Metropolitan Opera tickets 16 April 2025 - Die Zauberflöte | GoComGo.com

Die Zauberflöte

Metropolitan Opera, Metropolitan Opera, New York, USA
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Important Info
Type: Opera
City: New York, USA
Starts at: 19:00
Acts: 2
Intervals: 1
Duration: 2h 50min
Sung in: German
Titles in: English,German,Spanish

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Soprano: Golda Schultz (Pamina)
Tenor: Ben Bliss (Tamino)
Conductor: Evan Rogister
Soprano: Kathryn Lewek (The Queen of the Night)
Bass: Stephen Milling (Sarastro)
Baritone: Thomas Oliemans (Papageno)
Creators
Composer: Wolfgang Amadeus Mozart
Choreographer: Simon McBurney
Librettist: Emanuel Schikaneder
Sets: Michael Levine
Costume designer: Nicky Gillibrand
Overview

Simon McBurney’s uproarious full-length German-language production of Mozart’s beloved fable—with its ingenious theatrical concoction of projections, puppetry, and special effects—returns to the Met stage following its celebrated 2023 premiere.

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Tenor Ben Bliss and soprano Golda Schultz are the noble lovers Tamino and Pamina, and baritone Thomas Oliemans repeats his animated portrayal of the outlandish bird catcher Papageno. Soprano Kathryn Lewek reprises her hair-raising turn as the Queen of the Night, Stephen Milling is the priest Sarastro, and Evan Rogister conducts.

Premiere: Freihaus-Theater auf der Wieden, Vienna, 1791. Die Zauberflöte—a sublime fairy tale that moves freely between earthy comedy and noble mysticism—was written for a theater located just outside Vienna with the clear intention of appealing to audiences from all walks of life. The story is told in a singspiel (“song-play”) format characterized by separate musical numbers connected by dialogue and stage activity, an excellent structure for navigating the diverse moods, ranging from solemn to lighthearted, of the story and score. The composer and the librettist were both Freemasons—the fraternal order whose membership is held together by shared moral and metaphysical ideals—and Masonic imagery is used throughout the work. The story, however, is as universal as any fairy tale.

Wolfgang Amadeus Mozart (1756–91) was the son of a Salzburg court musician who exhibited him as a musical prodigy throughout Europe. His achievements in opera, in terms of beauty, vocal challenge, and dramatic insight, remain unsurpassed. He died three months after the premiere of Die Zauberflöte, his last produced work for the stage. The remarkable Emanuel Schikaneder (1751–1812) was an actor, singer, theater manager, a friend of Mozart who wrote the opera’s libretto, staged the work, and sang the role of Papageno in the initial run.

The libretto specifies Egypt as the location of the action. Egypt was traditionally regarded as the legendary birthplace of the Masonic fraternity, whose symbols and rituals populate this opera. Some productions include Egyptian motifs as an exotic nod to this idea, but many more opt for a more generalized mythic ambience to convey the otherworldliness that the score and overall tone of the work call for.

Die Zauberflöte was written with an eye toward a popular audience, but the varied tone of the work requires singers who can specialize in several different musical genres. The comic and earthy are represented by the baritone, Papageno, while true love in its noblest forms is conveyed by the tenor, Tamino, and the soprano, Pamina. The bass, Sarastro, expresses the solemn and the transcendental. The use of the chorus is spare but hauntingly beautiful, and fireworks are provided by the coloratura Queen of the Night

Original co-production of Dutch National Opera, Amsterdam; English National Opera, London; and Festival d’Aix-en-Provence

History
Premiere of this production: 30 September 1791, Theater auf der Wieden, Vienna

The Magic Flute (German: Die Zauberflöte) is an opera in two acts by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form that included both singing and spoken dialogue. The work was premiered on 30 September 1791 at Schikaneder's theatre, the Freihaus-Theater auf der Wieden in Vienna, just two months before the composer's premature death.

Synopsis

The opera begins with the overture, which Mozart composed last.

Act 1

Scene 1: A rough, rocky landscape

Tamino, a handsome prince lost in a distant land, is pursued by a serpent and asks the gods to save him (aria: "Zu Hilfe! Zu Hilfe!" segued into trio: "Stirb, Ungeheuer, durch uns're Macht!"). He faints, and three ladies, attendants of the Queen of the Night, appear and kill the serpent. They find the unconscious prince extremely attractive, and each of them tries to convince the other two to leave. After arguing, they reluctantly decide to leave together.

Tamino wakes up, and is surprised to find himself still alive. Papageno enters dressed as a bird. He describes his life as a bird-catcher, complaining he has no wife or girlfriend (aria: "Der Vogelfänger bin ich ja"). Tamino introduces himself to Papageno, thinking Papageno killed the serpent. Papageno happily takes the credit – claiming he strangled it with his bare hands. The three ladies suddenly reappear and instead of giving Papageno wine, cake and figs, they give him water, a stone and place a padlock over his mouth as a warning not to lie. They give Tamino a portrait of the Queen of the Night's daughter Pamina, with whom Tamino falls instantly in love (aria: "Dies Bildnis ist bezaubernd schön" / This image is enchantingly beautiful).

The ladies return and tell Tamino that Pamina has been captured by Sarastro, whom they describe as a powerful, evil demon. Tamino vows to rescue Pamina. The Queen of the Night appears and promises Tamino that Pamina will be his if he rescues her from Sarastro (Recitative and aria: "O zittre nicht, mein lieber Sohn" / Oh, tremble not, my dear son!). The Queen leaves and the ladies remove the padlock from Papageno's mouth with a warning not to lie any more. They give Tamino a magic flute which has the power to change sorrow into joy. They tell Papageno to go with Tamino, and give him (Papageno) magic bells for protection. The ladies introduce three child-spirits, who will guide Tamino and Papageno to Sarastro's temple. Together Tamino and Papageno set forth (Quintet: "Hm! Hm! Hm! Hm!").

Scene 2: A room in Sarastro's palace

Pamina is dragged in by Sarastro's slaves, apparently having tried to escape. Monostatos, a blackamoor and chief of the slaves, orders the slaves to chain her and leave him alone with her. Papageno, sent ahead by Tamino to help find Pamina, enters (Trio: "Du feines Täubchen, nur herein!"). Monostatos and Papageno are each terrified by the other's strange appearance and both flee. Papageno returns and announces to Pamina that her mother has sent Tamino to save her. Pamina rejoices to hear that Tamino is in love with her. She offers sympathy and hope to Papageno, who longs for a wife. Together they reflect on the joys and sacred duties of marital love (duet: "Bei Männern welche Liebe fühlen").

Finale. Scene 3: A grove in front of a temple

The three child-spirits lead Tamino to Sarastro's temple, promising that if he remains patient, wise and steadfast, he will succeed in rescuing Pamina (Quartet: "Zum Ziele führt dich diese Bahn"). Tamino approaches the left-hand entrance and is denied access by voices from within. The same happens when he goes to the entrance on the right. But from the entrance in the middle, an old priest appears and lets Tamino in. (The old priest is referred to as "The Speaker" in the libretto, but his role is a singing role.) He tells Tamino that Sarastro is benevolent, not evil, and that he should not trust the Queen of the Night. He promises that Tamino's confusion will be lifted when Tamino approaches the temple in a spirit of friendship. Tamino plays his magic flute. Animals appear and dance, enraptured, to his music. Tamino hears Papageno's pipes sounding offstage, and hurries off to find him (aria: "Wie stark ist nicht dein Zauberton").

Papageno and Pamina enter, searching for Tamino (trio: "Schnelle Füße, rascher Mut"). They are recaptured by Monostatos and his slaves. Papageno plays his magic bells, and Monostatos and his slaves begin to dance, and exit the stage, still dancing, mesmerised by the beauty of the music (chorus: "Das klinget so herrlich"). Papageno and Pamina hear the sound of Sarastro's retinue approaching. Papageno is frightened and asks Pamina what they should say. She answers that they must tell the truth. Sarastro enters, with a crowd of followers. (chorus: "Es lebe Sarastro!")

Pamina falls at Sarastro's feet and confesses that she tried to escape because Monostatos had forced his attentions on her. Sarastro receives her kindly and assures her that he wishes only for her happiness. But he refuses to return her to her mother, whom he describes as a proud, headstrong woman, and a bad influence on those around her. Pamina, he says, must be guided by a man.

Monostatos brings in Tamino. The two lovers see one another for the first time and embrace, causing indignation among Sarastro's followers. Monostatos tells Sarastro that he caught Papageno and Pamina trying to escape, and demands a reward. Sarastro, however, punishes Monostatos for his lustful behaviour toward Pamina, and sends him away. He announces that Tamino must undergo trials of wisdom in order to become worthy as Pamina's husband. The priests declare that virtue and righteousness will sanctify life and make mortals like gods ("Wenn Tugend und Gerechtigkeit").

Act 2

Scene 1: A grove of palms

The council of priests of Isis and Osiris, headed by Sarastro, enters to the sound of a solemn march. Sarastro tells the priests that Tamino is ready to undergo the ordeals that will lead to enlightenment. He invokes the gods Isis and Osiris, asking them to protect Tamino and Pamina (Aria and chorus: "O Isis und Osiris").

Scene 2: The courtyard of the Temple of Ordeal

Tamino and Papageno are led in by two priests for the first trial. The two priests advise Tamino and Papageno of the dangers ahead of them, warn them of women's wiles and swear them to silence (Duet: "Bewahret euch von Weibertücken"). The three ladies appear and try to frighten Tamino and Papageno into speaking. (Quintet: "Wie, wie, wie") Papageno cannot resist answering the ladies, but Tamino remains aloof, angrily instructing Papageno not to listen to the ladies' threats and to keep quiet. Seeing that Tamino will not speak to them, the ladies withdraw in confusion.

Scene 3: A garden

Pamina is asleep. Monostatos approaches and gazes upon her with rapture. (Aria: "Alles fühlt der Liebe Freuden") He is about to kiss the sleeping Pamina, when the Queen of the Night appears. Monostatos hides. In response to the Queen's questioning, Pamina explains that Tamino is joining Sarastro's brotherhood and she is thinking of accompanying him too. The Queen is not pleased. She explains that her husband was the previous owner of the temple and on his deathbed, gave the ownership to Sarastro instead of her, rendering the Queen powerless (this is in the original libretto, but is usually omitted from modern productions, to shorten the scene with Pamina and her mother). She gives Pamina a dagger, ordering her to kill Sarastro with it and threatening to disown her if she does not. (Aria: "Der Hölle Rache kocht in meinem Herzen"). She leaves. Monostatos returns and tries to force Pamina's love by threatening to reveal the Queen's plot, but Sarastro enters and drives him off. Pamina begs Sarastro to forgive her mother and he reassures her that revenge and cruelty have no place in his domain (Aria: "In diesen heil'gen Hallen").

Scene 4: A hall in the Temple of Ordeal

Tamino and Papageno are led in by priests, who remind them that they must remain silent. Papageno complains of thirst. An old woman enters and offers Papageno a cup of water. He drinks and teasingly asks whether she has a boyfriend. She replies that she does and that his name is Papageno. She disappears as Papageno asks for her name, and the three child-spirits bring in food, the magic flute, and the bells, sent from Sarastro (Trio: "Seid uns zum zweiten Mal willkommen"). Tamino begins to play the flute, which summons Pamina. She tries to speak with him, but Tamino, bound by his vow of silence, cannot answer her, and Pamina begins to believe that he no longer loves her. (Aria: "Ach, ich fühl's, es ist verschwunden") She leaves in despair.

Scene 5: The pyramids

The priests celebrate Tamino's successes so far, and pray that he will succeed and become worthy of their order (Chorus: "O Isis und Osiris"). Pamina is brought in and Sarastro instructs Pamina and Tamino to bid each other farewell before the greater trials ahead, alarming them by describing it as their "final farewell". (Trio: Sarastro, Pamina, Tamino – "Soll ich dich, Teurer, nicht mehr sehn?" Note: In order to preserve the continuity of Pamina's suicidal feelings, this trio is sometimes performed earlier in act 2, preceding or immediately following Sarastro's aria "O Isis und Osiris".) They exit and Papageno enters. The priests grant his request for a glass of wine and he expresses his desire for a wife. (Aria: "Ein Mädchen oder Weibchen"). The elderly woman reappears and warns him that unless he immediately promises to marry her, he will be imprisoned forever. When Papageno promises to love her faithfully (muttering that he will only do this until something better comes along), she is transformed into the young and pretty Papagena. Papageno rushes to embrace her, but the priests drive him back, telling him that he is not yet worthy of her.

Finale. Scene 6: A garden

The three child-spirits hail the dawn. They observe Pamina, who is contemplating suicide because she believes Tamino has abandoned her. The child-spirits restrain her and reassure her of Tamino's love. (Quartet: "Bald prangt, den Morgen zu verkünden").

Scene change without interrupting the music, to Scene 7: Outside the Temple of Ordeal

Two men in armor lead in Tamino. They recite one of the formal creeds of Isis and Osiris, promising enlightenment to those who successfully overcome the fear of death ("Der, welcher wandert diese Strasse voll Beschwerden"). This recitation takes the musical form of a Baroque chorale prelude, to a tune inspired by Martin Luther's hymn "Ach Gott, vom Himmel sieh darein" (Oh God, look down from heaven).Tamino declares that he is ready to be tested. Pamina calls to him from offstage. The men in armour assure him that the trial by silence is over and he is free to speak with her. Pamina enters and declares her intention to undergo the remaining trials with him. She hands him the magic flute to help them through the trials ("Tamino mein, o welch ein Glück!"). Protected by the music of the magic flute, they pass unscathed through chambers of fire and water. Offstage, the priests hail their triumph and invite the couple to enter the temple.

Scene change without interrupting the music, to Scene 8: A garden with a tree

Papageno despairs at having lost Papagena and decides to hang himself (Aria/Quartet: "Papagena! Papagena! Papagena! Weibchen, Täubchen, meine Schöne") The three child-spirits appear and stop him. They advise him to play his magic bells to summon Papagena. She appears and, united, the happy couple stutter in astonishment and make bird-like courting sounds at each other. They plan their future and dream of the many children they will have together (Duet: "Pa... pa... pa...").

Scene change without interrupting the music, to Scene 9: A rocky landscape outside the temple; night

The traitorous Monostatos appears with the Queen of the Night and her three ladies. They plot to destroy the temple ("Nur stille, stille") and the Queen confirms that she has promised her daughter Pamina to Monostatos. But before the conspirators can enter the temple, they are magically cast out into eternal night.

Scene change without interrupting the music, to Scene 10: The Temple of the Sun

Sarastro announces the sun's triumph over the night, and hails the dawn of a new era of wisdom and brotherhood. Animals appear again and dance in the sun.

Venue Info

Metropolitan Opera - New York
Location   30 Lincoln Center

The Metropolitan Opera is an opera company based in New York City, resident at the Metropolitan Opera House at the Lincoln Center for the Performing Arts. The Metropolitan Opera is the largest classical music theatre in North America. It presents about 27 different operas each year from late September through May. As of 2018, the company's current music director is Yannick Nézet-Séguin.

The Metropolitan Opera Company was founded in 1883 as an alternative to New York's old established Academy of Music opera house. The subscribers to the Academy's limited number of private boxes represented the highest stratum in New York society. By 1880, these "old money" families were loath to admit New York's newly wealthy industrialists into their long-established social circle. Frustrated with being excluded, the Metropolitan Opera's founding subscribers determined to build a new opera house that would outshine the old Academy in every way. A group of 22 men assembled at Delmonico's restaurant on April 28, 1880. They elected officers and established subscriptions for ownership in the new company. The new theater, built at 39th and Broadway, would include three tiers of private boxes in which the scions of New York's powerful new industrial families could display their wealth and establish their social prominence. The first Met subscribers included members of the Morgan, Roosevelt, and Vanderbilt families, all of whom had been excluded from the Academy. The new Metropolitan Opera House opened on October 22, 1883, and was an immediate success, both socially and artistically. The Academy of Music's opera season folded just three years after the Met opened.

The operas are presented in a rotating repertory schedule, with up to seven performances of four different works staged each week. Performances are given in the evening Monday through Saturday with a matinée on Saturday. Several operas are presented in new productions each season. Sometimes these are borrowed from or shared with other opera companies. The rest of the year's operas are given in revivals of productions from previous seasons. The 2015–16 season comprised 227 performances of 25 operas.

The operas in the Met's repertoire consist of a wide range of works, from 18th-century Baroque and 19th-century Bel canto to the Minimalism of the late 20th century. These operas are presented in staged productions that range in style from those with elaborate traditional decors to others that feature modern conceptual designs.

The Met's performing company consists of a large symphony-sized orchestra, a chorus, a children's choir, and many supporting and leading solo singers. The company also employs numerous free-lance dancers, actors, musicians, and other performers throughout the season. The Met's roster of singers includes both international and American artists, some of whose careers have been developed through the Met's young artists programs. While many singers appear periodically as guests with the company, others, such as Renée Fleming and Plácido Domingo, long maintained a close association with the Met, appearing many times each season until they retired.

Important Info
Type: Opera
City: New York, USA
Starts at: 19:00
Acts: 2
Intervals: 1
Duration: 2h 50min
Sung in: German
Titles in: English,German,Spanish
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