Considers various interpretations of the libretto, such as Chailley’s, and finds
that most overlook the music. So Bauman intends to bring “at least one por-
tion of Mozart’s music into recent interpretations... in particular into ideas
about Pamina and Tamino as co-equal, merged personalities.” In a valuable
study, he explains how Mozart established the orchestra as a distinct “per-
sona” and how multilayered interpretations of the music are called for, just as
in the libretto. For instance, in Pamina’s aria in act 2, the orchestral ritornello
“derives a psychological subtext from key verbal phrases” and may also echo
Tamino’s thoughts. The overture fits in to the “rich store of symbolic mean-
ings” in the opera, offering “a musical narrative of contrapuntally conjoined
personalities who are developed and shaped by their common experience.”- Levarie, Siegmund. “Two Fairy-Tale Operas: A Comparison.” OQ7-1 (Spring
1990): 7–11.
The operas are Die Zauberflöteand Die Frau ohne Schatten.The latter was
imagined by its creators, Richard Strauss and Hugo von Hofmannsthal, to
share the atmosphere of the former. Although a comparison of the two libretti
would seem to favor the acclaimed Hofmannsthal over the much maligned
Schikaneder, “Die Frau ohne Schatten.. .remains woefully defective when
compared to Die Zauberflöte.” Both stories hinge on the triumph of love over
serious trials. But Die Frau ohne Schattengives no demonstration of love until
the final scene, where triumph is extolled; in fact, the “Emperor and Empress
never sing together, never act together, and (with the exception of a short pan-
tomime in the Empress’ dream) never appear on the stage together.” This con-
trasts with the gradual, “artful unveiling of love” between Pamina and
Tamino. Motivation for the change of character by Barak’s wife in the Strauss
work is not offered and is thus unconvincing. Nor is there justification for the
punishment of the nurse, whose behavior had been exemplary. Finally, there is
the Emperor’s inactivity: “to be loved, one has to do something,” but he
“remains unrelated and insipid throughout.” Other loose ends are pointed
out, completing a rare case in the opera literature; indeed, are there any other
instances of harsh critiques leveled at Hofmannsthal? - Levarie, Siegmund. “Papageno und Pamina.” Mitteilungen der Interna-
tionalen Stiftung Mozarteum 35–1/4 (July 1987): 103–105.
Discusses parallels between Papageno and Tamino, but a more subtle relation-
ship is found between Papageno and Pamina. Their duet, one of the loveliest in
the opera, is in the tonic E-flat—the only appearance of the key, except for the
Bildnisarie,between the overture and the finale. From similar experiences the
two have basically different outcomes: she reaches maturity, he parodies her
with light and foolish songs as she sings of her separation from Pamino. The
key scheme elucidates this. “The layers of this magic opera seem to be end-
less.” - Godwin, Jocelyn. “Layers of Meaning in The Magic Flute.” MQ65 (1979):
471–492.
A libretto study, finding a higher level of meaning than the usual Masonic sym-
bols: it is the opera as a “historical allegory of esoteric organizations in the
Wolfgang Amadeus Mozart 257