opera is part of a
long and ongoing tradition of popular musical theatre, a
tradition that is celebrated in Kenneth Branagh’s new film
production of The Magic Flute.
4. What do the lyrics say? Can you relate to what is being
sung?
PART A. After your teacher has played some
___________________________________________________
___________________________________________________
___________________________________________________
5. Is the music pleasant and direct, such as popular music,
or is it complicated and convoluted like a difficult
classical piece?
___________________________________________________
excerpts from The Magic Flute, answer these questions:
6. List adjectives that you think best describe Papageno’s
music and his character:
1. What is an opera? How does it differ from a musical?
___________________________________________________
Papageno’s music
Papageno’s character
___________________________________________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
2. Can you name some operas or opera composers?
___________________________________________________
___________________________________________________
PART C. Now listen to this next selection from the
3. In which languages are operas usually sung?
___________________________________________________
opera, “Don’t be afraid,” and answer the following
questions:
4. How does the term Singspiel relate to The Magic Flute?
___________________________________________________
1. Who is singing? _________________________________
___________________________________________________
2. What do the lyrics say? ___________________________
_________________________________________________
5. Are there spoken dialogues in The Magic Flute?
3. Does this sound like “real” opera? _________________
___________________________________________________
4. Do you think that an untrained voice can sing this music?
6. In which language was The Magic Flute originally written?
____________________________________________________
___________________________________________________
5. Listen especially to the section with the words “I will
command her to be yours.” Is there anything special
about this part of the piece?
7. What elements in The Magic Flute seem popular and
what elements seem sophisticated?
___________________________________________________
____________________________________________________
___________________________________________________
6. Describe the basic structure of this music. ___________
PART B. Listen to the following selection called
____________________________________________________
“The Birdman” and answer these questions:
____________________________________________________
1. Is there an instrumental introduction before the singing
begins?_________ Does it suit what follows?_________
2. Is a man or a woman singing?____________
3. Is the same music repeated for different lyrics? _______
7. Write four adjectives that best describe the music.
THE
_______________________
_______________________
_______________________
_______________________
MAGIC
7
FLUTE
Activity 4
TEACHER’S GUIDE
N E W I N T E R P R E TAT I O N , T I M E L E S S M E S S A G E
OBJECTIVES
PART B.
1. A possible answer is the 1996 film
Romeo and Juliet, by Baz Luhrmann, with Leonardo
DiCaprio as Romeo. Here Shakespeare’s famous play is
updated to a hip modern suburb of Verona Beach, but it
retains most of its original dialogue from Shakespeare’s play.
2. Review The Magic Flute’s basic plot (Part A at left).
Point out that different versions and variations all have
heroes, villains and heroines in anguish (Pamina has to be
rescued). Following are possible comparisons for The
Magic Flute versus Star Wars. You may also expand this
comparison to Harry Potter and/or The Lord of the Rings.
To help students recognize how the message of The
Magic Flute has been re-interpreted through the ages by
opera producers and filmmakers.
MATERIALS
Print or projected illustrations of the designs for The
Magic Flute created by Marc Chagall, David Hockney, Julie
Taymor, and Tim Harvey, production designer on The
Magic Flute (see Resources on back cover).
The Magic Flute
Tamino
Pamina
Queen of the Night
Sarastro
Papageno
magic flute
TEACHING TIME/TIPS
(45 minutes) Become familiar with the electronic and
visual resources needed before beginning this activity.
PART A. Tell students that, in opera, it is
¨ PART C. Have students work in groups of
customary to adapt an old, timeless story to a different
setting to make it more meaningful to contemporary
audiences. The Magic Flute was performed for the first
time in 1791 in Vienna, Austria. Its basic plot tells the
story of Tamino, a prince, who searches and attains love
and wisdom through trials and experience. Mozart set the
story in an indefinite time and space, though it is
generally understood to be ancient Egypt. Both Marc
Chagall (1956) and David Hockney (1974) created their
own designs for The Magic Flute. The Metropolitan Opera
of New York’s latest production presents the designs of
Julie Taymor, who also staged the award-winning musical
The Lion King. For the screen, Kenneth Branagh
collaborated once again with production designer Tim
Harvey, who has worked on many of his recent
productions.
four or five for this project. Ask each group to
discuss their adaptation with the class, and encourage
constructive criticism. One adaptation might be set in a
major city in the 21st century: Tamino is a young,
ambitious student working as a waiter to earn his way into
college; the Queen of the Night is an evil, demanding
restaurant manager where Tamino works; Sarastro is the
even-handed and fair restaurant owner, and Papageno is a
fellow waiter, very good-natured, but with only modest
goals (pay his rent, have fun, meet a girl, etc.). The magic
flute itself could be a cell phone; a telephone call could
save Tamino from trouble...
RELATED ACTIVITIES
After showing some of these artists’ work, have students
discuss the artistic merits of each image from a
storytelling point of view.
1. Chagall’s designs are modernistic, challenging,
surrealistic, and very demanding for the observer. David
Hockney’s setting is, as in the original, ancient Egypt;
based on typical flat backdrops, it evokes not the real
Egypt, but a kid’s picture book about ancient Egypt.
Taymor’s setting is full of fantastic futuristic figures. Tim
Harvey’s is a fantastical reinterpretation of architectural
styles of northern France combined with military
elements from the First World War.
2. Possible answers: pyramids, Pharaoh, the Nile, Isis and
Osiris, mummies, temples, early forms of writing, such
as hieroglyphics
3. Possible answers: international conflict, death, poison
gas, tanks, weaponry, evil, biplanes, trench warfare,
barbed wire
4. Answers will vary.
THE
Star Wars
Luke
Princess Leia
Darth Vader
Obi-Wan Kenobi
C-3PO
light saber
1. Have students watch excerpts from Peter Sellars’ Don
Giovanni, the Mozart opera modernized to the late
20th-century East Village in New York City. How
effective do students think the adaptation was?
¨
2. Point out that archetypal or classic stories
suitable to many interpretations and adaptations,
such as The Magic Flute, are preserved in a culture’s
mythology—a large collection of narratives detailing the
lives and adventures of gods, goddesses, heroes, and
heroines. The Greek, Roman, Nordic, Aztec, and
Egyptian traditions all have mythologies. What universal
human truths make these stories endlessly appealing?
¨
3. Ask students to find the magic flute “equivalent”
in works of literature, where an object such as a
sword, ring, or key with special powers helps the hero
save the day. Have them name at least three stories that
involve a similar hero quest using an object.
MAGIC
8
FLUTE
Activity 4
REPRODUCIBLE MASTER
N E W I N T E R P R E TAT I O N , T I M E L E S S M E S S A G E
“I have this moment returned from the opera, which was full as ever...What always gives me most
pleasure is the silent approval. You can see how this opera is becoming more and more popular...”
— Mozart writing to his wife Constanze, 7-8 October, 1791
Since The Magic Flute’s debut in 1791, audiences have
watched Tamino fight the serpent in the Amazon jungle,
the Babylonian desert, a mythical forest, 20th-century Los
Angeles, and now in the trenches of World War I with
Kenneth Branagh’s new interpretation. Despite the change
in setting, the basic themes, plot and characters have
remained popular because they convey a message with
which you may be more familiar than you think!
PART A. Take notes as your teacher gives you
background on The Magic Flute and then answer
these questions:
1. What similarities and differences do you see between
the images of The Magic Flute productions by Chagall,
Hockney, Taymor, and production designer Tim Harvey?
(Use more paper if you need it.)
The Th
ree La
dies w
ith Pa
pagen
o
PART B.Consider modern and alternative ways of
_________________________________________________
telling a familiar story:
_________________________________________________
2. The Magic Flute’s story often is set in ancient Egypt.
When you think of ancient Egypt, what five words
come to mind? Compare your answers with others.
1. Think about a classic play or story you have seen or
heard about that has been adapted to a modern
setting, with updated costumes and props. How
effective was it? Did you prefer the original instead?
_________ _________ _________ _________ _________
2. The storylines and characters of the Star Wars series are as
heroic and fantastic as those in The Magic Flute. Can you
think of possible correspondences between The Magic
Flute’s characters and those in Star Wars?
3. Kenneth Branagh’s new film version of The Magic Flute
is set during World War I. What images come to mind
when you think of that war?
_________ _________ _________ _________ _________
The Magic Flute
4. An enduring story is one that can be appreciated by
people in many different times and places. If you were
putting The Magic Flute into a contemporary setting
today, what characters would you choose to represent
the following roles?
Tamino
_____________________
Pamina
_____________________
Papageno
_____________________
Sarastro
_____________________
Queen of the Night
_____________________
Monostatos
_____________________
THE
Star Wars
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
PART C. Based on what you know about the story
of The Magic Flute, design and adapt your own production
for contemporary audiences. Choose a modern setting as
well as jobs or professions for the characters. What
equivalent props might you need? For example, what could
Tamino’s magic flute be in your story? Describe or draw the
costumes of one or more characters.
MAGIC
9
FLUTE
Activity 5
OBJECTIVES
TEACHER’S GUIDE
WRITE YOUR OWN LIBRETTO
PART C.
Whereas a play only includes words, a
libretto is meant to be accompanied by music. Write on
the board the main musical components of an opera:
overture, aria, recitative, ensembles (duet, trio,
quartet, quintet), and choruses. Explain the meaning of
each term and give an example by playing musical
excerpts from the CD. Begin by playing the Overture,
pointing out the variety of themes it includes. Ask
students to note that there is no singing. Then play these
excerpts:
To enable students to appreciate the craft of writing an
opera libretto. This activity is most suitable for older
students.
MATERIALS
The Magic Flute highlights CD, photocopies of the opera’s
synopsis (inside front cover)
TEACHING TIME/TIPS
1. Aria: Solo song accompanied by the orchestral
ensemble. Play for about one minute Papageno’s aria
(“The Birdman,” track 3). Ask students to note that
one person sings, accompanied by the orchestra. (You
may also choose to play any other aria from the CD.)
(40 minutes) Ask students to review copies of the
synopsis. If necessary, comment on the context to be sure
they understand the plot.
PART A. 1. Explain that a libretto is a printed
2. Recitative: An introduction to the aria, often in a
declamatory style. Play for about one minute the
Queen of the Night’s short recitative (“Don’t be
afraid,” track 5).
manuscript giving the literary text, both sung and spoken,
of an opera or other musical work involving dialogue. It
also gives directions about the setting, mood, props, and
staging of the opera. Since it involves so much singing, a
libretto is different in some ways from the manuscript for
a play or a screenplay for a film because of the time it
takes to follow the musical score.
2. Emanuel Schikaneder was the main librettist for The
Magic Flute, although Mozart and probably a few
others may have contributed to the libretto as well.
Schikaneder was also a writer, actor, and producer.
3. The comic role of Papageno in The Magic Flute was
written for Schikaneder to perform.
4. Another of Mozart’s collaborators was Lorenzo Da
Ponte. This fascinating individual was born in Venice,
lived to 89, and died in New York.
5. Da Ponte wrote the librettos for three of Mozart’s bestknown operas (also referred to as the Da Ponte
operas), The Marriage of Figaro, Cosí fan tutte (in
English, All do the same), and Don Giovanni.
3. Quintet: Five singers singing with orchestral
accompaniment. Play for about one minute the quintet
for Tamino, Papageno, and the Three Ladies (“Hm!
Hm! Hm!,” track 6).
4. Trio: Three singers singing with orchestral
accompaniment. Play for about one minute the trio for
Pamina, Monostatos, and Papageno (“You darling
creature,” track 7).
5. Chorus: A group singing. Play for about one minute
the chorus of Sarastro’s followers (“When virtue,” end
of track 9).
RELATED ACTIVITIES
1. Repeat the previous exercise using other excerpts from
the CD, including arias, recitatives, ensembles, and
choruses.
Now ask students to answer the questions in this section.
(Answers for all questions are included in the paragraphs
above.)
¨
2. Musical instrumentation can be analogous to
life; the relationship between the piano and the
orchestra in a piano concerto can reflect that of an
individual to society; each instrument in an orchestra
can have a character all its own. Encourage students to
find elements of plot, theme, and character in the
musical instrumentation of other Mozart works, and
write an essay detailing the comparisons.
PART B. Divide the class into groups of
¨ about
five students each. Ask each group to create
a new libretto for this scene of The Magic Flute: “Sarastro
assigns three trials to Tamino, a prince. If he is successful,
he will win Pamina’s love.” Then, ask each group to
perform their dialogue. Answers will vary greatly.
Encourage any acceptable response as long as the story is
told through dialogue.
THE
MAGIC
10
FLUTE
Activity 5
REPRODUCIBLE MASTER
WRITE YOUR OWN LIBRETTO
The choice of British wit Stephen Fry—a noted actor,
author and filmmaker, who is celebrated in Great Britain as
a “national treasure”—as librettist or writer of the English
lyrics for Kenneth Branagh’s version of The Magic Flute,
adds a flair for comedy and a greater contemporary “feel”
to the story. How much do you know about librettos?
What do we know about him?
PART A. After your teacher tells you about
___________________________________________________
___________________________________________________
___________________________________________________
5. What operas did he and Mozart write together?
librettos and librettists, answer these questions:
___________________________________________________
1. What is a libretto?
PART B. With your group, follow these steps to
___________________________________________________
write a new libretto for this scene from The Magic Flute:
“Sarastro assigns three trials to Tamino, a prince. If he is
successful, he will win Pamina’s love.” Be sure to follow
these two steps:
___________________________________________________
What are some of the challenges of writing a libretto?
___________________________________________________
___________________________________________________
1. Create dialogue for the three characters (Sarastro,
Tamino, and Pamina).
2. Who was the original librettist of The Magic Flute and
what do we know of him?
2. Include stage directions, props, and other instructions
that help the possible staging of this libretto.
___________________________________________________
Now, perform your libretto scene for the class.
___________________________________________________
PART C. After your teacher explains the main
3. What role did he play in the early performances of The
Magic Flute?
musical components of an opera, identify them by
listening to additional excerpts from The Magic Flute.
Circle the correct term below for each piece you hear:
___________________________________________________
___________________________________________________
1.
2.
3.
4.
5.
4. Who was one of Mozart’s other famous librettists?
___________________________________________________
___________________________________________________
Aria
Aria
Aria
Aria
Aria
The Queen of the Night threatens Pamina.
THE
MAGIC
11
FLUTE
Recitative
Recitative
Recitative
Recitative
Recitative
Duo
Duo
Duo
Duo
Duo
Trio
Trio
Trio
Trio
Trio
Quintet
Quintet
Quintet
Quintet
Quintet
Chorus
Chorus
Chorus
Chorus
Chorus
Activity 6
TEACHER’S GUIDE
T H E M E S T H AT S PA N
THE
CENTURIES
Wisdom versus ignorance: Sarastro and the Three Boys
represent wisdom. At the beginning, Tamino and Pamina
are “ignorant.” By the end of the opera, they have
attained wisdom. Papageno and Papagena remain
happily ignorant; their ignorance does not have moral
consequences. The
Queen of the Night is
the queen of darkness.
To remain in darkness
means to remain
ignorant and possibly
evil—the opposite of
enlightenment.
Heroism versus
cowardice: Tamino is
heroic; Papageno is
reluctant to confront
others.
OBJECTIVES
To explore how The Magic Flute reflects timeless themes,
including the conflict between good and evil.
MATERIALS
The Magic Flute highlights
CD, photocopies of the
opera’s synopsis (inside front
cover)
TEACHING
TIME/TIPS
(50 minutes) Review the
highlights of the plot, if
necessary, from the synopsis.
PART C.
PART A. First prompt
In The Magic Flute,
the concepts of
students to think of examples of
good versus evil
good and evil in real life. For
ostatos
n
o
M
and
love
versus
hatred
are highlighted by
d
n
a
examples from films or literature, Sarastro
the music. Play the following two musical excerpts and ask
you may suggest characters from
students to complete the answers. First play the Queen of
such films as The Lord of the Rings, Star Wars, Harry
the Night’s coloratura aria, “Infernal fury,” (track 12). Then
Potter, or the many Star Trek epics.
play Sarastro's aria,“The sunlight in glory,” (near the end of
track 19). Answers:
Queen of the Night: female, loud, fast tempo, busy
Point out that The Magic Flute introduces
rhythm, high pitch, repetitive, piercing short motives, vocal
the conflict between good and evil mostly through its
“fireworks,” many scales and arpeggios, virtuosity, complex,
characters. After students complete this part of the activity
hysterical, darkness; repeated notes staccato followed by
sheet, discuss the answers in class:
arpeggio express rage.
1. The good characters are Sarastro, Tamino, Pamina, and
Sarastro: male, soft, slow tempo, simple rhythm, legato,
Papageno.
long phrases, few scales or arpeggios, simple, smooth, low
2. The evil characters are the Queen of the Night, the Three
pitch, gentle, tuneful, even pulse, brightness, a general
Ladies, and Monostatos.
sense of security and fatherly protection.
3. The Queen of the Night says that Sarastro has kidnapped
her daughter Pamina. Sarastro, however, is really a good
character because he attempts to guard and rescue
ELATED CTIVITIES
Pamina from her evil mother, the Queen of the Night. At
1. Ask students to describe in one paragraph an
the end, Sarastro offers his hand to rescue the Queen
example of the struggle between good and evil from
despite her hatred of him.
their
own experience or from contemporary history.
4. The Queen of the Night is evil because she strives for
Share
the
paragraphs
during a class discussion.
power; she tries to make her own daughter kill Sarastro.
She also lies to Tamino by telling him that Pamina has
2. The flute in The Magic Flute is a powerful symbol,
been kidnapped, although Pamina is at Sarastro’s palace
representing the ability of music to transform the
for her own protection.
plot.
Ask students to write about the power of
5. Love versus hatred: Tamino, Pamina, Papageno and
music
in
their
own lives—a meaningful concert, a film
Papagena are motivated by human sensual love. Sarastro
where
music
played
an important narrative role, a special
is motivated by love in an abstract way (love of humanity;
band
or
artist
whose
music touches them, their participation
love for knowledge; love for justice and righteousness).
in
instrumental
or
choral
groups, an experience auditioning
The Queen of the Night pretends to love her daughter,
to
sing
in
a
play
that
is
important
to them, etc.
Pamina, but she does not. She represents hatred.
PART B.
R
¨
¨
THE
MAGIC
12
FLUTE
A
Activity 6
REPRODUCIBLE MASTER
T H E M E S T H AT S PA N
THE
CENTURIES
Kenneth Branagh’s film version of The Magic Flute
embodies timeless themes of good and evil, love and
hatred, wisdom and ignorance, and particularly, how
the struggle between these forces results in the
triumph of good and love.
PART A. Sometimes characters from history or
fiction stand out as examples of what we think of as good
or evil. Occasionally our opinions of people change.
Tamino’s opinion of Sarastro changes in the course of The
Magic Flute because he has learned more. List below some
examples of real or fictional characters from films or
literature that appear to represent good or evil, and
describe why you categorized them that way. Use more
paper if you need it.
t
of the Nigh
The Queen
Good
Evil
Reason
_______________
_______________
_______________
_______________
_______________
_______________
_______________
_______________
_______________
PART C. We learn a great deal about the
characters in an opera from the way they sing and the
music that accompanies them. After your teacher plays
two arias from the soundtrack of The Magic Flute, use
what you’ve heard to analyze the two leading adult
protagonists below.
PART B. Using what you have learned about the
story of The Magic Flute, answer these questions.
1. From the following list, choose several of these terms
that apply for each character: male or female, loud or
soft, fast or slow tempo, busy or simple rhythms, high
or low pitch, staccato or legato, gentle or strident,
short phrases or long ones, many scales and arpeggios
or few, virtuosity or simplicity, security or hysteria,
brightness or darkness.
1. Name three characters in The Magic Flute who
personify goodness.
_______________
_______________
_______________
2. Name three characters in The Magic Flute who personify evil.
_______________
_______________
_______________
Queen of the Night
Sarastro
3. Why does our opinion of Sarastro change?
_______________________
_______________________
_______________________
_______________________
_______________________
_______________________
4. Why does our opinion of the Queen of the Night change?
_______________________
_______________________
__________________________________________________
_______________________
_______________________
__________________________________________________
_______________________
_______________________
5. Well-crafted stories often have characters that are put
in opposition to each other for a sense of balance or
conflict. Apply the following pairs of terms to The
Magic Flute. Then, name the representative characters
from the opera. Try not to use the same name twice.
_______________________
_______________________
__________________________________________________
__________________________________________________
Love vs. hatred
____________ and ____________
Wisdom vs. ignorance
____________ and ____________
Heroism vs. cowardice
____________ and ____________
THE
2. Using some of the terms listed above, plus your own
insight, write a paragraph on the back of this page
addressing the following two questions:
• How does the music of the Queen of the Night’s aria
express evil?
• How does the music of Sarastro’s aria express
goodness?
MAGIC
13
FLUTE
Activity 7
RITES
TEACHER’S GUIDE
OF
PA S S A G E
OBJECTIVES
To identify rites of passage in The Magic Flute and to look
at their relatability to students’ own lives and experiences.
MATERIALS
Photocopies of the opera’s synopsis (inside front cover)
TEACHING TIME/TIPS
(40 minutes) Students should know the essentials of
the story from previous activities. Write the names of
Papageno, th
the main characters in pairs on the board
e Three Lad
ies, and Tam
(Tamino/Pamina; Papageno/Papagena; Sarastro/Queen
ino
of the Night; the Three Ladies/the Three Boys, etc.).
2. Tell students that in a test of character, one
sometimes learns that we should not “judge a book by
its cover,” meaning by looks or by first impressions;
Ask students to brainstorm their ideas. A
how relevant is this to initial perceptions of some of
rite of passage is an important change in one’s life, marking
the characters in The Magic Flute?
a transition between different stages. Significant rites of
•
The
first time Papageno meets Papagena, the latter is
passage can include getting a place of one’s own apart from
disguised
as an ugly old woman. Though she tells him
parents, moving to a different part of the country to go to
they
are
meant
to be together, he does not believe it
school, or taking a new job. Frequently there are tests
because
of
how
she looks. It is not until he trusts her to
associated with rites of passage. For example, getting a
get
him
safely
away
from the palace that she removes
driver’s license requires passing a test to prove driving skills
her
disguise
and
rewards
his trust with her real beauty.
and knowledge of the rules of the road. In Star Wars, the
•
Tamino
must
face
many
tests
to be considered worthy
protagonist Luke Skywalker leaves his home planet, teams
of
Pamina’s
love.
When
Tamino
cannot talk, Pamina
up with other rebels, and tries to save Princess Leia from the
does
not
realize
he
is
being
tested
and loses faith in his
evil clutches of Darth Vader after rising above several trials
love
for
her.
Only
when
Pamina
is
reassured
by the
and being trained to find the Force within himself. Point out
Three
Boys
does
she
believe
Tamino
still
loves
her.
that in the film version of The Magic Flute, Tamino rescues
•
The
Queen
demands
that
Pamina,
her
daughter,
Pamina from the dark powers of the Queen of the Night,
murder Sarastro. Pamina loves her mother and, in fact,
following several trials (see Part C of this activity).
misses her. However, she knows that murder is wrong.
Even though it was her mother who ordered her to do
it, Pamina does not murder Sarastro.
Possible answers include:
• Going to college: 1) living in parents’ home, 2) leaving
3. Answers will vary.
home, 3) living independently
• Marriage: 1) being single, 2) falling in love and
4. Answers will vary.
committing, 3) living a life together
• Job promotion: 1) doing old job, 2) changing locations,
3) new job
PART A.
PART B.
RELATED ACTIVITIES
PART C. 1. Students should mention that Tamino,
1. Social clubs and organizations based on shared
interests can make people feel as if they have bonded
in a special way. Ask students to imagine that, with a
group of friends, they decide to create a very special
club. Ask them to outline their plans for the club by
defining its ideals and goals. Who can belong? What
are the criteria of admittance? What is the induction
ceremony? Will uniforms, props, symbols, pledges, or a
special location be required?
Ask students to read their paragraphs aloud, and
encourage class discussion.
2. Ask students to think about popular music with which
they are familiar and give examples of songs about love
triumphing over obstacles. How universal is this theme?
the hero, must leave his normal environment (separation)
in order to find Pamina, with whom he has fallen in love.
To do so, he must go through several trials, such as
keeping silent for a period of time, and walking through
fire and water (transition). In the final stage he attains
Pamina’s love and is admitted to a brotherhood
(incorporation).
THE
MAGIC
14
FLUTE
Activity 7
RITES
PA S S A G E
OF
Kenneth Branagh’s new film version of The Magic Flute
masterfully portrays the rites of passage that are key to the
story. In fact, the story itself hinges on three trials that serve as
rites of passage shared by Tamino and his sidekick, Papageno.
REPRODUCIBLE MASTER
What did you learn from it?
____________________________________________________
____________________________________________________
PART A. As a class, discuss these questions: What
2. Life, like school, is often about being tested. Tests help
you know how much progress you are making. Answer
these questions about critical moments in The Magic
Flute.
• How is Papageno tested when he meets Papagena
for the first time?
_____________________________________________
is a right of passage? Why is it so important? Are there
rites that are unique to certain cultures or that all cultures
have in common? Name a film, play or book with
significant rites of passage:
___________________________________________________
PART B. Consider your class discussion above as you
_____________________________________________
think about your own life and the experiences of people you
have known. For the following rites of passage, identify each
of the three stages of separation, transition, and
incorporation. The first one has been done for you:
• Adolescence: tween, teenage, young adult
• How is Tamino tested because of his vow of silence?
_____________________________________________
_____________________________________________
• How is Pamina tested when she is ordered by her
mother to murder Sarastro?
_____________________________________________
• Going to college:_________________________________
• Marriage: _______________________________________
_____________________________________________
• Job promotion: __________________________________
3. Describe a special time when your character was
tested. What happened? Did you do the right thing? If
not, what could you have done differently? What did
you learn from the experience? Use another sheet of
paper for your answers.
PART C. In everyone’s life there are special
moments when our character is put to the test. How we
handle these difficult situations says much about who we
are and how much we have yet to learn.
4. Think about a typical day in your life. From the time
you get up to the time you go to sleep, you are being
tested and evaluated by both your own objectives and
everyone with whom you come in contact. On the
back of this sheet, write a list of the ways in which
you were tested yesterday. Were the tests hard
or easy, fair or unfair, important or
unimportant? Were you judged fairly? How
many of these tests did you pass or fail? Do you
think your story could be made into a screenplay
or libretto? If so, what part would you play?
What do you see as the biggest test you have yet
to experience?
1. Identify one of the rites of passage in The Magic Flute.
____________________________________________________
Tamino with the Three Boys
THE
MAGIC
15
FLUTE
Activity 8
TEACHER’S GUIDE
THE
BEST
OF
OBJECTIVES
EVERYTHING
PART B.
Answers:
To stimulate students to increase their appreciation for the
musical styles and approaches used by Mozart in The
Magic Flute, including the coloratura aria.
Character’s Name
Role
Voice Type
Queen of the Night
An evil Queen
MATERIALS
Coloratura
soprano
Sarastro
Dark Lord
Bass
The Magic Flute highlights CD
Tamino
Hero
Tenor
Pamina
Hero’s beloved
Soprano
Papageno
Bird-keeper
Baritone
or bass
Papagena
Papageno’s beloved
Soprano
The Three Ladies
Servants of the Queen
2 sopranos,
1 mezzo
Monostatos
Evil servant of Sarastro
Tenor
TEACHING TIME/TIPS
(50 minutes) Guided and repeated listening is the best
way to approach this activity, which may be more suitable
for older students. Before students listen to each
selection, they need to know what to listen for.
Encourage students to contribute their own observations
besides and beyond identifying the expected results.
PART A. Tell students that a coloratura soprano PART C. Now play any other arias from The Magic
is the highest category of soprano voice. It normally
Flute and ask students to circle the voice type listed on
the activity sheet.
performs amazing vocal pyrotechnics, including very
difficult scales and arpeggios. A coloratura aria is sung at
the highest possible range, testing the limits of the
human voice, and is characterized by a virtuoso
performance and a flashy, knockout singing style. The
normal soprano is not as virtuosic as the coloratura. The
tenor is the highest male voice and the bass is the
lowest male voice. Play the following examples so that
students learn the difference between voice types.
• Track 12, aria of the Queen of the Night, “Infernal
fury.”
• Track 13, aria of Pamina,
“Let me die.”
• Track 4, aria of Tamino, “This picture.”
• Track 19, aria of Sarastro, “The sunlight in glory.”
RELATED ACTIVITY
Extend the previous listening exercise with additional
arias. Ask students to identify the correct voice type.
Papageno takes a flight of fantasy.
THE
MAGIC
16
FLUTE
Activity 8
REPRODUCIBLE MASTER
THE
BEST
OF
With musical director James Conlon conducting the
Chamber Orchestra of Europe, Kenneth Branagh’s film of
The Magic Flute showcases a cast of rising young opera
stars. One of the appeals of The Magic Flute has always
been its combination of the major musical styles of opera,
from the simple to the complex. By listening closely, you
will learn how all of these operatic styles blend together
seamlessly—a feat that in less capable hands would have
resulted in a compositional mishmash.
EVERYTHING
PART B. What do you know about other voice
types found in the characters of The Magic Flute? Fill
them in below.
Character’s Name
Queen of the Night
Sarastro
Tamino
Pamina
Papageno
Papagena
The Three Ladies
Monostatos
PART A. Listen to your teacher’s description of the
main voice types used in opera. Compare them in The
Magic Flute as illustrated by these musical excerpts played
by your teacher:
• Queen of the Night’s famous coloratura aria
• Pamina’s aria, soprano
• Tamino’s aria, tenor
• Sarastro’s aria, bass
Role
An evil Queen
Dark Lord
Hero
Hero’s beloved
Bird-keeper
Papageno’s beloved
Servants of the Queen
Evil servant of Sarastro
PART C. Now listen to more musical excerpts and
Write your observations on a separate sheet of paper.
Then discuss your findings as a class, focusing on the
similarities and differences of the different vocal types.
identify the voice type by circling the correct term.
1. Coloratura soprano
Soprano
Bass
2. Coloratura soprano
Soprano
Bass
3. Coloratura soprano
Soprano
Bass
4. Coloratura soprano
Soprano
Bass
5. Coloratura soprano
Soprano
Bass
Tamino and Pamina
THE
Voice Type
____________
____________
____________
____________
____________
____________
____________
____________
MAGIC
17
FLUTE
Tenor
Tenor
Tenor
Tenor
Tenor
RESOURCES
FOR
TEACHERS
RESOURCES
FOR
STUDENTS
Books
Magazine & CD
• Branscombe, Peter. W.A. Mozart: Die Zauberflöte.
Cambridge Opera Handbooks. Cambridge: Cambridge
University Press, 1991.
• Chailley, Jacques. The Magic Flute, Masonic opera: An
interpretation of the libretto and the music. Translated
from the French by Herbert Weinstock. New York: Da
Capo Press, 1982, 1971.
• Gammond, Peter. The Magic Flute: A guide to the
opera. Foreword by Benjamin Luxon. London: Barrie &
Jenkins, 1979.
• Genauer, Emily. Chagall at the Met. New York: Metropolitan
Opera Association/Tudor Publishing Co., 1971.
• Mann, William. The Operas of Mozart. New York:
Oxford University Press, 1977.
Operas of Mozart (1998 Special Issue of The BBC Music
Magazine, includes CD)
CD-ROM
Mozart, Wolfgang Amadeus. The Magic Flute, conducted
by Nikolaus Harnoncourt; annotated by Warner New
Media. Burbank, CA: Warner New Media, 1989 (3
computer disks). Takes the listener through the story and
the score, with multimedia presentations and animated
musical notation. MIDI tracks are also included. Requires a
Macintosh computer with Hypercard player and System
6.0.2 or later.
Websites
Websites
www.magicflutefilm.com
www.abbeville.com/magicflute/
www.music-with-ease.com/mozart-magic-flute.html
www.freedomdomain.com/freemasons/mozart01.html
www.mfiles.co.uk/composers/
Wolfgang-Amadeus-Mozart.htm
http://en.wikipedia.org/wiki/The_Magic_Flute
http://ftp.operaphilly.com/sets/flute/
www.ymiteacher.com
www.magicflutefilm.com
www.operaworld.com/special/magic.shtml
Alternative Productions/Settings:
• www.wbopera.org/0506/Flute/story/index.html
• http://opera.stanford.edu/Mozart/Zauberflote/
synopsis.html
• www.uaf.edu/theatre/archives/flute/flute.html
• www.opera-australia.org.au/opera/oaweb.nsf/0/
008F3D1E7A85C57BCA2567F20022CBE4?
opendocument
The Magic Flute Designs
• Marc Chagall: http://imagecache2.allposters.com/
images/VAS/0000-3272-4.jpg
• Tim Harvey:
www.hollywood.com/celebs/detail/id/187439
• David Hockney: www.saltsmill.org.uk/flute.htm
• Julie Taymor: www.andante.com/search/
searchResults.cfm
Educator’s Guide for The Magic Flute was created by Young Minds Inspired (YMI), New Haven, CT
• Publisher/Roberta Nusim • Writer/Antoni Piza • Editor/Jane E. Fieberts • Art Director/Paul Fisher
Teaching materials ©2006 YMI, Inc.