The Magic Flute is one of Mozart's finest operatic productions. When he was writing the opera, the composer consigned all of the melodies and recitations to the background in the hope, above all, of creating a distinctly musical work; a singspiel with which he managed to bring together many different ingredients, from French romances to Italian arias and German lieder. It is truly much more than a popular comic opera. As well as the incredible overture at the start of the opera, we are treated to passages of unquestionable lyricism - sung by Tamino and Pamina -, as well as scenes containing virtuoso baroque canto fiorito and spectacular coloraturas – such as those sung by the Queen of the Night. There is also music that is almost religious – in the scenes featuring Sarastro – as well as scenes that could have come straight out of a singspiel - sung by Papageno, Papagena and the Three Ladies.
Mozart was thirty five years old and only had two months left to live when The Magic Flute was first performed. At the time, theatre owner Emmanuel Schikaneder was going through tough economic times and the composer, a great friend of his for many years, and in the same financial situation, decided to write an opera for him that would make some money. When he found out that a rival theatre was going to put on another opera with a similar storyline, he changed the action completely, and the opera was given symbolic significance along the lines of Masonic practices, as both Mozart and Schikaneder were members of this lodge. The Magic Flute’s mythological and marvellous elements took on a special importance.
The opera was first performed in Vienna on the 30th of September, 1781, and it was a complete triumph in the romance and fantasy genres. This opera was unanimously and warmly received right from the first moment, making it into one of the most essential opuses in the operatic repertoire and, for a lot of people, one of the best operas of all time. Beethoven and Wagner thought of it as a masterwork and Goethe and Hesse were great admirers.
Many different versions (and genres) of the opera have been staged, but today it is being shown in its original two act format. The contrasts between the characters – which show polar opposites like good and bad, light and shadow, love and hate, certainty and enigma, reality and dreams-, along with the variety of situations and the libretto’s comic and dramatic effects offer plenty of musical resources that Mozart took great advantage of.

In an imaginary ancient Egypt, prince Tamino travels deep into the dominion of the Queen of the night as he escapes from a dragon. Some maidens show Tamino a portrait of Pamina, the daughter of the Queen, who has been kidnapped by the wizard Sarastro. Tamino is overwhelmed by her beauty and tells the Queen that he will rescue her in exchange for her hand in marriage. All he needs for the rescue is his magic flute and the company of Papageno, the bird-catcher. Once he enters Sarastro’s kingdom, Tamino discovers a different reality and decides not to return. To be able to stay, however, and belong to the temple of the wise men, he has to undergo a series of difficult tests that, in the end, he passes. Finally, the evil Queen of the night and the forces of evil are destroyed, and the two lovers get to remain together for ever.