Newark evening star and Newark advertiser. [volume] (Newark, N.J.) 1909-1916, 1913-08-09
MASTERPIECE OF
MOZART WANTED
English Opera-goers Never
Hear His Swan Song-Its
Difficulties.

| Last week l noticed in the Evening
Star book dealing with the operas
of Mozart I gave some space to
the opera Die Zauberfioete," or
| THE Magic Flute Concerning this
wonderful work there has been much
written lately in England, where 1t
Is never performed. Now there is a
great demand for its presentation at
Covent Garden and much jealousy
Is expressed that Americans are
sometimes privileged to hear 1t. The
opera was written when Mozart was
afflicted with the strange disease
which finally caused his death, and
the emotions of his soul are ex-
pressed in THE Magic Flute" 1t is,
says great musical writer, "mani-
festation OF the real Mozart, a
mingling of tears and laughter" as
we'll as being the masterpiece of a
contrapuntist reckoned only second
to Bach and Handel.
AS an interesting contribution to
the discussion aroused by the re-
vival of interest in die Zauber-
floete," | quote a letter written by
woman to a renowned London re-
view. The writer says:
1.-THE fact that Die Zauberfioete'
is rarely presented and performed has
been commented on recently by two
of your musical reviewers, and, If
you can spare the space I would like
to explain why it is so. The singer
who is to take the role of the Queen
of Night must possess register of
exceptional compass. She, the ag-
grieved and Infatuated mother of
Pamina, the heroine, having in her
grand aria commencing with the
recitative, Non paventar, amabil
figlio,' not only to bring the high C
to utterance many times in success
sion, but to rise from 1t to the F
altissimo, with that leap even re-
peated. When Mozart wrote the part
there was a singer of the operate
company (Mme Hofer), who was
able to do this with wonderful facil-
ity, which allowed the composer to
give full rein to his conception of
what fairies or goddesses might
achieve. Without an artist similar
ly equipped to fit it's fantastic atmos-
phere the opera has to be laid aside
AT intervals, however, the excep-
tional voice is found. the opera takes
its place in the bills, and at one of
these performances an accident oc-
Cured which is notable. Mr.. Santley
(not then Sir Charles) was the Papa
geno of the cast, and, just at the mo-
ment when he and his sweetheart,
Papagena, had the stage to them
selves, finishing the last few bars of
their ecstatic love-duet, there was a
rush of terrified scene-shifters and
other helpers in their working clothes.
The Queen of Night. wearing her
black dress and spangles, dashed to
the front, also, and the whole audi
ence rose in a panic.
"Papageno and Papagena sang their
last notes Che compelled her to stay
he was afterwards heard to say, by
laying his hands upon her shoulder)
And then he went to the wings. to re-
turn instantly and call out in good,
bold English: There's no fire at alp
The panic seased and the opera went
on.
1.-TWO Of the numbers of the music
of Die Zauberfioete' had much popu-
1arity years ago. One was the duet
between Pamina and Papageno, la
dove prende amor ricetto,' maltreated
or tortured into English as The
Manly Heart the other was the mel
ody where Papageno, using his magic
bells--which We're as potent as his
masters magic fiute--compels the
slaves to release their prey and fall
a-dancing. 1t was known as Away
with Melancholy and, unless my
memory is wrong. was played by the
inimitable Dick Swiyeller on his flute.
And, OF course. the grand bass solo
for Sarastro, the priest, Qui Sdegno',
has never been banished from concert
programs"