Burton D. FisherReseñas

I read this after seeing a recorded Metropolitan Opera production, in an attempt to make sense of this opera. RW is not, and probably will never be, my favorite composer, but T&I makes more sense after reading this book.

I don't think I'll ever like this opera, but reading this helped to make sense out of it.

This e-book provides an informative essay on the Flying Dutchman with the libretto in both German and English. Most useful are the inclusion of the musical themes in musical notation. Unfortunately, it is poorly edited with a poor e-book format.½

This was an amazing libretto, and the commentary that is given by Fisher is tantalizing in its effects. The story of Aida, besot by the memory of her father, and her jolting lover Radames, is one for the ages indeed. This edition is great, with the effect that it shows the effect of music and has the English version alongside the Italian to allow you to pick up a smattering of it at the very same time. Overall, I was impressed and intrigued, and this libretto will surely not be my last.

4.25!

Complete libretto of THE MAGIC FLUTE

My favorite character is Papageno, holy fool & sidekick to Tamino, a spiritually questing hero.
Papageno introduces himself:
"I'm the bird-catcher, who's always happy!
Hi ho!
I'm known all over by young and old.
I know how to whistle every sound,
and I know all the birdcalls.
That's why I can be merry and happy,
because all the birds are mine.
I'd like to have a net to catch girls by the dozens.
I would lock them safely at home so they'd all be mine.
When they'd be mine, I'd give them sugar,
but I'd give sugar right away to the one I love most.
Then if she would kiss me tenderly,
it would be as if we were husband and wife.
She would sleep beside me,
and I would rock her like a baby." (43-44)

From "Commentary and Analysis"
"The plot of THE MAGIC FLUTE evolved from a pseudo-oriental genie-type of tale, LULU, or THE MAGIC FLUTE, originating from a collection published by Wieland in 1789 under the title DSCHINNISTAN.
"Schikaneder, Mozart, and a flamboyant actor, Carl Ludwig Giesecke, the latter, the pseudonym for Johann Metzler, a versatile lawyer and sometime Professor of Mineralogy and Chemistry at the University of Dublin, were the collaborating librettists: coincidentally, all were members of the same Viennese Freemason lodge....
"....The simple fairy tale that originally dealt with a power struggle between the forces of good and evil and the ultimate triumph of love, was ultimately transformed into a highly complex allegory glorifying the ideals of Freemasonry....
"Many musicologists have hypothesized that many of the events in the opera derive logically from Masonic laws and rituals, all of which, Mozart and Schikaneder were very profoundly familiar with: in particular, the solemn choral scenes involving Sarastro and the Priests, and the impressive fire and water ordeals, all of which, are patterned after Masonic rituals and symbolism...." (15)