MOZART

FOR SCHOOLS

KS2 – 4 RESOURCE PACK

FOR TEACHERS
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A SHORTENED VERSION OF MOZART’S

OPERA THE MAGIC FLUTE, SPECIALLY
ADAPTED FOR A SCHOOLS AUDIENCE

Music by Wolfgang Amadeus Mozart

Libretto by Emanuel Schikaneder
(English translation by Jeremy Sams)

Prince Tamino is sent on a quest by the Queen of the Night

to rescue her daughter Pamina from Sarastro’s palace...

Whilst on his mission, Tamino meets Papageno and together

they seek to rescue the Queen of the Night’s daughter.
Tamino and Papageno are given the gifts of a magic flute
and magic bells to guard them on their mission...

In order to secure the safe release of Pamina, Sarastro

issues Tamino and Papageno with a series of trials...

If Papageno and Tamino successfully pass the trials,

Pamina will be set free and the characters will be deemed
worthy of joining Sarastro’s brotherhood...

But what if the characters fail their quest, and who,

really, is the Queen of the Night...?
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CONTENTS

4 Introduction and ‘What is Opera?’

5 The World of the Opera

6 Timeline

7-11 Synopsis + Activity Ideas

12-17 Meet the Characters + Activity Ideas

18 The Magic Flute for Schools –

Opera North’s 2019 Production Cast & Photos

19-23 Meet the Orchestra + Activity Ideas

24-25 Key Themes

26 Interview with the Director

27-29 Behind the Scenes + Activity Ideas

30 Glossary of Terms

31-34 Further Reading Links for KS3-4

35-42 Meet the Four Sections of the Orchestra

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INTRODUCTION AND ‘WHAT IS OPERA?’

This learning pack offers teachers and pupils What is Opera?

in KS2, 3 and 4 an introduction to Opera North’s
Opera is about people, emotions and their stories told through
production of The Magic Flute by the German a hybrid of music, text, drama, and design elements. It is an
composer Wolfgang Amadeus Mozart. art form in which singers and orchestral musicians perform
a dramatic work combining text (called a libretto) and score,
The pack includes information about the usually in a theatre setting. In opera you can find some of the
most extraordinary music ever written for the human voice.
composer and librettist, the world of opera,
and an introduction to the opera The Magic Flute, The term ‘opera’ comes from the Latin word ‘opus’ meaning work.
including: the plot synopsis, an introduction to the Opera has a musical accompaniment throughout, performed by
characters and key themes. Interesting facts and an orchestra and singers. The main characters within an opera are
sung by professional singers - some operas also include spoken
activity ideas are dispersed throughout this pack word and dance. Sometimes an opera will include a part for
for use in the classroom which can inspire further an opera chorus, performed by a group of professional singers;
ideas for discussion. Feel free to get creative the chorus will often represent a large group or crowd of people
and adapt these activities to suit the needs within the opera. In The Magic Flute the chorus represents
the Priests, Slaves and Attendants.
of your class! Also included is an introduction
to the instruments of the orchestra and how Opera in Mozart’s time was a social occasion, where audience
they feature within the opera. members would drink, talk and even play card games during
the performance! Audience members would be known to stand
on the side of the stage if they couldn’t afford a ticket. The themes
Definitions for highlighted words in Mozart’s operas often reflected political and cultural ideas
can be found in the glossary. of the time.

The Magic Flute

The Magic Flute is a two act opera by the German composer
Wolfgang Amadeus Mozart; the opera was written in the form
of a Singspiel (a piece which includes both singing and spoken
dialogue). The libretto (or text) was written by the Austrian
theatrical producer Emanuel Schikaneder.

The opera was premiered on 30 September 1791 (shortly

before Mozart’s untimely death) at the Theater auf der Wieden
(or Freihaustheater) in Vienna.

KS3-4
The Magic Flute is an opera from the Classical period
(c.1750-c.1830). Mozart was one of the most prolific
composers of the Classical period, alongside Haydn. This
musical period coincided with the Age of Enlightenment which
saw great social changes including a focus on human rights
and freedom of religion. The music of this period saw the
introduction of sonata form, the symphony, piano sonatas and
string quartets. New instruments were added to the orchestra
including the clarinet (introduced by Haydn), whilst trumpets
were given their own independent melodic lines (rather than
doubling the horns) and cellos were also given independent
lines from the double basses.
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THE WORLD OF THE OPERA:

THE COMPOSER AND THE LIBRETTIST

THE COMPOSER: Wolfgang Amadeus Mozart THE LIBRETTIST: Emanuel Schikaneder

The composer is a person who writes music. The librettist is a person who writes the text for an opera.
A libretto is very similar to a film script – it contains all the
• Wolfgang Amadeus Mozart was the composer of information needed to tell a story.
The Magic Flute
• He was born in Salzburg, Austria on 27 January 1756 • Emmanuel Schikaneder was born to a very poor family
• Mozart was a child prodigy and composed some of his in 1751 in the state of Bavaria, Germany
first pieces of music at the age of five • Schikaneder trained in his local cathedral as a singer,
• Mozart gave his first public performance at Salzburg and as he grew up began to work in the theatre,
University in September 1761 at the age of five performing opera and ballet
• Mozart started his musical career as a performer of the piano, • When he was only 22 his first opera was performed
touring around Europe between ages 6-8 with his father. in Innsbruck
When he returned home, he composed his first opera when • By 1780 he had set up his own theatre company in Vienna
he was only 11 years old, and it was written in Latin • In Autumn 1780 Schikaneder became a friend of the Mozart
• When Mozart was 14 it is believed that he wrote down an family. Mozart and his parents often played darts together
entire piece from memory, after hearing it performed just with Schikaneder
once in the Vatican in Rome! The piece is Allegri’s Miserere • Schikaneder performed the role of Papageno in the first
and has five different voice parts in the choir performance of The Magic Flute
• When Mozart was 26 he married Constanze Weber. • By 1804, Schikaneder’s career was on the decline;
They had six children together, but only two survived his concerts were not selling well so he sold the company
• Mozart died very young from kidney failure only a few and left to live in the countryside
months after the premiere of The Magic Flute. He was only • He died very poor in 1812 aged 61.
35 years old.

Did you know?

Mozart’s nickname was ‘Wolfie’ but his real name was
Johannes Chrysostomus Wolfgangus Theophilus Mozart.
He composed over 600 works, and had a fierce rivalry with the
composer Antonio Salieri, who wrote more than 40 operas. When
Mozart died, many people thought Salieri had poisoned him!

When Mozart was 10 years old, scientists of the Royal Society

put him through a series of tests to prove he was a child and For further information on the composer and librettist for KS3-4,
not a skilled dwarf. please see the further reading list - CLICK TO VIEW
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TIMELINE
Colour Code
Mozart and Schikaneder / Music history / General history

1751 Emmanuel Schikaneder is born in Bavaria 1775 Mozart’s La Finta Giardiniera (The Pretend Garden Girl)
is written and performed in Munich, Germany
1756 The French and Indian War begins between
Britain and France 1776 United States issues Declaration of Independence

1756 Mozart is born on January 27, only one of two 1778 Teatro alla Scala, a very famous opera house,
surviving children of Leopold Mozart, a composer opens in Milan, Italy
for the Prince Archbishop of Salzburg
1781 Mozart relocates to Vienna to make his career
1758 English Baroque composer George Frideric as a composer
Handel dies
1782 Mozart marries Constanze Weber
1762 Mozart performs for Empress Maria Theresia
in the Viennese Imperial Court and begins his career 1783 Mozart composes the Mass in C Minor
as a child prodigy and composer
1786 Mozart completes Le Nozze di figaro, which
1763 Treaty of Paris ends French and Indian War. premieres in Vienna and is a big success in Prague
Mason-Dixon Line is drawn the following year

1763-66 Wolfgang and his sister Maria tour Europe with 1787 Mozart’s father Leopold Mozart dies. Don Giovanni
their parents as child prodigies is premiered in Prague

1764 Mozart composes his first symphony at the age of 8 1787 Beethoven arrives in Vienna to study with Mozart

1765 First paved sidewalks appear in London 1787 German poet Christoph Wieland publishes a collection
of stories which inspire the plot of The Magic Flute
1767 Mozart completes his first opera Apollo et Hyacinthus.
It is first performed in Salzburg in May 1787 First fleet of convicts sails to Australia

1768 Premiere of Mozart’s first opera in Vienna: 1788 First edition of The Times of London is published
Bastien un Bastienne
1790 Così fan tutte premieres in Vienna without success,
1770 Mozart begins working as a court musician with Mozart falls on hard financial times
the Archbishop of Salzburg
1791 Schikaneder and Mozart come together to write
1770 Beethoven (another important Classical period The Magic Flute after increasing involvement together
composer) is born in Bonn, Germany in Schikaneder’s theatrical troupe. The Magic Flute
premieres at Schikaneder’s Theater auf der Wieden
1770 Captain James Cook claims the east coast in Vienna on 30th September. Mozart is the conductor
of Australia for Great Britain and Schikaneder plays the role of Papageno

1771 First volume of the Encylopedia Britannica is published 1791 Mozart dies three months after the premiere
of The Magic Flute at the age of 35
1772 Flight and Kelley, organ makers in London produce
the first barrel organ 1791 Haydn’s ‘Surprise’ Symphony (No. 94) in G premieres.

1772 Slavery is effectively outlawed in England 1792 November: The Magic Flute receives its
100th performance
1773 Boston Tea Party
1798 The Bastille is stormed in Paris, which starts
1773 Schikaneder’s first opera is performed in Innsbruck the French Revolution
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SYNOPSIS

The opera is written in two acts (or chapters), which each tell a different part of the story.

Act 1 Act 2
Prince Tamino is being chased by a large serpent, but Three Tamino and Papageno begin their first test: they are not allowed
Ladies (attendants to the Queen of the Night) come to his rescue. to speak. Papageno cannot keep quiet but Tamino passes the test.
Papageno the bird-catcher arrives on the scene and meets
Tamino. The Queen of the Night appears and gives Pamina a knife,
telling her daughter she must kill Sarastro; she sings her
The Queen of the Night arrives and promises her daughter famous aria ‘The Wrath of Hell is Burning in My Bosom’
Pamina’s hand in marriage to Tamino if he can rescue her from at this moment*
the wicked Sarastro.
Pamina is torn between her love for Tamino, and her duty
Papageno is given magic bells and Tamino is given a magic to her mother. Tamino and Papageno face their second test:
flute to protect them on their quest. still they must remain silent, and they are not allowed to drink.
An Old Woman appears and offers a glass of water. Tamino
Tamino arrives at Sarastro’s temple and an old priest explains refuses, but Papageno accepts and begins to talk to the
that Sarastro is kind and the Queen of the Night is evil. Old Woman. Pamina appears but Tamino refuses to speak
to her, in order to pass the test. Pamina thinks that Tamino
Pamino and Tamino see each other for the first time and fall does not love her anymore.
in love.
Next Papageno faces a challenge alone – he meets the same
Sarastro arrives and tells Tamino that, if he wants to marry Old Woman who offered him water. She tells him he must
Pamina and join his brotherhood, he must go through three tests commit to love her forever, otherwise he will be alone forever...
of wisdom to prove his worth. Papageno will also be rewarded Papageno accepts and the Old Woman turns into a beautiful
with a partner. Both agree to undergo the trials. young woman: Papagena.

Meanwhile, Pamina is so upset at the thought that Tamino does

not love her anymore, that she tries to kill herself, but three spirits
intervene and bring her to Tamino. Tamino is about to face his final
two tests: walking through fire and water. Tamino and Pamina
complete the final tests together and are protected by Tamino’s
magic flute.

Monostatos has switched sides from Sarastro to the Queen of the

Night. They arrive with the Three Ladies in an attempt to destroy
Sarastro’s palace...

What will become of our characters and how will

the opera end...? All will be revealed in the Schools’
Matinee performance.

For further information on the Synopsis for KS3-4,

* Queen of the Night: Diana Damrau, taken from The Royal Opera House’s please see the further reading list - CLICK TO VIEW
2003 production of The Magic Flute
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ACTIVITY IDEA – KS2

Freezeframes (Music & Drama)

This activity helps pupils understand the story and characters
in The Magic Flute, whilst developing their teamwork,
verbal and non-verbal communication skills.

Divide your class into small groups and allocate each group
a section of the opera to act out; the challenge is to act out
sections silently, without words. Encourage pupils to think
about dramatic movement to ensure they communicate
their scene clearly to the rest of the class.

For example:

Act 1
1 Prince Tamino is about to be killed by the serpent, but is then rescued by the
Three Ladies

2 Papageno arrives on the scene and meets Tamino. Tamino thinks that Papageno
killed the serpent & Papageno pretends this was the case

3 The Queen of the Night promises Tamino that he can marry her daughter,
Pamina, if he can rescue her from Sarastro

4 The Three Ladies gift Prince Tamino and Papageno with a magic flute and magic
bells to protect them on their rescue mission

Use the above idea or other scenes from Act 1 or Act 2 of the
opera to devise new freezeframe activities.

Why not try adding in props, simple costumes, and musical

sound effects?
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ACTIVITY IDEA – KS3-4

Freezeframes (Music & Drama)

This activity is intended to help pupils develop their understanding
of the story, alongside gaining a greater insight into the lives
of each of the characters. The activity helps pupils to develop
their teamwork skills alongside both verbal and non-verbal
communication skills.

Divide your class up into small groups and allocate each group
a section of the opera to act out; the challenge is to act out
sections silently, without spoken word. Encourage the groups
to think about physicality and dramatic movement to ensure
they communicate their scene effectively to the rest of the class.

For example:

Act 1
1 Prince Tamino is about to be killed by the serpent, but then the Three Ladies
(the Queen of the Night’s Attendants) come to his rescue

2 Papageno the bird-catcher arrives on the scene and meets Tamino. Tamino
thinks that Papageno killed the serpent & Papageno pretends this was the case

3 The Queen of the Night arrives on the scene and persuades Tamino to rescue
her daughter Pamina who has been imprisoned by Sarastro

4 The Queen of the Night promises Tamino that he can marry her daughter,
Pamina, if he can rescue her

5 The Three Ladies gift Prince Tamino and Papageno with a magic flute
and magic bells to protect them on their rescue mission

You can use the above ideas or take inspiration from other acts
within the opera to create as many freezeframes as you like.

Why not try adding in props, simple costumes, and musical sound
effects to help recreate a scene, conjure up a specific atmosphere
or to use as a transition from each frame to the next.

Try taking the idea even further: encourage one group to act out the
story, whilst another group write and perform their own musical
accompaniment to the piece.
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ACTIVITY IDEA – KS2 (ENGLISH)

The Magic Flute Summary
Write a summary of the story in no more than 100 words

ACTIVITY IDEA – KS3-4 (ENGLISH)

The Magic Flute Tweets
Summarise the story of The Magic Flute in the form of a tweet
– use no more than 140 characters
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ACTIVITY IDEA – KS2-4 (ENGLISH)

Be an opera critic!
Try your hand at opera criticism. Answer the following questions
(feel free to bring these questions with you to the Schools’ Matinee
performance and ask pupils to give their responses at the end
of the opera).

Name of the opera:

Most exciting moment:

Funniest moment:

Saddest moment:

Strongest character:

The singer who you think performed the best and why:

Overall review:
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MEET THE CHARACTERS

TAMINO PAPAGENO
Voice part: Tenor Voice part: Baritone

Prince Tamino is the hero of the opera and the first character Papageno is a bird-catcher, employed by the Queen of the
we meet as we discover him being attacked by a serpent at the Night. He is a cheeky, likeable and down to earth character
beginning of the opera. The Queen of the Night issues Prince who frequently expresses his desire to find a girlfriend or wife.
Tamino with a challenge to rescue her daughter (Pamina) from He is chastised by the Queen of the Night’s Attendants (the First,
the evil Sarastro (Priest of Isis and Osiris); in return for rescuing Second & Third Ladies) for lying and pretending to kill the serpent
Pamina, the Queen of the Night offers her daughter’s hand in which attacked Prince Tamino at the beginning of the opera.
marriage as the prince’s reward. Tamino must prove his love Papageno accompanies Prince Tamino on his quest to rescue
for Pamina by undergoing a series of trials issued by Sarastro. Pamina; whilst on their mission, Papageno meets and falls in love
By successfully completing the trials, Tamino will also with Papagena. In order to prove his love for Papagena, Papageno
be considered worthy of joining Sarastro’s brotherhood must undergo a series of tests issued by Sarastro. By successfully
(a brotherhood was, at the time, a gathering of men who completing the trials, Papageno will also be considered worthy
united together due to their shared interests and beliefs). of joining Sarastro’s brotherhood.

This is the aria Prince Tamino sings when he first sees This is Papageno’s opening aria from Act 1, Scene 2; it has
a picture of Pamina in Act 1, Scene 3: a simple folk like melody which helps to portray Papageno’s
simple character. It is easily recognised by the flute flourish
‘Such loveliness beyond compare. which accompanies it:
I’ve never seen a face so fair.
It fills me, it fills me ‘I’m sure that there could never be
With such happiness, a more contented man than me.
my heart beats faster in my breast I earn my living as I please,
My heart beats faster in my breast’ I charm the birds from out the trees’

(LISTEN FROM 20:57-23:10) (LISTEN FROM 13:51-15:09)

Tamino: Paul Groves, taken from the Salzburg Festival’s Papageno, Christian Gerhaher taken from the Salzburg Festival’s
2006 production of The Magic Flute 2006 production The Magic Flute
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MEET THE CHARACTERS

FIRST LADY / SECOND LADY / THIRD LADY QUEEN OF THE NIGHT

Voice parts: Soprano Voice part: Coloratura Soprano

The First, Second and Third Lady are the loyal attendants of the The Queen of the Night is Pamina’s mother. She is a mysterious,
Queen of the Night. They serve her dutifully and bestow gifts terrifying character who often appears at sudden moments within
of the magic flute and magic bells to guard Tamino and Papageno the opera. At the start of the opera she appears to be good and
and keep them safe on their quest to rescue the Queen of the innocent and she persuades Prince Tamino that it is Sarastro who
Night’s daughter. They are mystical, magical characters who is the evil one who stole her daughter, Pamina. It soon becomes
often precipitate the arrival of the Queen of the Night. apparent that the cunning Queen of the Night is, in fact, the
character to be feared; we learn this when she sings one of the
This aria is performed by the First, Second and Third Ladies most famous (and fiendishly difficult) opera arias of all time
in Act 1, Scene 7 when they gift Prince Tamino and Papageno ‘The Wrath of Hell is Burning in My Bosom’. In this aria (taken
with the magic flute and bells: from Act 2, Scene 8), the Queen of the Night tells her daughter
Pamina that she will disown her if she doesn’t agree to kill
‘Oh Prince, receive this gift I bear, Sarastro:
The Queen consigns it to your care.
Whatever dangers fate may send you, ‘The wrath of hell is burning in my bosom
This magic flute will now defend you Death and destruction,
For when it plays it sings so sweetly Death and destruction blaze about my head.
That evil ways are changed completely’ If you refuse, refuse to kill Sarastro
Refuse to kill Sarastro
(LISTEN FROM 33:24 – 34:36) Then I will deem my daughter good as dead’

Three Ladies, Inga Kalna / Karina Deshayes / Ekaterina Gubanova taken from the
Salzburg Festival’s 2006 production of The Magic Flute
(LISTEN)
Queen of the Night: Diana Damrau, taken from The Royal Opera House’s 2003
production The Magic Flute

Did you know?

A coloratura soprano is an operatic soprano who specialises
in performing music that is very high in the voice and includes
difficult melodic runs, trills and leaps.

Mozart’s sister-in-law, Josepha Hofer, sung the role of the

Queen of the Night for the opera’s premiere performance.
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MEET THE CHARACTERS

MONOSTATOS PAMINA
Voice part: Tenor Voice part: Soprano

Monostatos is the Overseer of Sarastro’s Temple and an Pamina is the daughter of the Queen of the Night. At the start
untrustworthy character who tries to pursue Pamina. He is only of the opera we are told that she has been imprisoned by
concerned with getting what he wants using fear and intimidation Sarastro. She is the subject of Monostatos’ unwanted attention
in order to achieve this. Monostatos tries to abuse the power that and we later learn of her difficult, tormented relationship with her
Sarastro has given him; thankfully Sarastro remains in control and mother. Pamina is the character who suffers most throughout
punishes Monostatos for his threatening tactics and behaviour. the opera; not only has her mother (the Queen of the Night) turned
against her, but she is led to believe that Prince Tamino no longer
In Act 1, Scene 17 Papageno and Pamina are in fear of being loves her either.
captured by Monostatos; so, Papageno plays the Magic Bells to
enchant Monostatos into a trance-like state. Listen to the effect This aria is performed by Pamina in Act 2, Scene 17 as she
this has on Monostatos and his fellow slaves in this aria: laments Prince Tamino, thinking he no longer loves her for
he will not speak to her. Pamina is unaware that Sarastro has
‘This music is ringing with magic so strong, issued Tamino with the Trial of Silence meaning he is forbidden
I cannot stop smiling and singing along’ to speak with Pamina. Pamina assumes her love has been lost.
The minor key of the melody helps to reflect Pamina’s sadness:
(LISTEN FROM 14:47-15:30)
‘Now I know that love has vanished
Monostatos: Adrian Thompson taken from The Royal Opera House’s 2003 now I know that love brings pain
production of The Magic Flute. now I know that love brings pain
Now all joy, all hope is banished;
I have loved and loved in vain’

(LISTEN FROM 1:54:20-1:58:25)

Pamina, Genia Kühmeier taken from the Salzburg Festival’s 2006 production
of The Magic Flute
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MEET THE CHARACTERS

SARASTRO OLD WOMAN / PAPAGENA

Voice part: Bass Voice part: Soprano

Sarastro is the High Priest of the Sun (Isis and Osiris). He leads Papagena is initially disguised as the ‘Old Woman’. When she first
a brotherhood of priests and is initially portrayed by the Queen meets Papageno (in her disguise), she asks Papageno to swear
of the Night and her Attendants as an evil character. We soon that he will love her and be faithful to her. If he doesn’t agree to
find out that Sarastro is an honest, good and noble character her terms, he will be locked up forever with only bread to eat and
and a person of great integrity. Prince Tamino realises this too water to drink. When Papageno (reluctantly) agrees, suddenly
and seeks to join Sarastro’s brotherhood (and, in doing so, the Old Woman turns into Papagena: a beautiful woman whom
prove himself worthy of Pamina). In order to join the brotherhood, Papageno truly falls in love with.
Tamino (along with Papageno and Pamina) must undergo
and successfully pass a series of trials. Listen to this duet which Papageno and Papagena sing to one
another in Act 2, Scene 29. They have finally been reunited and
Sarastro’s majestic and noble character is portrayed in his aria sing of their delight and happiness. Listen to the call and response
‘O Isis and Osiris’ from Act 2, Scene 1. Sarasto’s aria is made singing between the two characters: one person sings, and the
up of long melodic lines which reinforce his sense of grandeur. other person sings in response - this makes it sound like they
are two love birds having a conversation:
Listen out for a call & response between Sarastro and the tenors
and basses from the chorus (reinforcing the respect that the
people have for Sarastro) during this aria. Papageno: ‘Pa-Pa-Pa-Pa-Pa-pa-pa-ge-na’
Papagena: ‘Pa-Pa-Pa-Pa-Pa-pa-pa-ge-no’
(LISTEN FROM 0:30-END) Papageno: ‘Will you stay with me forever?’
Papagena: ‘Yes, I’ll stay with you forever’
Sarastro: Franz Josef Selig, taken from The Royal Opera House’s 2003 production Papageno: ‘Now at last we’ll be together’
of The Magic Flute Papagena: ‘Two little love birds of one feather
Together: ‘Yes, now at last we will be together’

(LISTEN)
Papagena: Dísella Lárusdóttir and Papageno: Christopher Maltman taken from
The Metropolitan Opera’s 2016 production of The Magic Flute
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VOICE PARTS

Soprano Female singing voice with the highest vocal range

Mezzo Soprano Female singing voice pitched between soprano and alto

Alto Female singing voice, pitched below soprano and above tenor

Contralto The lowest female singing voice, lower than an alto and almost identical to the
range of a countertenor

Countertenor The male equivalent to a contralto. Male singers use their ‘head voice’ to sing
beyond their ‘chest voice’

Tenor A singing voice between baritone and alto or countertenor

Baritone Male singing voice between tenor and bass

Bass Male singing voice with the lowest vocal range

Listen to this example of the different voice types

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ACTIVITY IDEA – KS2 (ENGLISH)

Characterisation in The Magic Flute
• Divide your class up into 8 groups

• Allocate one character from the opera to each group:

Prince Tamino / Papageno / Pamina / Queen of the Night /
First, Second & Third Ladies / Papagena (or Old Woman) /
Monostatos / Sarastro

• Ask each group to produce bullet points for each character;

think about what makes them unique / how they interact /
whether any of the characters change during the opera?

• Ask each group to share their findings with the rest of the class

ACTIVITY IDEA – KS3-4 (ENGLISH)

Characterisation in The Magic Flute
• Think about how each character is presented in the opera

• Do the characters conform to the stereotype of:

- A Prince (Prince Tamino)
- A Mother (Queen of the Night)
- A Child (Pamina)
- A Leader (Sarastro) – this could be a religious leader
or a political leader

• How are they similar and in what ways are they different?
Compare and contrast

• If you were going to play a particular character in the opera,

how would you prepare to get into the role of that character?
 18

THE MAGIC FLUTE – CAST

ve
g re
org
oB
arc
: M
dit
Cre

PAMINA – ELLIE LAUGHARNE PAPAGENO – PETER BRATHWAITE QUEEN OF THE NIGHT – MIRANDA BEVIN
Voice part: Soprano Voice part: Baritone Voice part: Coloratura Soprano

SARASTRO – MATTHEW STIFF PAPAGENA – GILLENE BUTTERFIELD TAMINO – NICHOLAS WATTS

Voice part: Bass Voice part: Soprano Voice part: Tenor

FIRST LADY – KATHRYN STEVENS SECOND LADY – KATHRYN WALKER THIRD LADY – HAZEL CROFT
Voice part: Soprano Voice part: Soprano Voice part: Soprano

MONOSTATOS – DAVID LLEWELLYN

Voice part: Tenor
 19

MEET THE ORCHESTRA

The orchestra is made up of a group of These parts of the opera are known as:
approximately 60 professional musicians, each
• The orchestral overture - this is the introduction to the opera
of whom belong to a section (or family) within the which helps to set the scene for the audience. The overture
orchestra, dependant on the instrument they play. is kind of like the trailer for what’s to come, often including
The role of the orchestra in an opera production is famous musical themes which the audience will then hear
to play the musical accompaniment to the opera. later on in the production. For Opera North’s The Magic Flute
for Schools matinee performance, the orchestral overture
The orchestra also has its own solo moments will not be played.
within the opera where it plays on its own.
• Interlude – the orchestral interlude is played during
a scene change or between acts to mark a change
in mood or atmosphere.
 20

Let’s meet the four sections

of the orchestra:
STRINGS Percussion
WOODWIND
BRASS
PERCUSSION
Trumpets Trombones
French Tubas
Horns
Clarinets Bassoons
Second Violins Double
Flutes Oboes Basses

Violas

First Violins Cellos

Conductor

We will learn more about how each section of the orchestra features in The Magic Flute below.
For further information on the orchestra for KS3-4, please see the further reading list – Meet the Orchestra

STRINGS
The string section is made up of four instruments: violin, viola, cello, double bass.

The String Section Fugue

Listen to the upper strings as they set the scene for the Queen In Act 2, Scene 28 you will hear a fugal staccato passage;
of the Night’s infamous aria ‘The Wrath of Hell’; the upper strings this scene represents the start of the trials that Tamino and
build a sense of fear and tension by playing a tremolo before the Papageno are due to undergo. The fugal passage starts in the
Queen of the Night starts to sing. A tremolo (an Italian word Second Violins, then moves to the First Violins, then Viola and
which means ‘to shake’) is when a stringed instrument produces Cello, then finally the Double Bass joins:
a wavering effect in a musical tone, either by rapid repetition
of a note, or rapid repetition of alternating tones. (LISTEN FROM 2:22:21-2:23:00)
(LISTEN RIGHT AT THE BEGINNING)
Listen out for the upper strings as they play an ascending
and descending melody line, following the Queen of the Night’s
‘The Wrath of Hell’ aria. It is as though the strings are continuing
the Queen of the Night’s vocal phrase as it rises and falls:

(LISTEN FROM 1:19-1:26)

Queen of the Night: Diana Damrau, taken from The Royal Opera House’s 2003
production of The Magic Flute

Activity Idea – KS3-4 (Music)

Before looking at the instruments used in the fugue, can you
ask pupils to guess which string instrument starts the fugue,
then which instruments take over?
 21

WOODWIND
The woodwind section is made up of eight instruments: piccolo, flute, oboe, cor anglais,
clarinet (also Eb clarinet), bass clarinet, bassoon and contrabassoon.

Flute Bassoon
Owing to the opera’s title alone, the flute plays a key role within The bassoon is used to accompany Papageno as he hums his
the opera. Listen to this solo flute melody which is played by way through an aria (following a spell the Three Ladies have put
Tamino and interspersed with his aria ‘How soft, how strong your on Papageno to silence him). The aria is from Act 1, Scene 7 and
magic sound, sing so sweetly as your music echoes all around, the bassoon mirrors Papageno’s hums to comical dramatic effect,
savage nature is tamed completely’; during this aria (taken from using light staccato articulation:
Act 1, Scene 15) Tamino is singing of the power of the magic
flute. Listen to how the melody rises and falls and has a dance (LISTEN FROM 31:50-32:32)
like quality to it. Listen out to see whether Tamino’s aria sounds
similar to the flute melody:
The Woodwind & Brass Section (Horns)
(LISTEN FROM 58:44-1:00:57) Listen to how the clarinet and bassoon (from the woodwind
section) can blend so beautifully with the horns (from the brass
section). The clarinet begins by playing a pastoral melody with
Activity Idea – KS2-4 bassoon melodic accompaniment; listen out for the horns as they
Whilst listening to the flute melody, ask pupils to explain join in to add a warmth and depth of tone. All the instruments
what gives the melody its dance like quality. Ask them combined help to reflect the nature of the garden scene (taken
to think about tempo, dynamics, timbre, articulation. from Act 2, Scene 26)

(LISTEN FROM 2:15:43-2:16:50)

Oboe
Listen to this beautiful solo oboe melody which accompanies
Pamina as she sings to Tamino of the magic flute’s power and the
connection to her father (taken from Act 2, Scene 28) ‘Whilst you
are by my side our love will be our guide. Our pain with patience
must be borne, for every rose must have a thorn. This Magic Flute
will ease our pain and lead us safely back again’

The oboe melody has a sad, mournful quality, which perhaps

reflects Pamina’s sadness as she remembers the connection
the magic flute had to her father:

(LISTEN FROM 2:28:00-2:28:39)

 22

BRASS
The brass section is made up of six instruments: horn, trumpet, alto trombone (less common),
tenor trombone, bass trombone and tuba. All of these instruments are played with brass mouthpieces;
in order to make a sound out of the instrument, you have to ‘buzz’ on the mouthpiece (in other words,
blow a raspberry!)

Lower Brass Trumpet & Timpani

Mozart writes a wonderfully regal, majestic orchestral adagio Mozart uses the trumpets to play a short fanfare (accompanied
opening to Act 2, Scene 28 to set the scene for the trials that by timpani) to announce the arrival of Sarastro (Act 1, Scene 17).
Tamino and Papageno are to undergo. The scene opens with A fanfare is traditionally played by trumpets and is used
trombones, accompanied by strings playing forte (loud). to announce the arrival of an important person:
This is followed by a call and response between the trombones
and strings, and the woodwind and cellos: (LISTEN FROM 16:22-16:36)
(LISTEN FROM 2:21:43-2:22:20)
Activity Idea – KS2-4
Using this fanfare as a starting point, ask pupils to get into
small groups and create their own fanfare. This could be played
using any classroom instruments you have to hand. Remember
that the key is to create something short and striking that will
capture people’s attention. Why not use your newly composed
fanfare at the beginning of a freezeframe activity?

Did you know?

Have you noticed there are no tubas in Mozart’s
The Magic Flute? The tuba is a relatively new instrument
and was introduced to the orchestra over 50 years after
The Magic Flute was written!
 23

PERCUSSION
The percussion section has a huge range of instruments which means it can vary greatly in size, depending
on what the composer writes for. The percussion section falls into two main areas: tuned percussion and
untuned percussion. In most pieces of orchestral music the composer will write for Timpani (tuned) plus
a selection of other percussion instruments (tuned and untuned).

The percussion instruments featured in The Magic Flute are: timpani and keyed glockenspiel.

Timpani Orchestra Pit

Mozart uses timpani to help signify the dramatic arrival of the In opera productions, you will notice that the orchestra do not
Queen of the Night ‘She comes, she comes!’: this helps the play on the performance stage itself, they play in an orchestra pit.
audience feel that they are about to meet a significant This is a specially sunken stage for the orchestra that sits below
character (Act 1, Scene 5): and just in front of the main stage where the production takes
place. The orchestra pit is often dark and you might notice that
(LISTEN FROM 26:15-26:29) the orchestra plays with lights on their music stands to help
them see their music.

Keyed glockenspiel
Mozart uses the keyed glockenspiel to represent the magic Conductor
bells that are given to Papageno. The keyed glockenspiel The conductor stands at the front of the orchestra pit (usually
is played every time the magic bells are used throughout the on a platform box to help them see across the large orchestra).
opera. This example is taken from Act 2, Scene 23 as we hear The conductor’s job is to keep the orchestra playing in time
Papageno singing of his wish for a wife: with one another and with the soloists and chorus on stage.
The conductor also carefully balances the sound made by each
performer, to ensure that no part dominates another. A conductor
(LISTEN FROM 2:10:05-2:13:52) will either use a baton or their hands to conduct (direct) the
orchestra and performers on stage. The conductor reads from
a very large conducting score; this large book contains music
notation for each instrument in the orchestra and the singers,
together with special performance markings from the composer.
 24

KEY THEMES

MAGIC ENLIGHTENMENT

The theme of magic runs throughout the entire opera, including Mozart’s opera is often described as being an Enlightenment
both magical characters and magical objects. We meet magical metaphor. The Enlightenment was a philosophical and intellectual
characters from the beginning: the Three Ladies (the Queen movement which dominated Europe during the time of the 18th
of the Night’s Attendants) suddenly arrive on the scene to kill Century (the time that Mozart composed The Magic Flute).
the serpent and rescue Tamino, alongside the mysterious (and Enlightenment ideals and themes can be found in The Magic Flute:
sudden) arrival of the Queen of the Night as she uses her cunning liberty of the individual and fraternity are key themes here which
charm and provocative threat on Tamino and Pamina respectively. we see predominantly in the characters of Tamino and Sarastro.
Papagena is also a magical character as she transforms herself Tamino learns the ideals of Sarastro’s brotherhood, and, in seeing
from an Old Woman into a beautiful young woman. his goodness and wisdom, seeks to join the brotherhood by
undergoing a series of trials:
Arguably the most magical objects in the opera are the gifts of the
magic bells and the magic flute, gifted to Tamino (magic flute) and ‘No fear of death will over-awe me;
Papageno (magic bells) from the Three Ladies. The instruments the path of virtue lies before me
have magical qualities which, when played, protect the bearer I fight for truth and I shall win
from harm and danger: now let my last ordeal begin’
Tamino – Act 2, Scene 28
‘Oh Prince, receive this gift I bear,
the Queen consigns it to your care. (LISTEN FROM 2:25:06-2:25:36)
Whatever dangers fate may send you,
This magic flute will now defend you. Tamino: Paul Groves, taken from the Salzburg Festival’s 2006 production
For when it plays it sings so sweetly of The Magic Flute
That evil ways are changed completely
The man of vice will sin no more
And hearts of ice begin to thaw’
First Lady / Second Lady / Third Lady – Act 1, Scene 8

(LISTEN FROM 33:27-34:35)

Three Ladies, Inga Kalna / Karina Deshayes / Ekaterina Gubanova taken from the
Salzburg Festival’s 2006 production of The Magic Flute

Photography by Alastair Muir

 25

KEY THEMES

FREEMASONRY POWER

Freemasonry was, at the time of Mozart’s opera, a secret male- The desire for power is most frequently seen in Monostatos and
only organisation. Originating from the guilds of stonemasons the Queen of the Night. The Queen of the Night is a very cunning
and cathedral builders of the Middle Ages, the secret society and deceptive figure and is quick to use other characters to
was set up to promote morality, charity and obedience to the law service her own desire for power:
of the land. As both Mozart and Schikaneder were Freemasons,
the opera’s libretto includes symbols and references to the ‘Alone, abandoned and forsaken
rituals of the Freemasons: the number three (the Three Ladies as how I recall that dreadful day
Attendants of the Queen of the Night) as just one example; the the day I saw my daughter taken
importance of nature, wisdom and reason (Sarastro), along with An evil man, an evil man stole her away
political symbolism. At the time that Mozart wrote his opera, the In waking, in sleeping, I still hear her weeping
Viennese public recognised the political symbolism in The Magic her trembling, her shaking, her poor heart was breaking.
Flute; comparisons were drawn between the Queen of the Night I saw her sorrow all too plainly
and the Austrian Empress Maria Theresia; Tamino was likened to ‘Ah help, ah help!’ I heard my daughter say.
Emperor Joseph (seen as a good figure) and Pamina represented Alas she pleased with me vainly
the Austrian people. For all my power had drained away’
Queen of the Night – Act 1, Scene 6

(LISTEN FROM 26:30-31:33)

Queen of the Night, Diana Damrau taken from the Salzburg Festival’s 2006
production of The Magic Flute

Did you know?

Mozart spent 7 years as a Freemason (during which time
he became known as a ‘Master Mason’); he would often
compose pieces of music for the Freemasons which they
still use today.

Other famous Freemasons include George Washington,

First President of the United States; Sir Winston Churchill;
Sir Arthur Conan Doyle; Rudyard Kipling and Oscar Wilde.
Photography by Alastair Muir
 26

INTERVIEW WITH THE DIRECTOR –

DEBORAH COHEN

Q: How did you come to direct The Magic Flute

for Schools Matinee? How is the Schools Matinee
different from the full scale production?
I originally interviewed for the position of Assistant Director
for the full scale version of The Magic Flute. After meeting
James Brining, the director, he chose me to assist him. Christine
Chibnall (Director of Planning at Opera North) then proposed that
she would like me to direct the schools version as well as work as a freelance Assistant Director or Revival Director for
as Assistant Director on the full scale opera. At this moment numerous companies and productions. My advice to anyone
in time I can tell you that the schools version will be a lot shorter wanting a career in directing opera is to go and see as many
than the full scale production. We also have a different cast productions by different directors and then to make contact with
but it will still be with the full orchestra. the directors they would like to observe or assist. Also creating
opportunities yourself shows the drive and passion needed
within this industry.
Q: Can you tell us what the role of the Director
is in an opera production?
Q: Did you decide whether to perform the opera
The role of a Director is to first create a concept of the story in German or English?
alongside their Designer. This will develop over time until a
world/set has been created within the context of the piece. I wasn’t present when it came to deciding whether the the
When production rehearsals begin, the director will explain opera should be performed in German or English. However
to the singers their characters within the concept. Throughout as there is a lot of dialogue in The Magic Flute I assume that
days of rehearsals the Director will decide positions of singers was the main reason for performing this opera in English
on stage during each number that they are present or singing in. as opposed to German.
The Director will work on the singers’ emotions and intentions
throughout the vocal lines, to portray to the audience a clear
story of how they are feeling and what is happening in the Q: How did you prepare for directing this production?
production. Once rehearsals move onto the stage with the actual
set, the Director will work closely with the Lighting Designer to So far, I have been in touch with James Brining the director over
make sure all the singers are lit in the correct places and that an the phone. We will soon meet in person to work through the
artistic atmosphere is created to enhance the production. After opera together. With the help of the conductor for the Schools’
opening night, the Director often leaves a show and allows the Matinee performance (Oliver Rundell) I have also gone through
Assistant Director to make sure things continue the same and the entire opera and cut any musical numbers that I feel are not
stay true to the premiere throughout the run and on tour. integral to telling the story in order to cut the production down
to a performance of approximately 90 minutes in total (including
both Act 1 and Act 2).
Q: How did you get into the role of directing as
a career? What advice might you give to someone Please note, this interview was conducted in advance
who is interested in pursuing this career path? of production rehearsals for The Magic Flute.

I did a music degree in Piano Performance. I spent many years

working with singers and learning the operatic repertoire. I then
spent a year in America studying as a vocal accompanist but
for me, my passion was how the singer portrayed their arias
physically as well as musically, so I knew then that directing
was more my path. I directed a couple of my own shows and
then did a postgraduate degree in Stage Management to learn
the technical side of theatre. I then set up a small company
for student singers and directed a couple of opera productions.
The casting director from Welsh National Opera (WNO) came
to view one of my productions and then gave me my first
assistant directing job at WNO. From then on, I’ve worked
 27

BEHIND THE SCENES

In addition to the Conductor, Director, Soloists, This is what the team looks like:
Orchestra and Chorus, did you know that there
is a vast team working hard behind the scenes Technical Team
for every single opera production that Opera North • Stage Managers
stages each season? • Stage Technicians
• Stage Wingmen
• Flymen
• Sound & Video Engineers/Manager
• Lighting Crew
• Electricians

Wardrobe Team
• Costume Supervisors
• Wigs/Make-up Supervisor
• Wig Supervisors/Assistants
• Sewing Assistants

For each opera production, a team is assembled to work

alongside the Director to ensure that their overall vision for the
opera comes to fruition in the form of the set, costumes, lighting
and sometimes supplementary video or sound. The team for
The Magic Flute for Schools is as follows:

Conductor Oliver Rundell

Set & Costume Designer Colin Richmond
Lighting Designer Chris Davey
Choreographer Tim Claydon

The Opera North Technical and Wardrobe Teams work closely

with the Director to ensure their designs for the set and costumes
are in keeping with the Director’s overall vision for the opera.

Photography by Tom Arber

 28

ACTIVITY IDEA – KS2-4 (ART & DESIGN)

Costumes
• Using The Magic Flute costume sketches interspersed in the pack
(and below) as inspiration, have a go at designing and making
your own costumes for the main characters in the opera

• Costume changes are often used within the opera to represent

a different scene setting or a development in the character’s
emotion, mood or story. Tamino is one example of this: in the
sketches below, you can see he is wearing a different costume
during the scene of the serpent attack, compared to the scenes
where he is in Sarastro’s palace. Why not have a go at designing
your own costume changes for characters in the opera?

• Present your ideas to the rest of the class, explaining the

inspiration and your ideas behind your design

• Why not come dressed in your costume to the matinee

performance?

Tamino’s costume following the serpent attack (Act 1, Scene 1) Tamino’s costume during the scenes set in Sarastro’s palace
(Act 1, Scene 15 onwards)
 29

ACTIVITY IDEA – KS2-4 (ART & DESIGN)

Surroundings
• Using the set design below for the Queen of the Night as
inspiration, have a go at designing your own set for a scene from
the opera (e.g. – when Tamino meets Papageno in Act 1, Scene 2)

• Think about whether you want to portray a specific character

within that scene (e.g. – Papageno) and how that might influence
your design choices (perhaps the inclusion of feathers, empty bird
cages etc)

• Think also about the feeling you want your scene to create...
do you want to make the audience feel happy/sad/fearful?
How might you create this feeling within your scene...
think about choice of colour, lighting and sound.

• Your challenge is to only use existing props and materials in your

classroom, so be creative! You might want to think about using:
- Elements of film or photos as a backdrop
- Recorded or live sound to help create an atmosphere – use live musical instruments
where possible
- The use of light to create shadows
- Create simple props to help set the scene
 30

GLOSSARY
Act – The main division of an opera i.e. Act I, Act II etc. Opera Chorus – A group of singers who sing together in the opera

Aria – A long accompanied song for solo voice Orchestra – The group of instruments (strings, woodwind, brass,
percussion) that play the musical accompaniment in an opera
Baton – A thin stick used by a conductor to direct an orchestra
Orchestral Interlude – A short piece of music played between
Call & Response – A style of singing in which a melody sung the longer sections of the opera
by one singer is responded to or echoed by one or more singers
Orchestral Overture – A piece played by the orchestra at the
Chest Voice – Denoting notes which are sung in the voice’s beginning of an opera
lower register
Orchestra Pit – The lowered area in front of the stage in a theatre
Composer – A person who creates music, either by musical where the orchestra performs
notation or oral tradition. Literally ‘one who puts together’
Piano Sonata – A solo piece for piano. Often written in three
Conducting Score – A book of musical notation used by the or four movements
conductor containing all of the music for the instrumental parts,
chorus and vocal soloists Score – A book of musical notation showing all of the music of the
opera, including the instrumental parts, chorus and vocal soloists
Conductor – The person who directs the performance of the
orchestra and the musical performance of the singers Solo – A song or piece of music sung or played by just
one performer
Duet – A performance by two singers (or instrumentalists)
Singspiel – A form of German light opera, typically with spoken
Fanfare – A short ceremonial melody or flourish played on brass dialogue, popular especially in the late 18th century
instruments, typically to introduce something or someone important
Sonata Form – A musical structure consisting of three main
Flymen – People who are in charge of raising and lowering scenery sections: an exposition, a development, and a recapitulation
during the opera performance
Staccato – A note which is to be played or sung in a sharply
Fugue – A piece of music with several different melody lines. detached way
One melody enters first and the others join in later
Stage Managers – In charge of organising a production. Organises
Harmony – Harmony is created when two or more notes are sung both the people and practical elements of an opera
or played at the same time
Stage Technicians – In charge of light and sound
Head Voice – Denoting notes which are sung in the voice’s
higher register Stage Wingmen – Work on set-building and get-outs

Homophony – Music played in block chords String Quartet – One of the most popular chamber ensembles
in Classical music. A musical ensemble consisting of four string
Hybrid – Something made by combining two or more instruments: two violins, viola, cello
different elements
Symphony – A work written for orchestra, mainly consisting of four
Librettist – The person who writes the libretto for an opera movements (the first movement written in sonata form)

Libretto – The text of the opera, like the script in a film or a play. Timbre – The character of a musical sound or voice as distinct
Literally ‘little book’ from its pitch and intensity

Melody – The main tune of a piece of music Tremolo – When a stringed instrument produces a wavering effect
in a musical tone, either by rapid repetition of a note,
Minor Key – Typically based on the accidentals of the natural minor or rapid repetition of alternating tones
scale. A minor key often lends a sad or darker tone to the music
Tuned percussion – Instruments that, when struck, produce
Notation – The written symbols in a score that performers read an audible note
to perform a piece of music
Untuned percussion – Instruments that are struck and produce
no clear note
 31

FURTHER READING FOR KS3-4

Composer & Librettist

Biography

Mozart Hub on Classic FM

Did Mozart really transcribe Allegri’s Miserere?

Mozart and his eccentric letter writing - some stand out quotes

The world of the opera: The composer and the librettist for KS3-4

Synopsis
Animated Plot Summary

Freemasonry and The Magic Flute

Synopsis for KS3-4

Meet the Orchestra

For more information about the instruments of the orchestra,
refer to this helpful guide from the Philharmonia Orchestra

Orchestra for KS3-4

 32

FURTHER READING FOR KS3-4

THE WORLD OF THE OPERA: THE COMPOSER AND THE LIBRETTIST

THE COMPOSER: Wolfgang Amadeus Mozart THE LIBRETTIST: Emanuel Schikaneder

The composer is a person who writes music. The librettist is a person who writes the text for an opera.
A libretto is very similar to a film script – it contains all the
• Wolfgang Amadeus Mozart was the composer of information needed to tell a story.
The Magic Flute
• He was born in Salzburg, Austria on 27 January 1756 • Emmanuel Schikaneder was born to a very poor family in 1751
• Mozart was a child prodigy and composed some of his in the state of Bavaria, Germany.
first pieces of music at the age of five • Schikaneder trained in his local cathedral as a singer, and as he
• Mozart gave his first public performance at Salzburg grew up began to work in the theatre, performing opera and
University in September 1761 at the age of five ballet.
• Mozart started his musical career as a performer of the piano, • When he was only 22 his first opera was performed in Innsbruck.
touring around Europe between ages 6-8 with his father. It was a Singspiel, which is known as a type of opera. In the
When he returned home, he composed his first opera when first performance Schikaneder was the librettist, composer and
he was only 11 years old, and it was written in Latin principal singer.
• When Mozart was 14 it is believed that he wrote down an • By 1780 he had set up his own theatre company in Vienna.
entire piece from memory, after hearing it performed just • In Autumn 1780 Schikaneder became a friend of the Mozart
once in the Vatican in Rome! The piece is Allegri’s Miserere family. Mozart and his parents often played darts together with
and has five different voice parts in the choir. It’s said he Schikaneder.
went back to hear the piece again, to compare his own score • While in Vienna, Schikaneder became more interested in
with what the choir was singing. opera, and sometimes asked composers to write music to his
• When Mozart was 26 he married Constanze Weber. own stories.
They had six children together, but only two survived. • Schikaneder wrote the libretto for The Magic Flute after Mozart
• Mozart was known for being very bad with his money. He became involved in his theatre company. Schikaneder performed
became rich and famous from his new operas very quickly, • the role of Papageno in the first performance.
but was known for his extravagant spending • The libretto of The Magic Flute is believed to have come from
• Mozart died very young from kidney failure only a few a number of sources and is agreed to be a continuation of a
months after the premiere of The Magic Flute. He was only series of fairy tale operas produced by Schikaneder’s theatre
35 years old. group.
• Schikaneder wrote many works where he starred as the leading
role, including performing many of Mozart’s operas.
• The performances at his theatre (Theater auf der Wieden) were
Did you know? very expensive and the company was in a lot of debt, until
Mozart’s nickname was ‘Wolfie’ but his real name was Schikaneder made a new wealthy business partner and the
Johannes Chrysostomus Wolfgangus Theophilus Mozart. company was saved.
He composed over 600 works, and had a fierce rivalry with the • Beethoven lived for a while at the Theater auf der Wieden whilst
composer Antonio Salieri, who wrote more than 40 operas. When he composed his opera Fidelio which premiered in the theatre.
Mozart died, many people thought Salieri had poisoned him! • By 1804, Schikaneder’s career was on the decline; his concerts
were not selling well so he sold the company and left to live in
When Mozart was 10 years old, scientists of the Royal Society the countryside. He lost a lot of his money in this time following
put him through a series of test to prove he was a child and not an 1811 currency devaluation
a skilled dwarf. • He died very poor in 1912 aged 61, after being stricken with
what doctors called ‘insanity’.
 33

FURTHER READING FOR KS3-4

SYNOPSIS

The opera is written in two acts (or chapters), which each tell a different part of the story.

Act 1 Act 2
Tamino, a prince, lost in a far away land, is being chased by Tamino and Papageno begin their first test: they are not allowed
a large serpent. Three Ladies appear just in time and kill the to speak. The Three Ladies arrive to test them. Papageno cannot
serpent, before returning back to their leader, the Queen of the keep quiet but Tamino passes the test.
Night. The colourful bird-catcher Papageno arrives and tells
Tamino he killed the snake himself. The Three Ladies return and The Queen of the Night appears in Pamina’s room and gives her
show Tamino a picture of the Queen’s daughter, Pamina who daughter a knife instructing her she must murder Sarastro, singing
Tamino falls in love with instantly. The Queen of the Night arrives her famous aria Der Hölle Rache (‘The Wrath of Hell is
and promises Pamina’s hand in marriage to Tamino if he can
rescue her from the wicked Sarastro. They give Papageno some
Burning in My Bosom’).* Pamina is torn between her love for
Tamino, and her duty to her mother.
magic bells and to Tamino a magic flute which will protect them
on their quest.
Back in the temple, Tamino and Papageno face their second test:
still they must remain silent, but this time they are not allowed
Papageno goes ahead to Sarastro’s temple and frightens away
to drink. An Old Woman appears and offers them a glass of
Sarastro’s slave Monostatos who is guarding Pamina in chains.
water. Again, Tamino refuses, but Papageno cannot help himself,
Papageno tells Pamina he is there to save her and that Tamino
accepting the water and striking up a conversation. The three
is in love with her.
boy spirits appear reminding the pair to remain silent as they take
them to the next tasks. Pamina appears but Tamino refuses to
Tamino has been guided to Sarastro’s temple by three spirits.
speak to her, determined to pass the tests so he can save and
On the third try, he is let in by an old priest who explains that
marry her. Pamina does not know of his challenge and leaves with
Sarastro is kind and the Queen of the Night is evil. Tamino
sadness, feeling that Tamino does not love her anymore.
is excited to meet Pamina and plays his magic flute,
which charms the animals in the surrounding forests.
Next Papageno faces a challenge alone – he meets the same
Old Woman who offered him water, who tells him he must
Papageno and Pamino hear the magic flute and hurry to find
commit his love to her or he will be alone forever. All Papageno
Tamino, but Monostatos stops them. Papageno rings his magic
wants is to spend his life with someone else so he agrees to
bells and Monostatos and his slaves dance away from them.
marry the Old Woman. Like a fairytale, she turns into a beautiful
Pamino and Tamino see each other first time and fall in love.
young woman called Papagena.
Sarastro arrives, promising Pamina that he will eventually free her.
He believes that Tamino could be a good leader in the priesthood,
In another room, Pamina is so upset at the thought that Tamino
and tells Tamino that, if he wants to marry her, he must go through
does not love her anymore, that she tries to kill herself, but the
three tests of wisdom (or trials) to prove he is good enough to be
three spirits intervene and bring her to Tamino. Tamino is about
her husband, and Papageno will also be rewarded with a partner.
to face his final two tests: walking through fire and water. Pamina
Both agree.
and Tamino agree to complete the final tests together, and are
protected from the elements by Tamino’s magic flute.

Monostatos has switched sides from Sarastro to the Queen of the

Night. They arrive with the Three Ladies in an attempt to destroy
Sarastro’s palace...

What will become of our characters and how will

the opera end...? All will be revealed in the Schools’
Matinee performance.

* Queen of the Night: Diana Damrau, taken from The Royal Opera House’s
2003 production of The Magic Flute
 34

MEET THE ORCHESTRA

KS3 – 4 FURTHER READING

The Opera North Orchestra is made up of a group of approximately 54 professional musicians, each of whom belong to
a section (or family) within the orchestra, dependant on the instrument they play. The role of the orchestra in an opera
production is to play the musical accompaniment to the opera. The orchestra also has its own solo moments within the
opera where it plays on its own. These parts of the opera are known as:

• The orchestral overture - this is the introduction to the opera which helps to set the scene for the audience.
The overture will often include famous musical themes which the audience will then hear later on in the production

• Interlude – the orchestral interlude is played during a scene change or between acts to mark a change in mood
or atmosphere
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LET’S MEET THE FOUR SECTIONS

OF THE ORCHESTRA:

Percussion

Trumpets Trombones
French Tubas
Horns
Clarinets Bassoons
Second Violins Double
Flutes Oboes Basses

Violas

First Violins Cellos

Conductor

Strings Woodwind Brass Percussion

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STRINGS
The string section is made up of four instruments: violin, viola, cello, double bass.

Let’s find out more about each instrument

Violin
• The violin is the smallest member of the string family.

• It is made of wood and has four strings (G D A E) which can be played with a bow made of horse hair (producing a
smooth legato sound) or by being plucked with a finger (producing a detached staccato sound)

• The range of notes that the violin can play is from G to G; it can play higher than any other string instrument. Its music
is notated (written in) the treble clef

• In the orchestra, the violins are divided up into two sections: First Violins & Second Violins. The First Violins usually
play the melody whilst the Second Violins often play the harmony

Viola
• The viola is slightly larger and can play lower notes than the violin; it has a rich, warm sound.

• It has four strings (C G D A) and its note range is from C to A.

• Some of its lower music is notated in the alto clef, whilst its higher music is notated in the treble clef

• It can also be played legato with a bow, or staccato by being plucked

Cello
• The cello is much larger than the viola – so large, in fact, that it cannot be rested on a shoulder to be played; it has a
large spike at the base so it can balance on the floor and it rests in between the cellist’s legs to keep it in place whilst
playing

• The cello is known as the ‘tenor’ voice in the string section; it has a beautiful rich, melancholic tone and is able to play
expressive melodies and bass lines

• The cello has four strings (C G D A) and its note range is from C to C. It can play all the way from the bass clef through
to the treble clef

• It can be played legato with a bow, or staccato by being plucked

Double Bass
• The Double Bass is the largest member of the string family and it can play the lowest notes

• It has four strings (E A D G) and its note range is from D to G, played in the bass clef

• The double bass generally plays rhythmic notes, supporting the bass line or harmonies within an orchestra.
Occasionally the double bass will have its own solo moment

• It can be played legato with a bow, or staccato by being plucked

• Double Basses also feature heavily in jazz music – you will often hear them playing staccato notes
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WOODWIND
The woodwind section is made up of eight instruments: piccolo, flute, oboe, Cor Anglais, clarinet, bass clarinet, bassoon
and contrabassoon

Let’s find out more about each instrument

Piccolo
• The piccolo is the smallest member of the woodwind family

• The name is taken from the Italian word piccolo which means ‘small’. It is half the size of a flute and can play an
octave (8 notes) higher. Its note range is from D to B and it plays in the treble clef

• Flute players will often alternate between playing the flute and the piccolo

• It has a high-pitched sound which adds real clarity and brightness to the orchestra

• Most piccolos are made out of wood

Flute
• The flute is one of the most well known instruments of the orchestra

• It is made out of metal and is the oldest known instrument

• Its note range is from C to C and it plays in the treble clef

• Composers often write beautiful solo melodies for the flute - listen to how the flute opens and features throughout
Debussy’s Prélude à l’après-midi d’un faune https://www.youtube.com/watch?v=Rpw4-J49auQ

Oboe
• The oboe is known as the soprano voice of the double reed family

• It is made out of wood and is played with a double reed – it is called double reed because it consists of two pieces of
cane which vibrate against each other to produce a sound

• The sounds of an oboe is often described as ‘pastoral’ because in the past double reed instruments were used in folk
music
• Its note range is from Bb to G, played in the treble clef

• The instrument has a haunting, melancholic sound; it often has solo moments within the orchestra, such as this
example from Richard Strauss’s tone poem Don Juan https://www.youtube.com/watch?v=fzOerbppbb8
(LISTEN FROM 7:32-9:05)

Cor Anglais
• The cor anglais (also referred to as the English Horn) is closely connected to the oboe. It is also a double reed
instrument but is much larger than the oboe and has a deeper, richer tone, and is therefore known as the alto voice of
the double reed family

• Its note range is from A to Bb, played in the treble clef

• The cor anglais is given some of the most beautiful solo melodies ever written for orchestra. Listen to this famous
solo line from Dvorak’s Symphony No.9, Movement 2 https://www.youtube.com/watch?v=zgVIjsX-aEc
(LISTEN FROM 0:55-2:16)
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WOODWIND
Clarinet
• The clarinet is made out of wood and is played with a single reed attached to a mouthpiece

• Its note range is from D to Bb, played in the treble clef

• It has an incredible range and is an extremely versatile instrument, able to play both romantic legato melodies
alongside short staccato rhythms, ranging from pianissimo (very quietly) to forte (loud). The clarinet also features
heavily in jazz music.

• Listen to this solo clarinet passage from Rachmaninov’s Symphony No.2, Movement 3
https://www.youtube.com/watch?v=8bneQ26bHXk (LISTEN FROM 0:40-2:50)

Bass Clarinet
• The bass clarinet is related to the clarinet but is much larger and can play much lower notes. Its body is made out of
wood but it has a metal upturned bell at the end and the top of the instrument is bent into a crook shape to which the
single reed is attached to the mouthpiece

• Its note range is from Bb to C, played in the bass clef

• Listen to a bass clarinet solo from Shostakovich’s Symphony No.8, 5th Movement
https://www.youtube.com/watch?v=KtTU77w9lng

Bassoon
• The bassoon is part of the double reed family and is one of the lowest sounding instruments of the woodwind section

• It is a versatile and expressive instrument with a warm tone which blends seamlessly with the rest of the orchestra

• Its note range is from Bb to D, played in the bass clef & tenor clef

• Listen to the beginning of Stravinsky’s ballet The Rite of Spring which features the solo bassoon
https://www.youtube.com/watch?v=Xfg9IIXhcPk

Contrabassoon
• The contrabassoon is also referred to as a ‘double bassoon’ as it is twice the size of a standard bassoon.
The instrument is doubled over to account for its length

• The instrument plays an octave (8 notes) lower than the bassoon, and it can play some of the lowest notes in
the orchestra. Its note range is from Bb to A, played in the bass clef

• Ludwig van Beethoven was the first composer to include a contrabassoon in symphonic repertoire in his Symphony
No.5

• The contrabassoon often doubles the bass line within the orchestra, but occasionally it has more exposed moments.
Listen to how the contrabassoon features as a solo instrument at the beginning of Ravel’s Piano Concerto for the Left
Hand https://www.youtube.com/watch?v=Hu9KcFsB84I (LISTEN FROM 0:40-1:18)
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BRASS
The brass section is made up of five instruments: horn, trumpet, tenor trombone, bass trombone and tuba. All of these
instruments are played with brass mouthpieces; in order to make a sound out of the instrument, you have to ‘buzz’ on the
mouthpiece (in other words, blow a raspberry!)

Let’s find out more about each instrument

Horn
• The horn is a brass instrument made of tubing wrapped into a coil with a flared bell.

• Its note range is from D to F, played in the bass clef

• The horn is very versatile and is played with valves which help to produce different notes. It can play very softly piano
or very loudly forte, either as a solo instrument or as part of the wider horn section; Gustav Mahler was one of the
composers who wrote some wonderful melodies for the horn within the orchestra.

Trumpet
• The trumpet is the soprano voice of the brass family

• Its note range is from E to E, played in the treble clef

• Valves were developed for the trumpet in 1814 by Heinrich Stözel, which meant the instrument could be used in a
much more versatile way within the orchestra

• Historically, the trumpet has been used as a means to attract attention or send messages and is therefore known for
playing loudly. One such example would be in the form of a fanfare – listen to Copland’s Fanfare for the Common Man
to hear what a fanfare sounds like: https://www.youtube.com/watch?v=ZdqjcMmjeaA

Tenor Trombone
• The tenor trombone one of the lower instruments of the brass family. It is different from the horn and trumpet – it
doesn’t have any valves, so the pitch is changed by using seven chromatic slide positions, with each position
lowering the pitch

• Its note range is from E to C, played in the bass clef (sometimes also in the tenor clef)

• Historically, the trombone was always associated with the supernatural; listen to how Richard Wagner used the
trombones to play the leitmotif (or short recurring musical phrase) of the Walkürenritt (Ride of the Valkyries) at the
beginning of Act 3 of Wagner’s opera Die Walküre: https://www.youtube.com/watch?v=P73Z6291Pt8

Bass Trombone
• The bass trombone is similar to the tenor trombone but with a longer slide and double tubing

• It can play as one of the loudest instruments of the orchestra; its note range is from E to B, played in the bass clef

• Listen to just how low the bass trombone can play underpinning the bass line in the finale of Scene 4 - Entrance of
the Gods into Valhalla from Wagner’s opera Das Rheingold https://www.youtube.com/watch?v=b80Jw8MuZxo
(LISTEN FROM 5:40-6:31)
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BRASS
Tuba
• The tuba is the largest bass instrument of the brass section

• The tuba has valves which means it can play chromatically and it is coiled up into a tube shape

• Its note range is from E to C, played in the bass clef. It can play as low as the contrabassoon or the double bass

• Often overlooked as simply playing the bass line, the tuba can be used to great emotional and powerful effect – not
only within the brass section, but as part of the whole orchestra. The tuba adds a depth and richness in tone that
cannot be equalled.

• Listen to Nikolai Rimsky-Korsakov’s Flight of the Bumblebee in an arrangement for tuba – listen to how fast the tuba
player is required to play: https://www.youtube.com/watch?v=2-NVMsj6lXA

PERCUSSION
The percussion section has a huge range of instruments which means it can vary greatly in size, depending on what the
composer writes for. The percussion section falls into two main areas: tuned percussion and untuned percussion. In
most pieces of orchestral music, the composer will write for timpani (tuned) plus a selection of other percussion
instruments (tuned and untuned).

Let’s find out more about each instrument

Timpani
• Timpani are very large types of drums. Made out of a copper bowl, they have a large calfskin drumhead stretched over
the top. This is hit with a timpani stick to produce a sound

• Its note range is from D to G, played in the bass clef

• Foot pedals are used to change the pitch

• Timpani will often play bass notes of chords to enhance the bass section of the orchestra

• You will often hear something called a timpani roll within the orchestra – this is when the timpanist rapidly strikes the
drum, alternating between left and right sticks

Bass Drum
• The bass drum is the largest unpitched drum in the orchestra and it has two heads

Cymbals
• Metal cymbals are generally used in orchestral music for effect. They can create a huge sound which cuts through
the orchestra
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PERCUSSION
Triangle
• The triangle is a bar of metal bent into a triangular shape. It is played with a thin metal beater

Tambourine
• The tambourine is a hand held hoop drum. It has metal plates around the edge called jingles

Tam-Tam
• The tam-tam is another name for a gong – it can produce a very loud sound when hit with a beater

Castanets
• The castanet consists of two pieces of wood joined on one edge by a string. They are held in the hand and used to
produce clicks for rhythmic accents or a rattling sound consisting of a rapid series of clicks. Castanets often symbolize
dance music

Xylophone
• The name xylophone is Greek for ‘wood sound’

• The xylophone is made up of wooden bars (or keys) which are hit with a beater (either hard or soft to change the
sound)

• Its note range is from F to A, played in the treble clef

• The xylophone started to be used in the orchestra from 1860

Glockenspiel
• The glockenspiel features a set of metal bars (or keys), which is hit with metal beaters

• It produces a very clear, bright sound

• Its note range is from G to Bb, played in the treble clef

Thunder Sheet
• The thunder sheet (a huge piece of very thin metal, often suspended on a frame and shaken vigorously by the
percussionist to produce a thunderous sound) is used to great effect to depict the explosion of the Gingerbread House
in Humperdink's opera Hansel & Gretel towards the end of Act 3 https://www.youtube.com/watch?
v=JnMEI4aoUfo (LISTEN FROM 1:38:55-1:39:20)
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ORCHESTRA PIT
In opera productions, you will notice that the orchestra do not play on the performance stage itself; they play in an
orchestra pit. This is a specially sunken stage for the orchestra that sits below and just in front of the main stage where
the production takes place. The orchestra pit is often dark and you might notice that the orchestra plays with lights on their
music stands to help them see their music.

CONDUCTOR
The conductor stands at the front of the orchestra pit (usually stood on a platform box to help them see across the whole
of the orchestra). The conductor’s job is to keep the orchestra playing in time with one another and with the soloists
and chorus on stage. The conductor also carefully balances the sound made by each performer, to ensure that no part
dominates another. A conductor will either use a baton or their hands to conduct (direct) the orchestra and performers
on stage. The conductor reads from a very large conducting score; this large book contains music notation for each
instrument in the orchestra and the singers, together with special performance markings from the composer.
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GLOSSARY
Alto Clef Octave
A musical symbol in a piece of music that indicates A series of eight notes where the top and bottom note will be
the pitch of the notes. Alto clef is lower than the treble same pitch but one will be higher than the other
clef but higher than the tenor clef and is used for some
Orchestra
viola and cello music
The group of instruments (strings, woodwind, brass, percussion)
Arpeggio that play the musical accompaniment in an opera
A musical technique where notes in a chord are sung
Orchestral Interlude
one after another rather than together
A short piece of music played between the longer sections of the
Bass Clef opera
A musical symbol in a piece of music that indicates
Orchestral Overture
the pitch of the notes. Bass clef is used for the lowest
A piece played by the orchestra at the beginning of an opera
notes, it is used by instruments such as the cello,
double bass, bassoon and many more Orchestra Pit
The lowered area in front of the stage in a theatre where the
Baton
orchestra performs
A thin stick used by a conductor to direct an orchestra
Pianissimo
Chord
An Italian word meaning the music must be played very quietly
When more than one note is played at the same time
a chord is formed Rhythmic
Music that is played in a particular rhythm
Chromatic
A musical scale which uses every note as it goes up Solo
or down A song or piece of music sung or played by just one performer
Conducting Score Staccato
A book of musical notation used by the conductor An Italian word meaning the music must be played short and
containing all of the music for the instrumental parts, detached
chorus and vocal soloists
Tenor Clef
Conductor A musical symbol in a piece of music that indicates the pitch of
The person who directs the performance of the the notes. Tenor clef is higher than the Bass clef but lower than the
orchestra and the musical performance of the singers Alto clef. It is used for some bassoon and trombone music
Forte Treble Clef
An Italian word meaning the music must be played A musical symbol in a piece of music that indicates the pitch of
loudly the notes. Treble clef is higher than the Alto clef and is used for
higher notes. It is used for many instruments including Violin, Flute
Glissando
and Clarinet
A musical technique where the instrumentalist or
singer ‘slides’ between notes Tuned
A tuned instrument produces notes of a specific pitch
Legato
An Italian word meaning the music must be played Untuned
smoothly An untuned instrument, such as some percussion, produces no
clear pitch when played
Leitmotif
A short recurring musical phrase usually linked to a Valve
specific character or theme Added to some brass instruments, such as the trumpet, in the
1800s to allow them to produce a greater range of notes
Notated
Music that is written down

Notation
The written symbols in a score that performers read to
perform a piece of music
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OPERANORTH.CO.UK

The Magic Flute for Schools performance in Newcastle is supported by the Sir James Knott Trust and
The Hedley Denton Charitable Trust.
Opera North’s education programme is supported by the Opera North Future Fund and the Whitaker Charitable Trust.

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Photography by Guy Farrow