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Revision as of 20:16, 3 June 2023 editMgnbar (talk | contribs)Extended confirmed users3,345 edits →Finale. Scene 6?: maybe this is the reason← Previous edit Latest revision as of 15:02, 9 November 2024 edit undoLowercase sigmabot III (talk | contribs)Bots, Template editors2,293,195 editsm Archiving 1 discussion(s) to Talk:The Magic Flute/Archive 2) (bot 
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== Casting == == Plot summary for lead ==


I replaced
In attemtping a rescue for ] I've removed a couple of unreferenced paragraphs. They're a bit OR in tone but the ''Spiel- vs. Sing]'' observation is uncontroversial enough that a RS should be available somewhere in the literature (I note though that for myself and the QotN's I've known the extreme F's are a pleasure rather than a particular challenge).
<blockquote>
In composing the opera, Mozart evidently kept in mind the skills of the singers intended for the premiere, which included both virtuoso and ordinary comic actors asked to sing for the occasion. Thus, the vocal lines for Papageno—sung by Schikaneder himself—and Monostatos (]) are often stated first in the strings so the singer can find his pitch, and are frequently doubled by instruments. In contrast, Mozart's sister-in-law ], who premiered the role of the Queen of the Night, evidently needed little such help: this role is famous for its difficulty. In ensembles, Mozart skillfully combined voices of different ability levels.


''The allegorical plot was influenced by Schikaneder and ] and concerns the initiation of Prince Tamino. Enlisted by the Queen of the Night to rescue her daughter Pamina from the high priest Sarastro, Tamino comes to admire the high ideals of Sarastro. He and Pamina both join Sarastro's community, while the Queen and her allies are vanquished.
The ]s of two of the original singers for whom Mozart tailored his music have posed challenges for many singers who have since recreated their roles. Both arias of the Queen of the Night, "]" and "]" require ] ], rare in opera. At the low end, the part of Sarastro, premiered by ], includes a conspicuous F<sub>2</sub> in a few locations.</blockquote>
⚫ ] (]) 02:43, 30 September 2021 (UTC)


with an older version:
== Finale. Scene 6? ==


''In the opera the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro; instead, he learns the high ideals of Sarastro's community and seeks to join it. Separately, then together, Tamino and Pamina undergo severe trials of initiation, which end in triumph, with the Queen and her cohorts vanquished. The earthy Papageno, who accompanies Tamino on his quest, fails the trials completely but is rewarded anyway with the hand of his ideal female companion Papagena.
Act 2 has 10 scenes. Currently Scene 6 is labeled "Finale". Is this an error? ] (]) 19:53, 3 June 2023 (UTC)


Reasons:
:Is it because Scenes 6-10 flow together with uninterrupted music? The article could make this clearer. ] (]) 20:16, 3 June 2023 (UTC)
* The view that the plot is allegorical (i.e. about Maria Theresia) is controversial, and perhaps is even acquiring the status of a crackpot theory; see ] for discussion.
* The Freemasonry claim is certainly common but it is now called into question by thoughtful people; see again ]. While it may still have adherents, in general we don't put controversial speculation into the lead as if it were fact.
* The old plot summary I restored is hardly any longer but has some really essential things: the trials the characters undergo, and the character Papageno (who I suspect has more stage time than anyone else).
⚫ ] (]) 00:14, 8 November 2024 (UTC)

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Plot summary for lead

I replaced

The allegorical plot was influenced by Schikaneder and Mozart's interest in Freemasonry and concerns the initiation of Prince Tamino. Enlisted by the Queen of the Night to rescue her daughter Pamina from the high priest Sarastro, Tamino comes to admire the high ideals of Sarastro. He and Pamina both join Sarastro's community, while the Queen and her allies are vanquished.

with an older version:

In the opera the Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro; instead, he learns the high ideals of Sarastro's community and seeks to join it. Separately, then together, Tamino and Pamina undergo severe trials of initiation, which end in triumph, with the Queen and her cohorts vanquished. The earthy Papageno, who accompanies Tamino on his quest, fails the trials completely but is rewarded anyway with the hand of his ideal female companion Papagena.

Reasons:

  • The view that the plot is allegorical (i.e. about Maria Theresia) is controversial, and perhaps is even acquiring the status of a crackpot theory; see Libretto of the Magic Flute for discussion.
  • The Freemasonry claim is certainly common but it is now called into question by thoughtful people; see again Libretto of the Magic Flute. While it may still have adherents, in general we don't put controversial speculation into the lead as if it were fact.
  • The old plot summary I restored is hardly any longer but has some really essential things: the trials the characters undergo, and the character Papageno (who I suspect has more stage time than anyone else).

Opus33 (talk) 00:14, 8 November 2024 (UTC)

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