HUM 101

I love this class! Sister Haddock is so wonderful. I really enjoyed writing this paper. I got 50/50 and a WOW! sticker:) Yes. I do feel good about myself for receiving a WOW! sticker. I'm 5. But I especially wanted my Mom to read this, so here it is:

“The Magic Flute” Performance Report

Mozart’s opera “The Magic Flute” as performed by BYU was beautiful. I am grateful for the talent prevalent at our university to be able to accomplish such a feat. “The Magic Flute” is overflowing with symbolism and meaning, but the elements I wish to focus upon in this report are the versatility of the set, the profundity of the costumes, and the intensity of the relationship between Tamino and Pamina as compared to the relationship of their foil characters Papageno and Papagena.

The set was exquisite. I am so impressed that the pieces remained stationary throughout the entirety of the opera; the foresight and creativity of the set directors to erect such a versatile set was great. The set was rather nicely and aesthetically composed of three arches and a grand stairway. These “stone” pieces never moved though the location of events changed several times, varying from the exposition of a foreign place with a giant serpent, to inside Sarastro’s palace, to the sacred temple of wisdom: all the while the only elements altering to change “scene” and mood being lighting and the projections on the background screens—a purely genius concept—for example, whilst inside Sarastro’s palace the screens portrayed images of glittering chandeliers, at other times they reflected the night, or temple hieroglyphics. The arches themselves were pretty neat as well. It was almost Mines of Moria-esque when hieroglyphics lit up on the sides of the temple passageways. It is amazing to me that this same set, the same stationary pieces, were able to reflect such differing moods for specific instances. The set was a place of terror with the serpent and later the Queen of the Night; it was a place of suspense and fear when Tamino and Papageno were undergoing their trials in the temple; and it was a place of love and happiness when Tamino and Pamina, as well as Papageno and Papagena were all reunited.

The costumes expressed deep levels of meaning and profundity in their styles and colors. The three women, servants of the Queen of the Night, were obviously intentionally dark and seductive in their leather corsets and gauzy sleeves, and their appearances mimicked their behavior regarding the unconscious Tamino. Likewise, The Queen of the Night and Monostatos were dressed in black to reflect their sinister personalities and evil motives. In contrast, Tamino, Pamina, Sarastro, and Sarastro’s fellow temple patrons all wore white, placing them in direct opposition to the Queen, her servants and all she stands for (just in case the moon and sun motifs were not blatant enough). Sarastro and his people all wore long, shapeless, white robes with gold accessories. The white and gold color scheme represents wisdom and endowment, while the shapeless form of the clothes suggests a greater emphasis on otherworldly matters than on mortal concerns, once again putting Sarastro’s people in direct contrast to the Queen’s people in their tight fitting, suggestive apparel which emphasizes human cravings of lust and power. Tamino and Pamina both wear respectable outfits of white to symbolize their purity and innocence, making them a perfect couple. Papageno and Papagena are exceptions to the single-faceted characters of white or black: they are bright, colorful, and feathery, exemplifying their unique personalities and compatibility for one another.

The relationship between Tamino and Pamina is intense and full of highly charged emotions. Though it is a bit of a stretch that they each fell in love before they ever met one another, the legitimacy of their deep feelings are recognizable through comparison to the almost trivial feelings that exist between Papageno and Papagena. Papageno and Papagena serve as foil characters to Tamino and Pamina. Papageno and Papagena’s relationship is a result of trickery on the part of Papagena and desperation on the part of Papageno. Fortunately it works out for them, but that’s probably because they are the only two feathery people in existence. Tamino and Pamina, like Papageno and Papagena, begin their relationship instantaneously as a result of instinct based upon appearances; however, unlike Papageno and Papagena, Tamino and Pamina undergo significant trials in their relationship. Tamino is unable to speak to Pamina for a time, unable to be her support as part of the tasks he must complete. His behavior during this time breaks the heart of Pamina. It is in this point of the plot that I had the most notable relation to the story. I was able to see myself in Pamina. During Tamino’s vow of silence Pamina hears him playing his magic flute and comes to him. I know the pain she feels when he turns his back to her. She is so close, but he will not speak to her. He won’t tell her what’s going on, and she is at a complete loss of control. Her feelings are evident in her quote: “the man I am unable to hate has left his beloved. This cup of sorrow is full, faithless lover.” I know how it feels to have been away from someone who possesses your heart, and when you are finally reunited, to have them push you aside, ignore you, and give no explanation. My love did not return to me, however. I never got an explanation like Pamina did. He was not valiant like Tamino and did not fight for what was good and right. We did not get to experience the joy of entering hand in hand to the temple as planned. This is how I know the bond between Tamino and Pamina is strong, because I know what it would take to overcome such heartbreak. This personal experience, as well as the comparison between their foil counterparts, leads me to believe that Tamino and Pamina depict a strong, meaningful bond between two lovers.

Mozart is the man. I could’ve written an entire paper on religious symbols and how Mozart must have been inspired to write an opera so full of gospel truths, but instead I chose to focus on the what I can relate to: the setting life’s unfortunate as well as triumphant events occur in; the way in which we display ourselves through our appearances; and the intensity and struggles of love.