Enlightened Opera

The era of the European Enlightenment—commonly understood as covering the years between 1680 and 1790—was a time of far-ranging changes to political structures, the social order, and the philosophical understanding of humanity. In diverse fields, ranging from public life to literature and beyond, the faculty of reason was held up as the path towards human improvement that would ultimately bring freedom, knowledge, and happiness.

In The Magic Flute, Mozart and his librettist, Emanuel Schikaneder, explored other aspects of Enlightenment thought: the nature of true knowledge, the development of character, and the highest ideals of humanity. In this activity, students will read and discuss passages from the writings of select Enlightenment thinkers, analyze excerpts from the libretto of The Magic Flute, and discover ways in which the opera is rooted in the social, moral, and philosophical ideas of its age.

STEP 1. DISCOVER

Depending on their grade level, students may have studied the Enlightenment previ­ously. If so, invite them to recall significant events, people, and ideas associated with the movement. Write these items on the chalkboard, organizing them into a rough timeline, if possible. Answers may include such events as the American and French revolutions and the signing of the Declaration of Independence, the philosophy of René Descartes, the writings of Voltaire, and the discoveries in mathematics and physics by Isaac Newton. If students’ knowledge of the Enlightenment is more limited, you may prefer to have them review the Deep Dive essay “The Age of Reason” either as homework in advance of the session, or at the beginning of class. Again, reinforce their comprehension by having them name significant events or people from the essay, organizing them on the chalkboard in a timeline. The points that students draw out may include the following:

• René Descartes writes Discourse on the Method, in which he investigates the nature of thought (1637).
• Isaac Newton discovers the principle of gravity (1687).
• John Locke proposes a system of representative government (1690).
• Benjamin Franklin proposes the idea that lightning is caused by electricity (1750).
• Denis Diderot begins publishing his Encyclopédie, aimed at consolidating all human ideas and knowledge (1751).
• Voltaire publishes Candide, a satire of the idea that all things naturally turn out for the best (1759).
• The American Declaration of Independence is signed (1776).
• Immanuel Kant publishes the Critique of Pure Reason, which investigates the interaction between knowledge and experience (1781).
• The French Revolution begins (1789).
• Thomas Paine publishes The Rights of Man, arguing that revolution is justified when the government does not protect man’s natural rights (1791).
• Haiti passes its second constitution, becoming the first republic in the Western hemisphere to permanently abolish slavery (1805).

Finally, write one more event on your timeline: The Magic Flute, 1791. Mozart’s opera had its premiere that year in Vienna at the Freihaus-Theater auf der Wieden, a smaller suburban theater that was popular not only with the nobility but with all classes of Viennese society. By placing the opera on your timeline, you are making it clear that Mozart and Schikaneder were working in the midst of momentous events and societal changes and expressed the changing values of the day in their works.

You may also find it helpful to refer to the Deep Dive essay “Mozart and Freemasonry” for further details on how the ideals of Freemasonry intersected with those of the Enlightenment.

STEP 2. ANALYZE

Next, divide students into groups and pass out the “Enlightenment Principles” handout included with this guide. Each of these brief statements reflects an important strain of Enlightenment thought, by thinkers from diverse fields. Have students read and discuss the statements and, on the space next to them, write a brief commentary or translation of the primary source excerpt. You may get students’ conversations started by asking the following questions:

• Can you paraphrase the statement in everyday language?
• Is the author talking about a particular group of people?
• Are there any assumptions at work behind this statement?
• Is there anything notable about the imagery that the author uses in the passage?

STEP 3. REVIEW

It will now be helpful for students to become familiar with the plot of The Magic Flute. Pass out copies of the synopsis or illustrated synopsis (metopera.org/flute-illustrated), and by having students read it silently on their own, take turns reading it aloud, or engage in a more active exploration such as enacting brief scenes, ensure that students understand the plot and can recall its basic elements.

STEP 4. COMPARE

Divide students into groups and assign each group one of the selected libretto excerpts found in the handouts included with this guide. Students should review and analyze their excerpts, looking for themes and thoughts reflecting the statements from step 2 above. Have students fill in their handouts as completely as they can, referring as necessary to the “Enlightenment Principles” handout.

STEP 5. SHARE

After allowing ample time for students to complete their handouts, invite groups to the front of class to explain their interpretation of their brief scene and their under­standing of its relation to Enlightenment principles, as reflected in their completed handouts. Although there are several possible interpretations of each scene, their comments may include the following:

Excerpt 1: A priest questions Tamino and challenges his preconceptions about the Queen of the Night. Though Tamino seeks love and virtue—worthy enterprises—the priest reveals that Tamino is held back by his quest for death and vengeance. The priest guides Tamino to a better understanding. The imagery draws on the notions of darkness and light, with darkness associated with superstition. The rejection of falsehood recalls Descartes.

Excerpt 2: Pamina and Papageno celebrate their escape from Monostatos and hold music up as a force for good: It encourages peace and happiness. The passage again draws on the imagery of darkness and light, with light connected with happiness— reminiscent of Schiller.

Excerpt 3: The chorus hails Sarastro as a benevolent leader, and Sarastro invites Tamino and Papageno to begin their rite of purification. The chorus joins in celebrating the triumph of virtue over vice, looking forward to the realization of an earthly paradise. The passage has themes in common with the Marquis de Condorcet, while the notion of purification calls to mind Kant’s process of enlightenment, as well as Pope.

Excerpt 4: Sarastro expounds on the precepts of his temple. His order lives according to the ideas of love and forgiveness rather than revenge. He holds up faithfulness and honesty as virtues, connecting them with the image of light (see Schiller). These ideals have much in common with the natural state described by Locke.

Excerpt 5: Sarastro and the chorus hail Tamino and Pamina for their success in the trials. They associate truth, love, and courage with light, and superstition and evil with darkness. They celebrate the victory of love and courage, as it will lead the world to a new age of wisdom. See Schiller, the Marquis de Condorcet, and Kant.

STEP 6. LISTEN

As a final step, play the corresponding music for the examples above, found on Tracks 1 through 5. Playing one example at a time, have students listen while following along to the translation on the handouts. It may be necessary to play each example several times, and students may like to underline the text or make notes on the handout to indicate words that receive special emphasis. In a free discussion, invite students to comment on how the music reflects or amplifies (or alternatively mutes or distorts) the sentiment contained in the text. It is not necessary to use specialized musical vocabulary or engage in advanced musical analysis, but merely to notice the general emotional tone of the passage and comment on which words and phrases are height­ened dramatically. A descriptive answer key is provided for your reference below.

ANSWER KEY

Track 1 (MOoD clip 12): The music is set in a speechlike vocal style, with little accompaniment by the orchestra. Tamino’s first line on “It’s love and virtue” sounds calm and honorable. In contrast, the priest’s line on “death and judgment” is much more agitated. The priest’s final pronouncement, “Unless you join the brotherhood, you will not find the love you seek,” is set to long, ponderous-sounding melodies.

Track 2 (MOoD clip 15): The music has a gentle, rocking quality, with the voices singing together in sweet harmonies. The effect is one of simple joy.

Track 3 (MOoD clip 18): The chorus enters with a celebratory exclamation as they hail Sarastro, who then enters in a more speechlike style as he gives instructions for Tamino and Papageno’s purification rite. The chorus then explodes in a triumphal style with full orchestral accompaniment as they celebrate the triumph of virtue over vice. The voices and instruments use their higher range, and the orchestra plays rapid figures in the brass and strings.

Track 4 (MOoD clip 28): The tempo is slow and dignified, and the music has a prayer-like quality. The voice extends into the very lowest range. The effect is one of gentle admonishment to avoid error and embrace virtue.

Track 5 (MOoD clip 41): Sarastro enters in a speechlike style with grand orchestral flourishes emphasizing his lines. When the chorus enters, the music has an almost religious quality, in the style of old church music. Its repeated interjections of “hail” are emphasized by falling figures in the strings. The passage closes with a vigorous, celebratory section as the chorus proclaims that the world will brighten and wisdom will resound.