Produce Your Own Opera: The Magic Flute, Essay Example

The general approach to the opera production would be informed by the content of Mozart’s 1791 The Magic Flute. Since the opera has been historically received as consisting of Masonic influences according to the Mozart family’s own connection with the Free Masons, following this interpretation the general concept would rely heavily on the notion of Masonic symbolism throughout its performance. On the one hand, the narrative of The Magic Flute’s emphasis on the Freemasons’ praise of the power of reason would manifest itself throughout the production; on the other hand, since Freemasonry is often associated with conspiracy theories, I would aim to provide a counterpoint to this thematic, showing its dark and shadowy side. Namely, the general concept entails a presentation of reason and also a critique of the powers of reason at the same time. In this regard, the precise time period wherein the libretto is set is not specific, but rather evokes notions of ancient mysteries and Freemasonic-Gnostic ceremonies.

The narrative of The Magic Flute coincides with this approach. The libretto, which largely consists of a love story between Tamino and Pamina, would be portrayed as a reflection of the freemason and Gnostic ideals that intend to achieve the absolute knowledge of God. The trials and tribulations experienced throughout the story, such as the conflict with the Queen of the Night, would be interpreted as the struggle for this same wisdom. Nevertheless, the story would not be approached from a mere black and white perspective, as the production would also like to leave open the criticism of the idea that reason is the highest value. The dynamism of Mozart’s music would also be used to reflect this tension, as striking contrasts between musical motifs and what occurs on the stage could heighten this conflict, for example, by presenting the Queen of the Night’s aria “The vengeance of Hell boils in my heart” from a perspective that makes her apparent evil less explicit, an approach which is furthermore justified by the playfulness of this aria.

As the freemasonic love of reason is the chief characteristic of the production, it would have to appear in all aspects of the opera’s presentation. Hence, the use of lighting would be continually contrasted in order to show the two sides of the story: sometimes, the stage would be powerfully lit, so as to symbolize the apparent clarity and understanding that reason evokes. In the opera’s more tense moments, the lighting would be extremely dark, so as to show that perhaps the promises of the Enlightenment are not so great. This extreme contrast would envelop the greater production in a tension between these two ideas. Costumography would also fulfill these same principles. The garb of the characters associated with freemasonry could incorporate freemason ceremonial robes and symbolism, such as the square and the compass. In contrast, a character such as the Queen of the Night would have a more pagan look, insofar as this worldview opposes the Enlightenment principles. Makeup could also reflect this duality, using ambiguous shades so as to heighten the contrast.

Many of these symbols are already present in The Magic Flute itself, such as in Scene 5 with its emphasis on the pyramids, a prominent Masonic symbol. Set design therefore is crucial to further developing this general concept, and the narrative will thus occur within a greater setting that resembles a Masonic lodge (In this regard, whether the opera is staged indoors or outdoors is not especially relevant). Bizarre Masonic rituals and hand gestures could also be used at appropriate times in the libretto so as to accentuate this thematic and provide the general tension between conspiracy and reason. In this regard, ambiguity could be presented in the play as to what the consequences of such a quest for reason truly mean. Hence, whereas Mozart’s libretto suggests that the Freemasonic position is the heroic position, the general concept would complicate this clear dualism between good and evil.