volume iv of the _Vierteljahrheft für Musikwissenschaft_ (Music

Science Quarterly), a copy of which is in the New York Public Library.

Mozart agreed to hand over the finished score in time for the autumn season of 1787, for the sum of one hundred ducats ($240). Richard Strauss receives for a new opera a guarantee of ten performances at a thousand dollars--$10,000 in all--and, of course, his royalties thereafter. There is quite a distinction in these matters between the eighteenth century and the present. And what a lot of good a few thousand dollars would have done the impecunious composer of the immortal "Don Giovanni!" Also, one is tempted to ask oneself if any modern ten thousand dollar opera will live as long as the two hundred and forty dollar one which already is 130 years old.

Bondini's company, for which Mozart wrote his masterpiece of dramatic music, furnished the following cast: _Don Giovanni_, Signor Bassi, twenty-two years old, a fine baritone, an excellent singer and actor; _Donna Anna_, Signora Teresa Saporiti; _Donna Elvira_, Signora Catarina Micelli, who had great talent for dramatic expression; _Zerlina_, Signora Teresa Bondini, wife of the manager; _Don Ottavio_, Signor Antonio Baglioni, with a sweet, flexible tenor voice; _Leporello_, Signor Felice Ponziani, an excellent basso comico; _Don Pedro_ (the Commandant), and _Masetto_, Signor Giuseppe Lolli.

Mozart directed the rehearsals, had the singers come to his house to study, gave them advice how some of the difficult passages should be executed, explained the characters they represented, and exacted finish, detail, and accuracy. Sometimes he even chided the artists for an Italian impetuosity, which might be out of keeping with the charm of his melodies. At the first rehearsal, however, not being satisfied with the way in which Signora Bondini gave _Zerlina's_ cry of terror from behind the scenes, when the _Don_ is supposed to attempt her ruin, Mozart left the orchestra and went upon the stage. Ordering the first act finale to be repeated from the minuet on, he concealed himself in the wings. There, in the peasant dress of _Zerlina_, with its short skirt, stood Signora Bondini, waiting for her cue. When it came, Mozart quickly reached out a hand from his place of concealment and pinched her leg. She gave a piercing shriek. "There! That is how I want it," he said, emerging from the wings, while the Bondini, not knowing whether to laugh or blush, did both.

One of the most striking features of the score, the warning words which the statue of the _Commandant_, in the plaza before the cathedral of Seville, utters within the hearing of _Don Giovanni_ and _Leporello_, was originally accompanied by the trombones only. At rehearsal in Prague, Mozart, not satisfied with the way the passage was played, stepped over toward the desks at which the trombonists sat.

One of them spoke up: "It can't be played any better. Even you couldn't teach us how."

Mozart smiled. "Heaven forbid," he said, "that I should attempt to teach you how to play the trombone. But let me have the parts."

Looking them over he immediately made up his mind what to do. With a few quick strokes of the pen, he added the wood-wind instruments as they are now found in the score.

It is well known that the overture of "Don Giovanni" was written almost on the eve of the first performance. Mozart passed a gay evening with some friends. One of them said to him: "Tomorrow the first performance of 'Don Giovanni' will take place, and you have not yet composed the overture!" Mozart pretended to get nervous about it and withdrew to his room, where he found music-paper, pens, and ink. He began to compose about midnight. Whenever he grew sleepy, his wife, who was by his side, entertained him with stories to keep him awake. It is said that it took him but three hours to produce this overture.

The next evening, a little before the curtain rose, the copyists finished transcribing the parts for the orchestra. Hardly had they brought the sheets, still wet, to the theatre, when Mozart, greeted by enthusiastic applause, entered the orchestra and took his seat at the piano. Although the musicians had not had time to rehearse the overture, they played it with such precision that the audience broke out into fresh applause. As the curtain rose and _Leporello_ came forward to sing his solo, Mozart laughingly whispered to the musicians near him: "Some notes fell under the stands. But it went well."

The overture consists of an introduction which reproduces the scene of the banquet at which the statue appears. It is followed by an allegro which characterizes the impetuous, pleasure-seeking _Don_, oblivious to consequences. It reproduces the dominant character of the opera.

Without pause, Mozart links up the overture with the song of _Leporello_. The four principal personages of the opera appear early in the proceedings. The tragedy which brings them together so soon and starts the action, gives an effective touch of fore-ordained retribution to the misdeeds upon which _Don Giovanni_ so gaily enters. This early part of the opera divides itself into four episodes. Wrapped in his cloak and seated in the garden of a house in Seville, Spain, which _Don Giovanni_, on amorous adventure bent, has entered secretly during the night--it is the residence of the _Commandant_--_Leporello_ is complaining of the fate which makes him a servant to such a restless and dangerous master. "Notte e giorno faticar" (Never rest by day or night), runs his song.

_Don Giovanni_ hurriedly issues from the house, pursued by _Donna Anna_. There follows a trio in which the wrath of the insulted woman, the annoyance of the libertine, and the cowardice of _Leporello_ are expressed simultaneously and in turn in manner most admirable. _The Commandant_, attracted by the disturbance, arrives, draws his sword, and a duel ensues. In the unequal combat between the aged _Commandant_ and the agile _Don_, the _Commandant_ receives a fatal wound. The trio which follows between _Don Giovanni_, the dying _Commandant_, and _Leporello_ is a unique passage in the history of musical art. The genius of Mozart, tender, profound, pathetic, religious, is revealed in its entirety. Written in a solemn rhythm and in the key of F minor, so appropriate to dispose the mind to a gentle sadness, this trio, which fills only eighteen measures, contains in a restricted outline, but in master-strokes, the fundamental idea of this mysterious drama of crime and retribution. While the _Commandant_ is breathing his last, emitting notes broken by long pauses, _Donna Anna_, who, during the duel between her father and _Don Giovanni_, has hurried off for help, returns accompanied by her servants and by _Don Ottavio_, her affianced. She utters a cry of terror at seeing the dead body of her father. The recitative which expresses her despair is intensely dramatic. The duet which she sings with _Don Ottavio_ is both impassioned and solicitous, impetuous on her part, solicitous on his; for the rôle of _Don Ottavio_ is stamped with the delicacy of sentiment, the respectful reserve of a well-born youth who is consoling the woman who is to be his wife. The passage, "Lascia, O cara, la rimembranza amara!" (Through love's devotion, dear one) is of peculiar beauty in musical expression.

After _Donna Anna_ and _Don Ottavio_ have left, there enters _Donna Elvira_. The air she sings expresses a complicated nuance of passion. _Donna Elvira_ is another of _Don Giovanni's_ deserted ones. There are in the tears of this woman not only the grief of one who has been loved and now implores heaven for comfort, but also the indignation of one who has been deserted and betrayed. When she cries with emotion: "Ah! chi mi dice mai quel barbaro dov'è?" (In memory still lingers his love's delusive sway) one feels that, in spite of her outbursts of anger, she is ready to forgive, if only a regretful smile shall recall to her the man who was able to charm her.

_Don Giovanni_ hears from afar the voice of a woman in tears. He approaches, saying: "Cerchiam di consolare il suo tormento" (I must seek to console her sorrow). "Ah! yes," murmurs _Leporello_, under his breath: "Così ne consolò mille e otto cento" (He has consoled fully eighteen hundred). _Leporello_ is charged by _Don Giovanni_, who, recognizing _Donna Elvira_, hurries away, to explain to her the reasons why he deserted her. The servant fulfils his mission as a complaisant valet. For it is here that he sings the "Madamina" air, which is so famous, and in which he relates with the skill of a historian the numerous amours of his master in the different parts of the world.

The "Air of Madamina," "Madamina! il catalogo"--(Dear lady, the catalogue) is a perfect passage of its kind; an exquisite mixture of grace and finish, of irony and sentiment, of comic declamation and melody, the whole enhanced by the poetry and skill of the accessories. There is nothing too much, nothing too little; no excess of detail to mar the whole. Every word is illustrated by the composer's imagination without his many brilliant sallies injuring the general effect. According to _Leporello's_ catalogue his master's adventures in love have numbered 2065. To these Italy has contributed 245 [Transcriber's Note: should be '640'], Germany 231, France 100, Turkey 91, and Spain, his native land, 1003. The recital enrages _Donna Elvira_. She vows vengeance upon her betrayer.

The scene changes to the countryside of _Don Giovanni's_ palace near Seville. A troop of gay peasants is seen arriving. The young and pretty _Zerlina_ with _Masetto_, her affianced, and their friends are singing and dancing in honour of their approaching marriage. _Don Giovanni_ and _Leporello_ join this gathering of light-hearted and simple young people. Having cast covetous eyes upon _Zerlina_, and having aroused her vanity and her spirit of coquetry by polished words of gallantry, the _Don_ orders _Leporello_ to get rid of the jealous _Masetto_ by taking the entire gathering--excepting, of course, _Zerlina_--to his château. _Leporello_ grumbles, but carries out his master's order. The latter, left alone with _Zerlina_, sings a duet with her which is one of the gems, not alone of this opera, but of opera in general: "Là ci darem la mano!" (Your hand in mine, my dearest). _Donna Elvira_ appears and by her denunciation of _Don Giovanni_, "Ah! fuggi il traditore," makes clear to _Zerlina_ the character of her fascinating admirer. _Donna Anna_ and _Don Ottavio_ come upon the stage and sing a quartette which begins: "Non ti fidar, o misera, di quel ribaldo cor" (Place not thy trust, O mourning one, in this polluted soul), at the end of which _Donna Anna_, as _Don Giovanni_ departs, recognizes in his accents the voice of her father's assassin. Her narrative of the events of that terrible night is a declamatory recitative "in style as bold and as tragic as the finest recitatives of Gluck."

_Don Giovanni_ orders preparations for the festival in his palace. He gives his commands to _Leporello_ in the "Champagne aria," "Finch' han dal vino" (Wine, flow a fountain), which is almost breathless with exuberance of anticipated revel. Then there is the ingratiating air of _Zerlina_ begging _Masetto's_ forgiveness for having flirted with the _Don_, "Batti, batti, o bel Masetto" (Chide me, chide me, dear Masetto), a number of enchanting grace, followed by a brilliantly triumphant allegro, "Pace, pace o vita mia" (Love, I see you're now relenting).

[Music]

The finale to the first act of "Don Giovanni" rightly passes for one of the masterpieces of dramatic music. _Leporello_, having opened a window to let the fresh evening air enter the palace hall, the violins of a small orchestra within are heard in the first measures of the graceful minuet. _Leporello_ sees three maskers, two women and a man, outside. In accordance with custom they are bidden to enter. _Don Giovanni_ does not know that they are _Donna Anna_, _Donna Elvira_, and _Don Ottavio_, bent upon seeking the murderer of the _Commandant_ and bringing him to justice. But even had he been aware of their purpose it probably would have made no difference, for courage this dissolute character certainly had.

After a moment of hesitation, after having taken council together, and repressing a movement of horror which they feel at the sight of the man whose crimes have darkened their lives, _Donna Elvira_, _Donna Anna_, and _Don Ottavio_ decide to carry out their undertaking at all cost and to whatever end. Before entering the château, they pause on the threshold and, their souls moved by a holy fear, they address Heaven in one of the most touching prayers written by the hand of man. It is the number known throughout the world of music as the "Trio of the Masks," "Protegga, il giusto cielo"--(Just Heaven, now defend us)--one of those rare passages which, by its clearness of form, its elegance of musical diction, and its profundity of sentiment, moves the layman and charms the connoisseur.

[Music:

D ANNA Protegga il giusto cielo

D ELVIRA Vendichi

D OTTAV Protegga il giusto cielo]

The festivities begin with the familiar minuet. Its graceful rhythm is prolonged indefinitely as a fundamental idea, while in succession, two small orchestras on the stage, take up, one a rustic quadrille in double time, the other a waltz. Notwithstanding the differences in rhythm, the three dances are combined with a skill that piques the ear and excites admiration. The scene would be even more natural and entertaining than it usually is, if the orchestras on the stage always followed the direction _accordano_ (tune up) which occurs in the score eight bars before each begins to play its dance, and if the dances themselves were carried out according to directions. Only the ladies and gentlemen should engage in the minuet, the peasants in the quadrille; and before _Don Giovanni_ leads off _Zerlina_ into an adjoining room he should have taken part with her in this dance, while _Leporello_ seeks to divert the jealous _Masetto's_ attention by seizing him in an apparent exuberance of spirits and insisting on dancing the waltz with him. _Masetto's_ suspicions, however, are not to be allayed. He breaks away from _Leporello_. The latter hurries to warn his master. But just as he has passed through the door, _Zerlina's_ piercing shriek for help is heard from within. _Don Giovanni_ rushes out, sword in hand, dragging out with him none other than poor _Leporello_, whom he has opportunely seized in the entrance, and whom, under pretence that he is the guilty party, he threatens to kill in order to turn upon him the suspicion that rests upon himself. But this ruse fails to deceive any one. _Donna Anna_, _Donna Elvira_, and _Don Ottavio_ unmask and accuse _Don Giovanni_ of the murder of the _Commandant_, "Tutto già si sà" (Everything is known and you are recognized). Taken aback, at first, _Don Giovanni_ soon recovers himself. Turning, at bay, he defies the enraged crowd. A storm is rising without. A storm sweeps over the orchestra. Thunder growls in the basses, lightning plays on the fiddles. _Don Giovanni_, cool, intrepid, cuts a passage through the crowd upon which, at the same time, he hurls his contempt. (In a performance at the Academy of Music, New York, about 1872, I saw _Don Giovanni_ stand off the crowd with a pistol.)

The second act opens with a brief duet between _Don Giovanni_ and _Leporello_. The trio which follows: "Ah! taci, ingiusto core" (Ah, silence, heart rebellious), for _Donna Elvira_, _Leporello_, and _Don Giovanni_, is an exquisite passage. _Donna Elvira_, leaning sadly on a balcony, allows her melancholy regrets to wander in the pale moonlight which envelops her figure in a semi-transparent gloom. In spite of the scene which she has recently witnessed, in spite of wrongs she herself has endured, she cannot hate _Don Giovanni_ or efface his image from her heart. Her reward is that her recreant lover in the darkness below, changes costume with his servant and while _Leporello_, disguised as the _Don_, attracts _Donna Elvira_ into the garden, the cavalier himself addresses to _Zerlina_, who has been taken under _Donna Elvira's_ protection, the charming serenade: "Deh! vieni alla finestra" (Appear, love at thy window), which he accompanies on the mandolin, or should so accompany, for usually the accompaniment is played pizzicato by the orchestra.

As the result of complications, which I shall not attempt to follow, _Masetto_, who is seeking to administer physical chastisement to _Don Giovanni_, receives instead a drubbing from the latter.

_Zerlina_, while by no means indifferent to the attentions of the dashing _Don_, is at heart faithful to _Masetto_ and, while I fancy she is by no means obtuse to the humorous aspect of his chastisement by _Don Giovanni_, she comes trippingly out of the house and consoles the poor fellow with the graceful measures of "Vedrai carino, se sei buonino" (List, and I'll find love, if you are kind love).

Shortly after this episode comes _Don Ottavio's_ famous air, the solo number which makes the rôle worth while, "Il mio tesoro intanto" (Fly then, my love, entreating). Upon this air praise has been exhausted. It has been called the "pietra di paragone" of tenors--the touchstone, the supreme test of classic song.

[Music]

Retribution upon _Don Giovanni_ is not to be too long deferred. After the escapade of the serenade and the drubbing of _Masetto_, the _Don_, who has made off, chances to meet in the churchyard (or in the public square) with _Leporello_, who meanwhile has gotten rid of _Donna Elvira_. It is about two in the morning. They see the newly erected statue to the murdered _Commandant_. _Don Giovanni_ bids it, through _Leporello_, to supper with him in his palace. Will it accept? The statue answers, "Yea!" _Leporello_ is terrified. And _Don Giovanni_?

"In truth the scene is bizarre. The old boy comes to supper. Now hasten and bestir yourself to spread a royal feast."

Such is the sole reflection that the fateful miracle, to which he has just been a witness, draws from this miscreant, who, whatever else he may be, is brave.

Back in his palace, _Don Giovanni_ seats himself at table and sings of the pleasures of life. An orchestra on the stage plays airs from Vincente Martino's "Una Cosa Rara" (A Rare Thing); Sarti's "Fra Due Litiganti" (Between Two Litigants), and Mozart's own "Nozze di Figaro," _Leporello_ announcing the selections. The "Figaro" air is "Non più andrai" (Play no more, boy, the part of a lover).

_Donna Elvira_ enters. On her knees she begs the man who has betrayed her to mend his ways. Her plea falls on deaf ears. She leaves. Her shriek is heard from the corridor. She re-enters and flees the palace by another door.

"Va a veder che cos'è stato" (Go, and see what it is) _Don Giovanni_ commands _Leporello_.

The latter returns trembling with fright. He has seen in the corridor "l'uom di sasso, l'uomo bianco"--the man of stone, the big white man.

Seizing a candle, drawing his sword, _Don Giovanni_ boldly goes into the corridor. A few moments later he backs into the room, receding before the statue of the _Commandant_. The lights go out. All is dark save for the flame of the candle in _Don Giovanni's_ hand. Slowly, with heavy footsteps that re-echo, the statue enters. It speaks.

"Don Giovanni, you have invited me to sit at table with you. Lo! I am here."

Well knowing the fate in store for him, yet, with unebbing courage, _Don Giovanni_ nonchalantly commands _Leporello_ to serve supper.

"Desist!" exclaims the statue. "He who has sat at a heavenly banquet, does not break the bread of mortals.... Don Giovanni, will you come to sup with me?"

"I will," fearlessly answers the _Don_.

"Give me your hand in gage thereof."

"Here it is."

_Don Giovanni_ extends his hand. The statue's huge hand of stone closes upon it.

"Huh! what an icy grasp!"--"Repent! Change your course at your last hour."--"No, far from me such a thought."--"Repent, O miscreant!"--"No, you old fool."--"Repent!"--"No!"

Nothing daunts him. A fiery pit opens. Demons seize him--unrepentant to the end--and drag him down.

The music of the scene is gripping, yet accomplished without an addition to the ordinary orchestra of Mozart's day, without straining after effect, without any means save those commonly to his hand.

In the modern opera house the final curtain falls upon this scene. In the work, however, there is another scene in which the other characters moralize upon _Don Giovanni's_ end. There is one accusation, however, none can urge against him. He was not a coward. Therein lies the appeal of the character. His is a brilliant, impetuous figure, with a dash of philosophy, which is that, sometime, somewhere, in the course of his amours, he will discover the perfect woman from whose lips he will be able to draw the sweetness of all women. Moreover he is a villain with a keen sense of humour. Inexcusable in real life, he is a debonair, fascinating figure on the stage, whereas _Donna Anna_, _Donna Elvira_, and _Don Ottavio_ are mere hinges in the drama and as creations purely musical. _Zerlina_, on the other hand, is one of Mozart's most delectable characters. _Leporello_, too, is clearly drawn, dramatically and musically; a coward, yet loyal to the master who appeals to a strain of the humorous in him and whose courage he admires.

For the Vienna production Mozart wrote three new vocal numbers, which are printed in the score as additions. Caterina Cavalieri, the _Elvira_, had complained to Mozart, that the Viennese public did not appreciate her as did audiences of other cities and begged him for something that would give her voice full scope. The result was the fine aria: "Mi tradì quell'alma ingrata." The _Ottavio_, Signor Morello, was considered unequal to "Il mio tesoro," so Mozart wrote the less exacting "Dalla sua pace," for him. To amuse the public he inserted a comic duet, "Per queste tue manine," for _Zerlina_ and _Leporello_. This usually is omitted. The other two inserts were interpolated in the second act of the opera before the finale. In the Metropolitan Opera House version, however, _Donna Elvira_ sings "Mi tradì" to express her rage after the "Madamina" of Leporello; and _Don Ottavio_ sings "Dalla sua pace" before the scene in _Don Giovanni's_ château.

The first performance of "Don Giovanni" in America took place in the Park Theatre, New York, on Tuesday evening, May 23, 1826. I have verified the date in the file of the New York _Evening Post_. "This evening for the first time in America, the semi-serious opera of 'Il Don Giovanni,'" reads the advertisement of that date. Then follows the cast. Manuel Garcia played the title rôle; Manuel Garcia, Jr., afterwards inventor of the laryngoscope, who reached the age of 101, dying in London in 1906, was _Leporello_; Mme. Barbieri, _Donna Anna_; Mme. Garcia, _Donna Elvira_; Signorina Maria Garcia (afterwards famous under her married name of Malibran), _Zerlina_; Milon, whom Mr. Krehbiel identifies as a violoncellist later with the Philharmonic Society, _Don Ottavio_; and Carlo Angrisani, _Masetto_, a rôle he had sung at the first London performance of the work.

Da Ponte, the librettist of the work, who had become Professor of Italian at Columbia College, had induced Garcia to put on the opera. At the first performance during the finale of the first act everything went at sixes and sevens, in spite of the efforts of Garcia, in the title rôle, to keep things together. Finally, sword in hand, he stepped to the front of the stage, ordered the performance stopped, and, exhorting the singers not to commit the crime of ruining a masterwork, started the finale over again, which now went all right.

It is related by da Ponte that "my 'Don Giovanni,'" as he called it, made such a success that a friend of his who always fell asleep at operatic performances, not only remained awake during the whole of "Don Giovanni," but told him he couldn't sleep a wink the rest of the night for excitement.

Pauline Viardot-Garcia, sister of Signorina Garcia (afterwards Mme. Malibran), the _Zerlina_ of the first New York performance, owned the original autograph score of "Don Giovanni." She bequeathed it to the Paris Conservatoire.

The opera has engaged the services of famous artists. Faure and Maurel were great _Don Giovannis_, Jean de Reszke sang the rôle, while he was still a baritone; Scotti made his _début_ at the Metropolitan Opera House, December 27, 1899, in the rôle, with Nordica as _Donna Anna_, Suzanne Adams, as _Donna Elvira_, Sembrich as _Zerlina_, and Édouard de Reszke as _Leporello_. Renaud appeared as _Don Giovanni_ at the Manhattan Opera House. Lablache was accounted the greatest of _Leporellos_. The rôle of _Don Ottavio_ has been sung by Rubini and Mario. At the Mozart Festival, Salzburg, 1914, the opera was given with Lilli Lehmann, Farrar, and McCormack in the cast.

A curious aside in the history of the work was an "adaptation," produced by Kalkbrenner in Paris, 1805. How greatly this differed from the original may be judged from the fact that the trio of the masks was sung, not by _Donna Anna_, _Donna Elvira_, and _Don Ottavio_, but by three policemen!

THE MAGIC FLUTE

DIE ZAUBERFLÖTE

Opera in two acts by Mozart; words by Emanuel Schikaneder and Gieseke. Produced, September 30, 1791, in Vienna, in the Theatre auf der Wieden; Paris, 1801, as "Les Mystères d'Isis"; London, King's Theatre, June 6, 1811 (Italian); Covent Garden, May 27, 1833 (German); Drury Lane, March 10, 1838 (English); New York, Park Theatre, April 17, 1833 (English). The rôle of _Astrofiammante, Queen of the Night_, has been sung here by Carlotta Patti, Ilma di Murska, Gerster, Sembrich, and Hempel.

CHARACTERS

SARASTRO, High Priest of Isis _Bass_ TAMINO, an Egyptian Prince _Tenor_ PAPAGENO, a bird-catcher _Baritone_ ASTROFIAMMANTE, Queen of the Night _Soprano_ PAMINA, her daughter _Soprano_ MONOSTATOS, a Moor, chief slave of the Temple _Baritone_ PAPAGENA _Soprano_

Three Ladies-in-Waiting to the Queen; Three Youths of the Temple; Priests, Priestesses, Slaves, etc.

_Time_--Egypt, about the reign of Rameses I.

_Place_--Near and at the Temple of Isis, Memphis.

The libretto to "The Magic Flute" is considered such a jumble of nonsense that it is as well to endeavour to extract some sense from it.

Emanuel Johann Schikaneder, who wrote it with the aid of a chorister named Gieseke, was a friend of Mozart and a member of the same Masonic Lodge. He also was the manager of a theatrical company and had persuaded Mozart to compose the music to a puppet show for him. He had selected for this show the story of "Lulu" by Liebeskind, which had appeared in a volume of Oriental tales brought out by Wieland under the title of "Dschinnistan." In the original tale a wicked sorcerer has stolen the daughter of the Queen of Night, who is restored by a Prince by means of magic. While Schikaneder was busy on his libretto, a fairy story by Perinet, music by Wenzel Müller, and treating of the same subject, was given at another Viennese theatre. Its great success interfered with Schikaneder's original plan.

At that time, however, freemasonry was a much discussed subject. It had been interdicted by Maria Theresa and armed forces were employed to break up the lodges. As a practical man Schikaneder saw his chance to exploit the interdicted rites on the stage. Out of the wicked sorcerer he made _Sarastro_, the sage priest of Isis. The ordeals of _Tamino_ and _Pamina_ became copies of the ceremonials of freemasonry. He also laid the scene of the opera in Egypt, where freemasonry believes its rites to have originated. In addition to all this Mozart's beautiful music ennobled the libretto even in its dull and unpoetical passages, and lent to the whole a touch of the mysterious and sacred. "The muse of Mozart lightly bears her century of existence," writes a French authority, of this score.

Because of its supposed relation to freemasonry, commentators have identified the vengeful _Queen of the Night_ with Maria Theresa, and _Tamino_ with the Emperor. _Pamina_, _Papageno_, and _Papagena_ are set down as types of the people, and _Monostatos_ as the fugleman of monasticism.

Mozart wrote on "The Magic Flute" from March until July and in September, 1791. September 30, two months before his death, the first performance was given.

In the overture to "The Magic Flute" the heavy reiterated chords represent, it has been suggested, the knocking at the door of the lodge room, especially as they are heard again in the temple scene, when the novitiate of _Tamino_ is about to begin. The brilliancy of the fugued allegro often has been commented on as well as the resemblance of its theme to that of Clementi's sonata in B-flat.

The story of "The Magic Flute" opens Act I, with _Tamino_ endeavouring to escape from a huge snake. He trips in running and falls unconscious. Hearing his cries for help, three black-garbed _Ladies-in-Waiting_ of the _Queen of the Night_ appear and kill the snake with their spears. Quite unwillingly they leave the handsome youth, who, on recovering consciousness, sees dancing toward him an odd-looking man entirely covered with feathers. It is _Papageno_, a bird-catcher. He tells the astonished _Tamino_ that this is the realm of the _Queen of the Night_. Nor, seeing that the snake is dead, does he hesitate to boast that it was he who killed the monster. For this lie he is immediately punished. The three _Ladies-in-Waiting_ reappear and place a padlock on his mouth. Then they show _Tamino_ the miniature of a maiden, whose magical beauty at once fills his heart with ardent love. Enter the _Queen of the Night_. She tells _Tamino_ the portrait is that of her daughter, _Pamina_, who has been taken from her by a wicked sorcerer, _Sarastro_. She has chosen _Tamino_ to deliver the maiden and as a reward he will receive her hand in marriage. The _Queen_ then disappears and the three _Ladies-in-Waiting_ come back. They take the padlock from _Papageno's_ mouth, give him a set of chimes and _Tamino_ a golden flute. By the aid of these magical instruments they will be able to escape the perils of their journey, on which they will be accompanied by three youths or genii.

Change of scene. A richly furnished apartment in _Sarastro's_ palace is disclosed. A brutal Moor, _Monostatos_, is pursuing _Pamina_ with unwelcome attentions. The appearance of _Papageno_ puts him to flight. The bird-catcher recognizes _Pamina_ as the daughter of the _Queen of the Night_, and assures her that she will soon be rescued. In the meantime the _Three Youths_ guide _Tamino_ to a grove where three temples stand. He is driven away from the doors of two, but at the third there appears a priest who informs him that _Sarastro_ is no tyrant, no wicked sorcerer as the _Queen_ had warned him, but a man of wisdom and of noble character.

The sound of _Papageno's_ voice arouses _Tamino_ from the meditations inspired by the words of the priest. He hastens forth and seeks to call his companion by playing on his flute. _Papageno_ is not alone. He is trying to escape with _Pamina_, but is prevented by the appearance of _Monostatos_ and some slaves, who endeavour to seize them. But _Papageno_ sets the Moor and his slaves dancing by playing on his magic chimes.

Trumpet blasts announce the coming of _Sarastro_. _Pamina_ falls at the feet of the High Priest and explains that she was trying to escape the unwelcome attentions of the Moor. The latter now drags _Tamino_ in, but instead of the reward he expects, receives a sound flogging. By the command of _Sarastro_, _Tamino_ and _Pamina_ are brought into the Temple of Ordeals, where they must prove that they are worthy of the higher happiness.