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Deutsche Grammophon's 1964 Recording of The Magic Flute
V Example 2 . The Queen of the Night'sfirst aria with high F (f 3 ).
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Example 3 . The Queen of the Night's second aria, "Der Hölle Rache" [The vengeance of hell] , with high F (f 3 ) arpeggios.
Deutsche Grammophon's 1964 Recording of The Magic Flute
V Example 4 . Sarastro's entrance dialogue with difficult leap to low F.
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Example 5 . Repetition offinal phrase of Pamina's suicide scene.
Deutsche Grammophon's 1964 Recording of The Magic Flute
V Example 6 . Pamina'sfinal "Ruh" (peace) on high G (g 2 ) near the end of the aria.
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©Bildarchiv Preußischer Kulturebesitz, Berlin
Baritone Dietrich Fischer-Dieskau ( 1925 -). Photograph taken by Fritz Eschen, o.J.
Deutsche Grammophon's 1964 Recording of The Magic Flute
V Example 7 . Papageno in thefirst act's "Hm! hm! hm!" quintet: "Now Papageno prattles again!"
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Used by permission of Frtiz Wunderlich Society, Kusel, Germany
Tenor Fritz Wunderlich ( 1930 - 66 ).
Deutsche Grammophon's 1964 Recording of The Magic Flute
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Example 8 . Pair of phrases beginning "O, wenn," from Tamino'sfirst-act aria, "Dies Bildnis ist bezaubernd schön" (This image is enchantingly beautiful).
Example 9 . Tamino's full rest in hisfirst-act aria.
Deutsche Grammophon's 1964 Recording of The Magic Flute
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Example 10 . Greetings exchanged by Pamina and Tamino at the beginning of their reunion scene.
Deutsche Grammophon's 1964 Recording of The Magic Flute
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Deutsche Grammophon's 1964 Recording of The Magic Flute
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Deutsche Grammophon's 1964 Recording of The Magic Flute
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BACK COVER IMAGE
Set Design for the Final Scenein The Magic Flute
Michael Lyon
Stage Directions . The stage is transformed into a sunburst; Sarastro appears on high; Tamino and Pamina are in priestly robes, surrounded on both sides by the Egyptian priests; the Three Boys offerflowers. ( 2 . 30 )
T his set design was made in the same eclectic spirit that Mozart and Schikaneder used in the creation of their opera and reflects some of the various influences that were current in their time. In designing the Temple of the Priests of the Sun, I have portrayed the Egyptian motif explicit in the text as a typical New Kingdom temple pylon doorway with massive wooden doors and gold inset panels as mentioned in contemporary texts. The winged sun disk of Horus the Behedite over the door is an appropriate symbol for such a temple. The two red granite tekhenu or obelisks are in the same proportions as the one erected by Senwesret I in c. 1950 bc at Annu, the sacred city of the sun god, called On by the Hebrews and Heliopolis by the Greeks. The gold caps at the tops of the obelisks were intended to catch the rays of the sun while the shaft itself was described by Pliny as a symbolic representation of the sun's rays. ¡