#Zauberflöte

[str4wanzerin]

Eine der besten Szenen der deutschen Krimigeschichte XD

München 7 - Eine komische Oper

Verkehrschaos vor der Bayerischen Staatsoper, nachdem zwei Unfallwägen die Tiefgarage blockieren. Die Polizei sammelt also also Schlüssel ein und parkt die Autos ein, während drinnen "Die Zauberflöte" läuft.

[all-chickens-are-trans]

the magic flute is not a comedy. the magic flute is the tragic story of a sweet boy who gets recruited into a white supremacist patriarchal cult because he never fact checks a damn thing.

[necarion]

Goddammit, still?! So, I was with this girl, and then this real weirdo (like, total featherbrain) showed up and sat down at the table. Then she and the dude ran off and left me with this huge check. When I got up to complain, the dude started playing glockenspiel and then the whole restaurant did this wild, uncontrollable, dance routine.

I think I have some complaints to bring up with that chick's mom.

Now if you'll excuse me, I can't type while my legs are dancing.

[ichbinmeineeigenepuppe]

Verzaubert !

[musenundmuseen]

Wien, Mittwoch, den 20. März 2024

Bin heute Nachmittag hier angekommen, bei herrlichem Wetter und in guter Stimmung. Am Abend wird es noch recht kalt. Die "Zauberflöte" im Burgtheater (gemäss Selbstdeklaration "The opera but not the opera") ist ein vergnüglicher Mix von Alt und Neu, von Original und Parodie, von Mozart und Pop - und sogar einem Schuss Schubert.

[dduane]

As a side note: NB that productions in which the singers portraying Papageno and Papagena fall in love can over time prove... problematic. (cc: @petermorwood )

The Different Portrayals of Papageno in "The Magic Flute" (Die Zauberflöte)

Of all the characters in Mozart's The Magic Flute, Papageno is probably the one most open to interpretation by the singer and the stage director. As I've watched different performances of the opera, the funny bird-catcher seems almost like a different character in each version.

Every singer brings unique qualities to the role, but I've narrowed the most common portrayals down to four – which can be combined with each other too. I've seen baritones give excellent performances in every one of these portrayals, as well as in blends of them.

The Innocent

This is the sweetest portrayal of Papageno and the most endearingly simple-minded. He’s most often portrayed by younger baritones: the more baby-faced, the better. This uneducated, naïve young creature of the woods and mountains is almost a Peter Pan figure (without Peter Pan’s brashness or ruthlessness, though with a little of his boyish cockiness), who has never quite grown up. His childlike qualities include total earnestness as he asks questions with obvious answers, childlike quaking and whimpering in the face of danger, and childlike sobbing in moments of despair. Yet while his failure to “be a man” sometimes tries other people’s patience, no one except Monostatos can really dislike him. His friendly, cheerful, exuberant yet gentle demeanor is filled with natural charm, and the broad, sunny comedy of nearly all his scenes keeps the audience laughing, yet his boyish vulnerability is touching too, even when it’s played for laughs. Most endearing of all is his lively, wide-eyed, unabashed joy in all of life’s most simple pleasures. He might be an unsophisticated man-child, but whatever he lacks in maturity or wisdom he makes up for in zest for life and in warmth of heart.

The Peasant

This is a more mature, down-to-earth Papageno, who clearly represents the common man. He comes across as an average, hardy 28-year-old peasant, lifted straight out of the 18th century Austrian countryside into an exotic fairy tale world. Although uneducated and unrefined compared to Tamino, he’s not particularly naïve, but conveys sound working-class intelligence and practicality, and he often delivers his funny lines with a knowing, snarky wit. This makes him a kindred spirit to classic earthy “comic servant” characters like Sancho Panza or Leporello. His lustiness is also pronounced as he craves good food, alcohol, and female companionship: it’s clear that his desire for a Papagena is carnal, not just emotional. And despite all his fears and foibles, there’s an underlying stolidness to him; a sense of resilience that suits a man whose spent his life working hard to earn a humble living. Ultimately, he fails Sarastro’s tests not because he’s silly or weak, but because he’s just too ordinary for the grandly idealistic world of the priests. This makes him less broadly funny than some other Papagenos are, but it makes him easy for the audience to personally relate to, and easy for them to view as a friend too.

The Odd Duck

This is the most eccentric Papageno. His costume tends to be more wildly feathery than other Papagenos’ and make him look less human and more birdlike. He often has more birdlike mannerisms too: for example, making chirping sounds when he sees a pretty girl, or literally screeching in terror. But even if he’s portrayed as fully human, he’s defined by adorable quirkiness. In contrast to the staid dignity of the upper-class characters who surround him, he has puckish, squirrely energy, with little thought for dull things like “manners” or “social rules,” and his emotions always run free and high, sometimes causing funny melodramatics when he’s especially scared or distraught. Yet his joy in living is equally strong and unabashed, and for the audience, it’s infectious. Nor is there any restraint on his love of food, wine, and pretty girls, or on his playful and mischievous sense of humor. This free spirit is a true “child of nature,” who, like a wild bird, lives by his animal instincts: he doesn’t care what anyone else thinks of him, no matter how strange, silly, or inappropriate he seems by normal standards of society. He just does whatever he feels like doing, and the audience can’t help but love him for it.

The Sad Clown

This is the least comical Papageno, but no less endearing than the others. His costume tends to lack feathers and be drably colored, disheveled, and poor-looking. Nor is his demeanor as broadly cheerful as other Papagenos’, but more reserved, and as for his style of humor, he’s most akin to Charlie Chaplin’s Little Tramp. The audience laughs at his foibles and slapstick, but feels pity him as well, because he shows a full and realistic range of emotions, with a subtle yet distinct vein of melancholy. The audience realizes what an unlucky man Papageno really is, as he constantly fails other people’s expectations and is browbeaten by both the villains and the heroes alike (all except Pamina). The sense of loneliness he conveys is especially poignant: not only in his deep yearning for a Papagena, but because he grew up without parents, has no real friends (only social superiors, some kind, others less so), and has never known any form of love. This Papageno’s eventual suicide attempt seems much less ridiculous than usual: even though it’s still played partly for laughs, we can almost believe he might go through with it. When he finally finds his Papagena in the end, his happiness feels long overdue and well earned.

The Pecking Rooster

This Papageno portrayal is more of a subtype than an individual type: he can predominantly be either an Innocent, a Peasant, or a Sad Clown. But either way, he’s pricklier than other Papagenos, with more machismo and a little bit more of a temper. Like a rooster defending the henhouse, he feistily defends his own safety and comfort, and like the Cowardly Lion with his “Put ‘em up! Put ‘em up!” he tries (but fails) to mask his fears with “manly” pugnaciousness and pride. Expect this Papageno to posture exuberantly as he claims to have the strength of a giant, to puff himself up to scare Monostatos away, to be as stubborn as a mule in refusing to face each new danger, and to bicker with Tamino and the priests every step of the way. His anger at being constantly ordered around, dragged into unpleasant situations, and denied the reward he was promised (a bride) is loud and clear. Yet unlike his villainous counterpart Monostatos, he’s never consumed by his anger, but combines it with classic Papageno warmth and good humor. For that reason, audiences empathize with his frustration, and admire his proud efforts to stand up to the powers that frustrate him, even though he comically fails to thwart them.

Here are some examples of the different Papagenos from different filmed performances of the opera. (I'll add more as I see them.)

*William Workman (Hamburg, 1971): The Innocent.

*Håkan Hagegård (Ingmar Bergman film, 1975): The Innocent, with undertones of the Sad Clown.

*Benjamin Luxon (Glyndebourne, 1977): The Peasant, with traces of the Innocent and the Sad Clown.

*Christian Boesch (Salzburg, 1982): A blend of the Innocent, the Peasant, and the Pecking Rooster, with undertones of the Sad Clown. (In other words, he's "all of the above.")

*John Fulford (Sydney, 1986): The Peasant.

*Mikael Samuelson (Drottningholm, 1989): The Odd Duck, with the earthiness of the Peasant.

*Manfred Hemm (the Met, 1991): The Innocent.

*Detlef Roth (Paris, 2001): A blend of the Innocent, the Odd Duck, and the Pecking Rooster.

*Simon Keenlyside (Covent Garden, 2003): The Sad Clown.

*Christian Gehaher (Salzburg, 2006): A blend of the Peasant and the Pecking Rooster, with hints of the Odd Duck.

*Nathan Gunn (the Met, 2006): A blend of the Peasant and the Odd Duck, with traces of the Pecking Rooster.

*Markus Werba (the Met, 2017): A blend of the Innocent and the Peasant, with traces of the Pecking Rooster.

Meanwhile, in my gender-bent retelling, An Eternal Crown, I think Lorikeet is a cross between the Innocent and the Odd Duck, with a few undertones of the Sad Clown.

I'd be interested to learn which portrayal(s) @leporellian is using for the anthropomorphic cat Papageno in their Magic Flute-inspired novel Song of the Sky.

@ariel-seagull-wings, @tuttocenere, @vogelfanger1984, @thealmightyemprex, @thevampiricnihal, @cjbolan

[taunuswolf]

[mikulski-art]

Can’t wait for #Genius #Mozart #MagicFlute #Zauberflöte #CzarodziejskiFlet #OperaNova #Bydgoszcz #DariuszMikulski #Opera #ClassicalMusic (hier: Opera Nova w Bydgoszczy) https://www.instagram.com/p/Cp8HgGSo3Cz/?igshid=NGJjMDIxMWI=

[illustratus]

[adventuresofalgy]

Although the blue sky and sunshine were more than welcome, there was no question that the northerly wind was bitterly cold, and decidedly uncomfortable when it whistled through his feathers – and in any case Algy's perch in the still-bare birch tree was precarious and difficult to maintain. So before long common sense prevailed in his fluffy bird brain, and Algy hoppped down out of the tree and fluttered around in search of a much more sheltered location in which to revel in the late January sunshine and the gorgeous blue overhead.

Selecting a dense, evergreen eleagnus bush in a more sheltered area of the garden, Algy made himself comfortable and then started to listen to the other smaller birds twittering in the trees and shrubs around him. They were rejoicing in the sunshine too, and he knew that very soon they would be starting to think about building their spring nests.

So, opening his beak, Algy began to sing that most famous of all bird-nesting musical offerings… 😀 He had no difficulty with the baritone part, of course, but it was as well that his audience was very small, for his attempt to sing the soprano role of Pappagena produced a result which it might be kinder to pass over…

Algy certainly could not say the same for Ingeborg Hallstein's version, however, so for those of his friends who expressed appreciation of her voice recently, here is another clip from her archive, singing the Papageno-Papagena duet from Mozart's opera Die Zauberflöte, together with Peter Alexander in 1969.

Happy nesting, little birds 🤗

[beyourselfchulanmaria]

Mozart's Die Zauberflöte with the duet "Pa-pa-ge-na! Pa-pa-ge-no!"

performed by Huw Montague Rendall and Elisabeth Boudreault.

Very artistic! 💐👍 Love Mozart 💖

[naihaan]

One of these characters doesn't need introduction, i think. The other… well.

I guess, Papageno the birdcatcher from Mozart's 'The Magic Flute' wandered the forests long enough to stumble upon Jareth the Goblin King's realm. Not entirely impossible. First of all, 'The Magic Flute' is weird. Second, Papageno does feel like a fey creature, to the point that the main character has to state his disbelief if he's even human? Papageno's answer? 'Who do you think i am? Surely not a bird?' And that's just libretto.

The actual stage production of DZF from 2005 i've based this fanart upon? Well, not just Papageno has this strange fey vibes, but that of a teenage wannabe-rock star as well.

Also, THIS:

When you need one second to tell everything about your character. Balls make everyone and everything better, i guess. Including David Bowie and Gabriel Bermudes.

[greencheekconure27]

Idea: shapeshifting Papagena who's actually been popping up on stage in various bird forms throughout the play.

She's been keeping an eye on Papageno for a while now. Also she's the real reason the Queen of Night needs so many birds: she wants to capture her but doesn't know what she looks like because Papagena keeps shifting to different species. So the Queen just has Papageno bring her birds every day until she finds the right one.(Papagena keeps escaping him)

[jonphaedrus]

[lionofchaeronea]

Queen of the Night, Moritz von Schwind, between 1864 and 1867