Facts about Mozart's "Die Zauberflöte" (The Magic Flute) Updated November 15, 2015. Die Zauberflöte Fact 1: Die Zauberflöte was written by Wolfgang Amadeus Mozart in 1791. The opera's libretto was written by Emanuel Schikaneder, a well-rounded man of theatre who was a highly regarded producer, actor, singer, and composer. Read the synopsis of Die Zauberflöte . Schikaneder, with the help of his partner Bartholomäus Zitterbarth, was the creator and constructer of the famous Theater an der Wien, one of the world's largest and extravagant theaters of at the time of its completion in 1801. Die Zauberflöte Fact 2: ​When Emanuel Schikanede wrote the libretto for The Magic Flute, he borrowed from a handful of sources including Jean Terrason’s Sethos, Yvain, Abbé, On the Mysteries of the Egyptians, as well as fairy tales from the Dschinnistan. He also drew upon his own experiences as a Freemason.

Die Zauberflöte Fact 3: Mozart's opera is widely known as a Masonic allegory. Both Mozart and Schikaneder were Freemasons, and throughout the opera, the symbolism they employed becomes easily apparent. continue reading below our video Top 5 Longest Running TV Shows The opera's plot reflects ideals of the Age of Enlightenment, a belief in liberty, progress, knowledge, and religious freedom, as well as the rejection of the church and its abuses. The Queen of the Night represents the church, while Sarastro represents the Enlightenment. Die Zauberflöte Fact 4: Die Zauberflöte was the last opera Mozart composed, and it premiered on September 30, 1791 - roughly three months before Mozart died. Mozart himself conducted the orchestra, while the librettist, Emanuel Schikaneder, sang the role of Papageno. Die Zauberflöte Fact 5: When Mozart wrote this opera, many of the vocal passages were written specifically for the singers that would premier his work. These parts, especially for singers playing the roles of The Queen of the Night and Sarastro, proved to be quite the challenge for later performers.

The Queen of the Night's famous arias "Der Hölle Rache" and "O zittre nicht, mein lieber Sohn" require the singer to sing F6, which is roughly two and a half octaves above middle C on a piano, and Sarastro has to sing F2, which is one and a half octaves lower than middle C. These vocal ranges require great skill and vocal agility. ( Discover your own vocal range and voice type. ) Mozart accommodated less experienced performers by doubling their voice parts within the orchestra. Die Zauberflöte Fact 6: The Queen of the Night's aria, "Der Hölle Rache kocht in meinem Herzen" is one of the most well-known opera aria's of all time. Read the English translation of "Der Hölle Rache." Taking place in the second act, this difficult aria demands a two octave vocal range and and an agile lyric soprano voice with enough weight and drama to convey the seriousness of the scene. Watch a YouTube video of one of my favorite performances of "Der Hölle Rache" played by Diana Damrau.

Die Zauberflöte Fact 7: Though reviews of the opera's initial performances have been lost to time, it is evident by the opera's 100 following performances that Die Zauberflöte was a complete success. Since its creation over two hundred years ago, the opera has become one of the world's most performed operas. According to 2012-2013 Operabase statistics, the opera was ranked in fourth place. Die Zauberflöte Fact 8: Here is a short list of films in which you'll hear music from Mozart's Die Zauberflöte ( view more listings of classical music used in movies at Naxos ): All the Wrong Places (2000) Amadeus (1984) House of Last Things (2013) I Sweet Sixteen (2002) Zauberflöte translation English | German dictionary | Reverso Für die Freiheit brauchen wir keine Zauberflöte. It is not for freedom that we need a magic flute. Ich finde, die Zauberflöte ist Mozarts beste Oper. I think the Magic Flute is Mozart's greatest opera.

Noch während seines Studiums sang er bereits seine ersten Mozart-Partien: Er debütierte 1997 als Tamino („Die Zauberflöte") und sang danach Don Curzio („Le nozze di Figaro") im Theater im Palais in Graz. While still a student, he sang his first Mozart roles, debuting in 1997 as Tamino ("Die Zauberflöte"), followed by Don Curzio ("Le Nozze di Figaro") in the Theater im Palais in Graz. Bei der Darstellung handelt es sich um eine Bewegungsstudie Slevogts zur Figur der Pamina für die Radierung Nr. 32, "Sieh, Tamino, diese Tränen", aus "Randzeichnungen zu Mozarts Zauberflöte", erschienen bei Paul Cassirer 1920 (Söhn 261). This image is a movement study for the figur of Pamina as seen in the etching no.

32, "Sieh, Tamino, diese Tränen", from "Randzeichnungen zu Mozarts Zauberflöte", published by Paul Cassirer in 1920 (Söhn 261). Durftest du endlich auf seiner Zauberflöte spielen? Did you finally get to play on his magic flute? Wenn Mozart sich besser angepasst hätte und eines Tage lieber Verstecken gespielt hätte, gäbe es vielleicht keine Zauberflöte. If mozart was better adjusted, Decides to play catch one day, Maybe there's no magic flute. See how “Zauberflöte” is translated from German to English with more examples in context Die Zauberflöte translation English | German dictionary | Reverso Die Zauberflöte predigt Optimismus... und Glauben. The Magic Flute was optimism and conviction. "Die Zauberflöte von Mozart"). Bei Operetten und Musicals insbesondere aus dem englischsprachigen Raum werden allerdings oft Komponist und Librettist in einem Zug genannt (z.

Such is the case with Bizet's opera Carmen, which was refashioned as an African-American musical (with dialogue) Carmen Jones by Oscar Hammerstein II. Noch während seines Studiums sang er bereits seine ersten Mozart-Partien: Er debütierte 1997 als Tamino („Die Zauberflöte") und sang danach Don Curzio („Le nozze di Figaro") im Theater im Palais in Graz. While still a student, he sang his first Mozart roles, debuting in 1997 as Tamino ("Die Zauberflöte"), followed by Don Curzio ("Le Nozze di Figaro") in the Theater im Palais in Graz. Dazu wird er die Zauberflöte verwenden, sowie die Begleitung des Vogelfängers Papageno. All he needs for the rescue is his magic flute and the company of Papageno, the bird-catcher.

See how “Die Zauberflöte” is translated from German to English with more examples in context William Johnston's Website | Music History II Term Paper – Mozart’s Requiem Music History II Term Paper – Mozart’s Requiem Posted by William Johnston & filed under Uncategorized . An unfinished masterpiece Mozart Wolfgang Amadeus Mozart was born in Salzburg, Austria in 1756. His musical talent was noticed very early. His father, Leopold Mozart, taught him music theory, keyboard technique, and the violin. (Cormican 5) He toured Europe with his father, playing for many royal families. (Cormican 8) On this tour, he absorbed the national styles of music and was impacted by many composers in the countries he traveled through. (Grout, Burkholder and Palisca 548) Throughout his life he composed many genres of music, primarily selling his works for income. He never had long-term stable employment unlike many other composers of his day. (Grout, Burkholder and Palisca 552) He died in Vienna in 1791.

Mozart’s Requiem Mass The Requiem was anonymously commissioned by Count Walsegg in July 1791 as a memorial to his wife who had recently died. Mozart was working on The Magic Flute at the time and didn’t start work on the Requiem until fall of that year. He fell sick as he was working on the piece, and died before it was completed. At Mozart’s death, the Requiem Aeternam was complete as well as the figured bass, choral, and important instrumental parts for the first 8 measures of Lacrimosa. Parts of the Domine Jesu Christe and Hostias had been written. (Eisen) Franz Xaver Süssmayr, Mozart’s pupil who had helped Mozart in his last days, finished the Requiem. A requiem is a mass for the dead as in the Latin, Missa Pro Defunctis. It gets its name from the first line of the Introit, “Requiem aeternam dona eis, Domine“ meaning “Eternal rest grant them, O Lord“. The liturgy is a modified version of the Roman Catholic mass.

(Wikimedia Foundation, Inc) The text was standardized during the Council of Trent, and codified by Pope Pius V in 1570. (Wolff 66) Introit The Requiem starts with the Introit. The text is a prayer for the deceased that they would be raised on the Day of Judgment. The text is as follows: Original Latin: to you shall all flesh come. Eternal rest grant unto them, O Lord, and let perpetual light shine upon them. (Text and translation taken from Wikipedia unless otherwise noted.) The text is calm and serene, and Mozart’s music reflects this. The vocal score is set in the style of Baroque counterpoint (Losel 366) and is marked Adagio. Next in the mass is the Kyrie. It is the only Greek text in the mass. The text is “Kyrie elesion, Christe elesion, Kyrie elesion” meaning “Lord have Mercy, Christ have mercy, Lord have mercy”. Traditionally, each line would be sung three times. Mozart set the Kyrie as a large double fugue with the first subject using the text “Kyrie elesion” and the second subject using “Christe elesion”.

In a standard requiem of the time, the Graduale and Tract would be sung next, but as Mozart omitted them, they will not be discussed here. Dies Irae An important part of the requiem mass is the Sequence, a text that is sung before the Gospel. Normally, this would vary based on the church year, but in the requiem a unique Latin hymn was used called the Dies Irae. The Dies Irae was written around 1250 by Thomas of Celano, an early Franciscan monk, and describes the Day of Judgment. (Caldwell and Boyd) It is a long work containing nineteen verses and comprises the bulk of Mozart’s Requiem. Mozart divided the Dies Irae into six movements, titled by the first few words in the movement. The first movement of the sequence uses the first two verses of the Dies Irae: Original Latin: The day of wrath, that day Will dissolve the world in ashes As foretold by David and the sibyl! How much tremor there will be, when the judge will come, investigating everything strictly! The Dies Irae is an incredible example of Mozart’s command of text painting and orchestration.

It is angry and vicious music with off-beat rhythms, running strings, and brass fanfares. It is marked Allegro Assai, meaning very fast. Mostly homophonic, the words Dies Irae (Day of Wrath) signal a timpani roll which resembles thunder (mm. 2, 4, 23, and 25). The words Quantus tremor est futurus (How much tremor there will be) are a series of up and down scale steps in the bass voice (mm. 49), and Cuncta stricte discussurus (Investigating everything strictly) is slower and deliberate (mm. 37). The next movement, titled Tuba, Mirum, uses the next five verses of text: Original Latin: What am I, miserable, then to say? Which patron to ask, When the just may hardly be sure? The text describes the Day of Judgment as depicted in Revelation. It uses a trombone obbligato in reference to the trumpet’s call of judgment, a musical reference also used in one of Mozart’s early works, the oratorio “The Obligation of the First Commandment”, K.

35 (Cormican 17) It only uses soloists. The first verse is in major, marked Andante, and uses a bass soloist with trombone obbligato. The second and third verses are sung by the tenor soloist. There is a shift in the mood with faster strings and a minor mode (mm. 18). The third verse is sung by the alto soloist (mm. 34). The fourth verse switches back to major and is sung by the soprano (mm. 40). The final line is repeated by all four soloists in four-part harmony (mm. 51). The next verse is a plea for mercy: Original Latin: Gives hope to me, too. My prayers are not worthy: however, thou, Good [Lord], do good, lest I am burned up by eternal fire. Grant me a place among the sheep, and take me out from among the goats, Setting me on the right side. This movement uses ritornello form with the music at the beginning appearing throughout the work at the transition between sections. The ritornello form also underscores the idea of remembrance used in the text.

The form also doubles as a loose rondo form, with the music for the first verse being used in the third verse and, with slight modification, the last two verses combined. The last line of the penultimate verse foreshadows the music of the next section. The text is similar – both speak of being burned by eternal fire – and the motive used in the strings is similar. The next two verses represent a change in the music: Original Latin: Call thou me with the blessed. I meekly and humbly pray, [my] heart is as crushed as the ashes: Perform the healing of mine end. This section starts with the low voices and strings singing the first two lines. The tone and rhythm is angry representing the cursed in hell. The high strings and voices then sing a quiet homophonic plea to be called with the blessed to heaven. (mm. 7, 17) (Losel 368) All voices then join in a quiet, homophonic section describing the humble prayer of the sinner, whose heart is crushed, asking for healing (mm. 26). The final two verses of the sequence conclude the prayer for the deceased: Original Latin: Merciful Lord Jesus, grant them rest. Amen.

The strings use a motive throughout representing tears. The lines “qua resurget ex favilla iudicandus homo reus” start softly and gradually get louder as they climb in pitch clearly showing the guilty rising from the ashes (mm. 5-8). The climb in pitch climaxes on the word Reus, the Latin word for guilty (mm. 8). There is some evidence that Mozart intended an Amen fugue for the end of the sequence. A sketch of the fugue was found in the 1960s. The primary subject of the fugue is the main theme from the beginning of the requiem in strict inversion. (Maunder 173) (Wikimedia Foundation, Inc) Offertory Lord Jesus Christ, King of glory, free the souls of all the faithful departed from infernal punishment and the deep pit. Free them from the mouth of the lion; do not let Tartarus swallow them, nor let them fall into darkness; but may the standard-bearer Saint Michael, lead them into the holy light which you once promised to Abraham and his seed. The first two lines have a lyrical melody over a primarily homophonic texture.

They are followed by the third line; a disjunct melody with many melodic leaps. The fourth line is a loose polyphonic reworking of the material in the first two lines. The fifth and sixth lines develop the disjunct leaps from line three. Lines seven and eight are a canon built on the melody from lines one and two, sung by soloists. The canon is built on descending fifths, the soprano starts with the melody on G, the alto follows with the melody on C, the tenor follows with the melody on F, and finally the bass comes in on B-flat. (Wolff 92-93) Finally, there is a wonderful fugue using the last line of text. Mozart uses fugue and imitative polyphony throughout the requiem when the text refers to the Old Testament. In an interesting contrast, he is using the older baroque style for older characters. (Wolff 110) The fugue returns in the next movement, Hostias, where the last line is the same. Original Latin: Let them, O Lord, pass over from death to life, as you once promised to Abraham and his seed.

Hostias is slow and homophonic, quite a contrast from the previous movement. The first four lines of text are repeated twice and then the fifth line is used, stylistically similar to the first four. The fifth line ends outlining a D-major triad which sets up the return to G minor for the Quam olim fugue indicated by the words “Quam olim da capo“. Sanctus Both movements of the Sanctus appear to be composed entirely by Süssmayr without any of Mozart’s sketches to assist him. (Maunder ch. 5-6) Original Latin: Blessed is he who comes in the name of the Lord. Hosanna in the highest. The text of the Benedictus is from Matthew 21:9 which describes the entry of Jesus into Jerusalem for the Passover feast. (Wikimedia Foundation, Inc.) The music is calm and serene. Polyphonic in nature, it only uses the soloists, developing a main idea throughout. The texture is light and airy. It can be divided into two parts. In the first part, the women lead, with the alto starting and the soprano picking up the theme and embellishing it before entering a section of four part polyphony.

In the second section, the roles are reversed with the bass starting and the tenor picking up the melody. Both sections are essentially the same with slight differences for embellishment. Both sections end with an interlude composed of alternating winds and strings. The movement ends with a repeat of the fugue from the previous movement. Agnus Dei Lamb of God, who takes away the sins of the world, grant them rest, Lamb of God, who takes away the sins of the world, grant them rest, Lamb of God, who takes away the sins of the world, grant them eternal rest. A traditional part of the mass ordinary, the Agnus Dei is modified for the requiem by replacing the words “have mercy on us“, with “grant them rest“. This movement was likely based on a sketch by Mozart (Maunder 58), now lost. The threefold repetition is begun each time with the words “Agnus Dei, qui tollis peccata mundi“, marked forte and the words “dona eis requiem“ marked piano.

The final time, a quiet section on the word “sempiternam” ends in F, the relative major of d minor in which the rest of the movement is set. Communion Grant them eternal rest, O Lord, and may everlasting light shine upon them. with your Saints forever, for you are merciful. Lux æterna is a repeat of the opening Requiem æternam movement. It was usual at the time to repeat the opening movement’s music at the end of a requiem mass, an example being Michael Haydn’s Requiem in C minor, written twenty years earlier. (Wolff 110) The two sections of the first movement are repeated in reverse order, starting in major and then going to minor. The Kyrie fugue is also repeated using the text “cum Sanctis tuis in æternum, quia pius es”. Interestingly, the entire requiem ends on an open fifth using only the notes D and A. Would Mozart have ended this work with an open fifth? We will never know. It illustrates the paradox of this incomplete work yet which feels and sounds so complete.

It gives a timeless witness to Mozart’s faith and trust in his Savior who would “Call thou me with the blessed”. Nothing more needed to be said. Works Cited Caldwell, John and Malcolm Boyd. Dies irae. n.d. 18 April 2010 < >. Cormican, Brendan. Mozart’s Death – Mozart’s Requiem. Belfast: The Amadeus Press, 1991. Eisen, Cliff, et al. Mozart. n.d. 18 April 2010 < >. Grout, Donald Jay, J. Peter Burkholder and Claude V. Palisca. A History of Western Music. 8th. New York: W. W. Norton and Company, 2010. Losel, Steffen. ““May Such Great Effort Not Be in Vain”: Mozart on Divine Love, Judgement, and Retribution.” The Journal of Religion 89.3 (2009): 361-400. Maunder, Richard. Mozart’s Requiem: On Preparing A New Edition. New York: Oxford University Press, 1988.

Mozart, Wolfgang Amadeus. “Requiem, K. 262.” 1932. IMSLP / Petrucci Music Library. 1 May 2010 < >. —. “Requiem, K. 262.” 1965. Digitale Mozart-Edition. Nowak. 1 May 2010 < >. Tomowa-Sintow, Anna, et al. “Requiem, K. 262.” cond. Herbert von Karajan. By Wolfgang Amadeus Mozart. Berlin: Deutsche Grammophon, 1976. Wikimedia Foundation, Inc. Dies Irae. 22 July 2004. 17 April 2010 < >. —. Requiem. 22 July 2004. 17 April 2010 < >. —. Requiem (Mozart). 22 July 2004. 4 May 2010 < >. Wikimedia Foundation, Inc. Sanctus. 22 July 2004. 4 May 2010 < >. Wolff, Christoph.

Mozart’s Requiem: Historical and Analytical Studies. Berkley: University of California Press, 1994. Original PDF Die Zauberflöte (The Magic… | Details | AllMusic google+ Description by Rovi Staff Despite its whimsical libretto and obviously emblematic characters, Mozart 's singspiel The Magic Flute is regarded as one of the greatest operas of the entire repertoire. In fact, as music historian Philip Downs has noted, many hold that The Magic Flute is among the greatest human documents, worthy to stand beside Bach 's St. Matthew's Passion. In this story about good and evil, Sarastro, the high priest of an enlightened brotherhood, abducts Pamina, whose mother is the evil Queen of the NIght. The Queen sends Prince Tamino to save Pamina. Tamino not only falls in love with Pamina, but also accepts Sarastro as the incarnation of truth and goodness. Tamino's counterpart is Papageno, the Queen's bird catcher, whose earthiness counterbalances Tamino's idealism.

Predictably, love and goodness triumph, Sarastro overcomes the Queen of the Night, Tamino and Pamina are united after many trials, and Papageno finds Papagena, a female version of himself. The possible sources of Emanuel Schikaneder 's libretto include Jakob August Libeskind's story "Lulu or the Magic Flute," published in Wieland's Dschinnistan, a collection of fairy tales. The Magic Flute was written in 1791, the year of Mozart 's death. Although overwhelmed by many adversities, Mozart found great joy in working on an opera for Schikaneder's Theater auf der Wieden, in the suburbs of Vienna, which catered to unsophisticated audiences. The Magic Flute has been called a Masonic opera: both librettist and composer were Masons, and the opera abounds with Masonic symbolism, culminating in the triumph over light over darkness. Although the Masonic flavor of The Magic Flute is undeniable, what makes it a great work of art is Mozart 's unique ability to translate his humanistic ideals into music of extraordinary beauty and evocativeness.

The fundamental theme of this opera is love, a theme to which Mozart fully dedicates his entire genius. To the listener, Mozart 's ode to love brings eighteenth century opera in its full splendor. Not only is the music, which includes sparkling arias, charming buffo scenes, and ensembles of transcendent beauty, enchanting and invigorating, but it also effectively coalesces with the story to create a powerful, convincing work of art. Parts/Movements Zu Hilfe! zu Hilfe! sonst bin ich verloren! (Introduction) Der Vogelfänger bin ich ja Dies Bildnis ist bezaubernd schön O zittre nicht, mein lieber Sohn... Zum Leiden bin ich auserkoren Hm! hm! hm! hm! hm! hm! hm! hm! hm! hm! hm! hm! hm! Du feines Täubchen, nur herein! Bei Mannern, welche Liebe fühlen Zum Ziele führt dich diese Bahm (Finale) March. Adagio Bewahret euch vor Weibertücke: dies ist des Bundes erste Pflicht Wie? wie? wie? Ihr an diesem Schrekkenort?

Alles fühlt der Liebe Freuden Der Hölle Rache kocht in meinem Herzen In diesen heil'gen Hallen Otello - English translation – Linguee Der Aufsichtsrat lehnt den Vorschlag des Aktionï¿œrs Omega [...] Fund II, L.P., Herrn Otello Stampacchia als neues [...] Mitglied in den Aufsichtsrat der Epigenomics AG zu wï¿œhlen, ab. epigenomics.com The supervisory board rejects the [...] proposal by the shareholder Omega Fund II, [...] L.P. to elect Mr. Otello Stampacchia as a [...] new member of the supervisory board of Epigenomics AG. epigenomics.com Schon zwanzig Jahre vor diesem Datum begann Otello Zocche, der ï¿œber einen stark ausgeprï¿œgten Unternehmergeist verfï¿œgt, sich mit den an die Entwicklung und an die Innovation dieses produktiven [...] [...] Bereichs gebundenen Themen zu beschï¿œftigen.

officinezanetti.it For about twenty years before that, Otello Zocche had been dealing successfully as an entrepreneur with problems linked with the development and innovation of this productive sector. officinezanetti.it Mit einer ihrer metaphysischen Symbolik entkleideten morte di bacio [...] endet noch Verdis Otello; der Kuï¿œ der [...] Liebe zu Beginn wird zum Kuï¿œ des Todes am Ende: Un bacio & ancora un bacio. alt.salzburgfestival.at Verdi's Otello ends with a morte di [...] bacio, stripped of its metaphysical symbolism; what is originally a kiss of love ultimately [...] der Stimmrechtsanteil der von Herrn Otello Stampacchia, Schweiz, [...] am 23. Juni 2008 die Schwelle von 3 % unterschritten hat [...] und zu diesem Tag 2,21 % betrï¿œgt (entspricht 544.214 Stimmrechte).

2,21 % des Stimmrechtsanteils (entspricht 544.214 Stimmrechten) an der PAION AG sind Herrn Stampacchia nach ï¿œ 22 Abs. 1 Satz 1 Nr. 1 WpHG zuzurechnen. paion.de the PAION AG, Martinstr. 10-12, 52062 Aachen, Germany, voting [...] rights held by Mr Otello Stampacchia fell below [...] the threshold of 3 % of the voting [...] rights on 23 June 2008 and at that day amounted to 2.21 % (corresponding to 544,214 voting rights). 2.21 % of the voting rights (corresponding to 544,214 voting rights) on PAION AG are to be attributed to Mr Stampacchia pursuant to Sec. 22 para 1 sentence 1 No. 1 WpHG.

paion.de Sein Verleger Giulio Ricordi versuchte trotzdem mit allen [...] mï¿œglichen Tricks, Verdis Interesse an der Oper wiederzuerwecken; was [...] schlieï¿œlich durch das Otello-Libretto Arrigo Boitos gelang. mahler-chamber.de His publisher, Giulio Ricordi, nonetheless tried to reawaken Verdi's interest [...] in opera with all manner of tricks, and in fact eventually [...] accomplished the goal with Arrigo Boito's libretto for Otello. mahler-chamber.de Im Anschluss an die Auffï¿œhrung in Baden-Baden gehen das MCO und Daniel Harding mit Otello auf Tournee. mahler-chamber.de Subsequent to the performance of Otello in Baden-Baden, the MCO and Daniel Harding will take the opera on tour.

mahler-chamber.de mahler-chamber.de Seit 1977 ist er dem Zï¿œricher Opernhaus verbunden, 1988 verlieh ihm die Wiener Staatsoper als bis dahin jï¿œngstem Sï¿œnger den Titel Kammersï¿œnger", im gleichen Jahr wurde sein Liederabend in Tokio zum besten musikalischen Erlebnis des Jahres gewï¿œhlt, 1991 folgte die Verleihung der Mozart-Medaille der Universitï¿œt Mexiko, 1995 des Mario-del-Monaco-Preises Otello d'oro" und 1996 des Mï¿œnchner Darstellerpreises Goldener Merkur". europamusicale.eu europamusicale.eu He has been associated with the Zurich Opera House since 1977; in 1988 the Vienna State Opera awarded him the title of "Kammersï¿œnger" as the youngest singer at that time to receive the honour; in the same year his Lieder concert in Tokyo was voted the best musical event of the year.

In 1991 he was awarded the Mozart Medal of the University of Mexico, in 1995 the Mario-del-Monaco Award and in 1996 the Munich "Goldener Merkur" acting award . europamusicale.eu Eine Tradition, durch James Levine mit [...] denkwï¿œrdigen konzertanten Auffï¿œhrungen von [...] Fidelio", Idomeneo", Otello", Parsifal" und Moses [...] und Aaron" begonnen, wurde fortgesetzt; [...] unter anderem in Zusammenarbeit mit der Amsterdamer Companions Opera und dem Mï¿œnchner Rundfunkorchester, zuletzt mit fï¿œnf Vorstellungen von Verdis Aida" im Sommer 2006 in der Mï¿œnchner Olympiahalle und in der Mannheimer SAP-Arena.

mphil.de A tradition introduced by James Levine with [...] [...] "Fidelio", "Idomeneo", "Otello", "Parsifal" and [...] "Moses und Aron", has been continued: in [...] cooperation, among others, with the Amsterdam Companions Opera and the Mï¿œnchner Rundfunkorchester, most recently with five performances of Verdi's "Aida" in the Summer of 2006 at Munich's Olympia Hall and the SAP Arena in Mannheim. mphil.de Nach Verlassen der Bahnhofunterfï¿œhrung ï¿œber die Rolltreppe gehen Sie zu Fuss nach links (ï¿œstliche Richtung) vorbei an Maron und dem Hotel ABC ï¿œber die Alexanderstrasse geradeaus der [...] Ottostrasse entlang (insgesamt ca. 180 m) und biegen am Ottoplatz [...] vor dem Restaurant Otello nach rechts in die [...] Harbertstrasse ein.

After you left the station's underground crossing by escalator you take a left (east) passing 'Maron' and 'Hotel ABC', cross 'Alexanderstrasse' and continue straight on following Ottostrasse (ca. 180 m in total). When you have reached [...] 'Ottoplatz' (square with car parking lots) you turn right just before you [...] pass restaurant 'Othello' into 'Hartbertstrasse'. larbenau.ch larbenau.ch Die Behauptung, Verdi und seinem Librettist Arrigo Boito wï¿œre mit OTELLO das einzigartige Kunststï¿œck gelungen, ein Shakespeare-Stï¿œck zu verbessern, kann zumindest als Indiz dafï¿œr gewertet werden, dass sie den Geist der Shakespeareschen Vorlage kongenial in Musiktheater zu ï¿œbertragen [...] vermochten.

operinberlin.de When it is said that Verdi and his librettist, Arrigo Boito, are the only people to have successfully improved on a Shakespeare play, this is at least an indication that they were able to convey the spirit of Shakespeare's original to the world of opera in a well-matched way. operinberlin.de Auch an die Oper in Sydney kehrt der Dirigent regelmï¿œï¿œig zurï¿œck, zuletzt 2008 fï¿œr "Otello". hamburg-ballett.de The conductor also returns to the opera in Sydney on a regular basis, recently Otello in 2008. hamburg-ballett.de Zu den Hï¿œhepunkten der letzten Spielzeit gehï¿œrten u.a. Puccinis Il tabarro mit dem BBC Symphony Orchestra in der Londoner Royal Albert Hall, Macbeth beim Edinburgh Festival, sein Debï¿œt an der [...] San Francisco Opera als Scarpia sowie die Erï¿œffnungspremiere des neuen Opernhauses in [...] Dallas als Jago in Verdis Otello.

ataneli.com Among his highlights of the last season were Puccini's Il tabarro with the BBC Symphony Orchestra at the Royal Albert Hall in London, Macbeth at the Edinburgh Festival, [...] his San Francisco Opera debut as Scarpia and the opening night of the new Dallas Opera [...] House as Jago in Verdi's Otello. ataneli.com ataneli.com Die Credit Suisse wird mit Gï¿œsten und [...] [...] Mitarbeitenden verschiedene Veranstaltungen der Salzburger Festspiele besuchen, so insbesondere auch die Premieren des "Don Giovanni" am 27. Juli und des "Otello" am 1. August, dem Schweizer Nationalfeiertag. emagazine.credit-suisse.com Guests and employees of Credit Suisse will attend various events at the Salzburg Festival, in particular the premieres of "Don Giovanni" on July 27 and of "Otello" on August 1, the Swiss National Day.

emagazine.credit-suisse.com Die Figuren Verdis: ï¿œberlegungen zu wichtigen Figuren in Verdis Oper, ihren Worten [...] und der Musik des groï¿œen Komponisten aus Parma (Rigoletto, Violetta, [...] Radames, Macbeth, Otello, Jago, Falstaff, [...] Don Carlo). Verdi's characters: The examination, through their words and music, of some of the significant [...] personalities in this great composer's work (Rigoletto, Violetta, [...] Radames, Macbeth, Otello, Iago, Falstaff, [...] Don Carlo). centrodiculturacasentino.org centrodiculturacasentino.org Die ersten Engagements fï¿œhrten ihn ab 1991 mit nur 23 Jahren nach Radebeul und Regensburg, wo er u. a.

den Max im Freischï¿œtz und den [...] Edgardo in Lucia di Lammermoor sang.1994 [...] sang er seinen ersten Otello so beeindruckend, dass [...] er fï¿œr drei Jahre nach Wuppertal [...] engagiert wurde, wo er als Laca (Jenufa), Canio (I Pagliacci), Lohengrin, Parsifal, und in Henzes Il Re Cervo auftrat. heidi-steinhaus.de The first engagements lead the only 23 year old tenor to Radebeul and Regensburg as from 1991, where he amongst others sang the parts of Max in Der Freischï¿œtz and [...] Edgardo in Lucia di Lammermoor.ï¿œ In [...] 1994 he sang his first Otello, followed by a three-year-engagement [...] in Wuppertal, where [...] he performed as Laca (Jenufa), Canio (I Pagliacci), Lohengrin, Parsifal, and in Il Re Cervo by Henze.

heidi-steinhaus.de heidi-steinhaus.de Dass er auï¿œerdem die Arbeit an Otello aufgenommen hatte, wussten nur wenige Menschen seines Umfelds, und diejenigen, die es wussten dï¿œrften sich kaum darï¿œber im Klaren gewesen sein, dass Verdi mit Otello der italienischen Oper des neunzehnten Jahrhunderts ihren [...] Hï¿œhepunkt bescheren wï¿œrde. mahler-chamber.de mahler-chamber.de Only a very few people in his circle of acquaintance were even aware that he had additionally taken up working on Otello, and those who did know could hardly have guessed that with Otello, Verdi would create one of the high points of Nineteenth Century opera. mahler-chamber.de Am 13. Mai 1947, in etwa 23, zwei Maler wie Sara [...] Angelo und Giusto Benvenuti plus ein [...] Bildhauer Bertazzolo Otello, Venezianer, in der [...] Taverne von "Aurelio", mit Sitz in S.

[...] eugeniodavenezia.eu Pontedera wurde zu einem Pol der Gegenwï¿œrtigen Kunst, dank des Ausstellungszentrum Otello Cirri, der Rï¿œume der Gemeindebibliothek, der zahlreichen, in den Parks und auf den Plï¿œtzen der Stadt (siehe die Panchine d'Autore, Bï¿œnke berï¿œhmter Kï¿œnstler auf der Piazza [...] [...] Garibaldi) oder in der Mitte der Kreisverkehrsinseln stehenden Skulpturen. pisaunicaterra.it pisaunicaterra.it Pontedera has recently become a centre of contemporary art thanks to the Otello Cirri Exhibition Centre, the spaces of the Public Library, and the permanent sculptures arranged in the parks and squares of the city (see the designer benches in Piazza Garibaldi). pisaunicaterra.it Nach Don Carlo und Aida wollte er keine Oper mehr schreiben, an [...] spï¿œte Nachzï¿œgler wie Otello oder Falstaff war [...] noch nicht entfernt zu denken.

digitalconcerthall.com After Don Carlo and Aida he intended to write no more operas, and thoughts [...] of latecomers like Otello or Falstaff were [...] still in the remote future.

digitalconcerthall.com digitalconcerthall.com Eine regelmï¿œssige Zusammenarbeit [...] [...] verbindet Philippe Auguin seit vielen Jahren mit fï¿œhrenden Opernhï¿œusern wie der Metropolitan Opera New York (Lohengrin, Bohï¿œme, Doktor Faust, Frau ohne Schatten), dem Teatro alla Scala Milano (Don Giovanni, Nozze di Figaro, Zauberflï¿œte, Macbeth, Ballo in maschera, Forza del destino, Dialogues des Carmelites), dem Royal Opera House Covent Garden London (Traviata, Tosca, Madama Butterfly), der Bayerischen Staatsoper Mï¿œnchen (Rosenkavalier, Elektra, Arabella), der Deutschen Oper Berlin (Aida, Die Tote Stadt), der Hamburgischen Staatsoper (Fliegender Hollï¿œnder, Tannhï¿œuser, Salome, Otello, Falstaff, Bohï¿œme, Turandot) sowie der Los Angeles Opera, der Sydney Opera dem Grand Thï¿œï¿œtre de Genï¿œve und den Opernhï¿œ

usern von Kï¿œln, Stuttgart und Dresden.

philippeauguin.com philippeauguin.com He has collaborated for many years with renowned opera houses such as theï¿œ Metropolitan Opera New York (Lohengrin, Bohï¿œme, Doktor Faust, Frau ohne Schatten), the Teatro alla Scala Milano (Don Giovanni, Nozze di Figaro, Zauberflï¿œte, Macbeth, Ballo in maschera, Forza del destino, Dialogues des Carmelites), the Hamburgische Staatsoper (Fliegender Hollï¿œnder, Tannhï¿œuser, Salome, Otello, Falstaff, Bohï¿œme, Turandot), the Royal Opera House Covent Garden (Traviata, Tosca, Madama Butterfly), the Bayerische Staatsoper Mï¿œnchen (Rosenkavalier, Elektra, Arabella), the Deutsche Oper Berlin (Aida, Die Tote Stadt), ï¿œas well as the Los Angeles Opera, the Sydney Opera, the Grand Thï¿œï¿œtre de Genï¿œve and the opera houses of Cologne, Stuttgart and Dresden.

philippeauguin.com MARGARETHEN, Otello in BRAUNSCHWEIG, Romeo [...] et Juliette mit Giuseppe Sabbatini und Stefania Bonfadelli, Falstaff mit Renato [...] Bruson und zudem das Galakonzert zu Brusons 70. Geburtstag in der Suntory Hall Tokyo, eine Mario Lanza Gala mit Vincenzo La Scola im TEATRO MASSIMO DI PALERMO, eine Bellini Gala in PARIS, Konzerte mit dem ORCHESTRA GIOVANILE DELLA SCALA, Gala in SPOLETO mit Giuseppe Sabbatini, Norma Fantini und Leo Nucci, die Premiere des SPONTINI FESTIVAL mit Gï¿œrard Depardieu und Giuseppe Sabbatini sowie die erste Vorstellung des Requiems von Andrew Lloyd Webber auï¿œerhalb Groï¿œbritanniens.

marco-boemi.com MARGARETHEN, Otello in BRAUNSCHWEIG, Romeo [...] et Juliette with Giuseppe Sabbatini and Stefania Bonfadelli, Falstaff with Renato [...] Bruson and in addition the gala concert for Bruson's 70th birthday in the SUNTORY HALL TOKYO, a Mario Lanza gala with Vincenzo La Scola in the TEATRO MASSIMO DI PALERMO, a Bellini gala in PARIS, concerts with the ORCHESTRA GIOVANILE DELLA SCALA, a gala in SPOLETO with Giuseppe Sabbatini, Norma Fantini and Leo Nucci, the opening night of the SPONTINI FESTIVAL with Gï¿œrard Depardieu and Giuseppe Sabbatini as well as the first performance outside Great Britain of Andrew Lloyd Webber's Requiem. marco-boemi.com Der Opernsï¿œnger Ben Heppner hat nach der Premiere in Baden-Baden die kommenden konzertanten Vorstellungen von Verdis Otello" abgesagt.

mahler-chamber.de After the premiere in Baden-Baden, Ben Heppner cancelled the following concert performances of Verdi's "Otello" due to vocal indisposition. mahler-chamber.de Mit Otello verwirklichte er sein Ideal, und formulierte gleichzeitig eine adï¿œquate Antwort auf Richard Wagner, dessen Idee vom Gesamtkunstweg die Oper in ganz Europa beeinflusste. mahler-chamber.de He realized this ideal in Otello and was able at the same time to formulate an adequate response to Richard Wagner, whose notion of the gesamtkunstwerk had so deeply influenced opera across Europe.

mahler-chamber.de mahler-chamber.de Hï¿œhepunkte der Saison 2009/10 sind Auffï¿œhrungen von Britten's War Requiem mit den Hamburger Symphonikern, eine Aida-Tournee in Japan mit der Prager Staatsoper, ihr Debï¿œt am Bolschoi Theater als Desdemona (Otello), eine Konzertserie des Verdi-Requiems in Toronto unter Gianandrea Nosedaï¿œsowie Tosca und La forza del destino im Rahmen desï¿œFestivals Classic openair Solothurn. riederprom.at riederprom.at Highlights of the 2009/10 season include a performance of Britten's War Requiem with the Hamburg Symphony Orchestra, a tour to Japan with the Prague State Opera with G. Verdi's Aida,ï¿œher debut at the Bolshoi Theatre as Desdemona (Otello), a concert series of Verdi's Requiem under Mo. Noseda in Toronto and shows of Tosca and La forza del destino at the music festival Classic openair Solothurn.

riederprom.at riederprom.at Mit seinem enormen [...] Stimmumfang von der tieferen Baritonregion bis ï¿œber das hohe C hinaus singt er nun gleichermaï¿œen Lohengrin und Radames, Stolzing und Don Carlos, Erik und Calaf, Parsifal und Otello, den Kaiser (in Frau ohne Schatten) und den Cavaradossi, Turridu oder Canio und Apollo. oehmsclassics.de oehmsclassics.de His enormous range - from the deep baritone regions until over high C, enables him to now sing Lohengrin and Radames, Stolzing and Don Carlo, Erik and Calaf, Parsifal and Otello, the Kaiser (in Frau ohne Schatten) as well as Cavaradossi, Turridu or Canio and Apollo.

oehmsclassics.de oehmsclassics.de Viele seiner zahlreichen Aufnahmen wurden mit internationalen Preisen bedacht, darunter Olivier Messiaens Turangalï¿œla-Sinfonie, Verdis Otello, Berlioz' Symphonie Fantastique, Schostakowitschs Lady Macbeth von Mzensk mit dem Orchestre de l'Opera Bastille; eine Reihe mit Dvo?ï¿œks Sinfonien und Serenaden mit den Wiener Phiharmonikern sowie eine Reihe mit geistlicher Musik mit dem Orchestra dell'Accademia Nazionale di Santa Cecilia, inklusive der preisgekrï¿œnten Aufnahme von Duruflï¿œs und Faurï¿œs Requiem mit Cecilia Bartoli und Bryn Terfel. karstenwitt.com karstenwitt.com Many of his numerous recordings have won international prizes and awards.

These include Olivier Messiaen's Turangalila Symphony, Verdi's Otello, Berlioz's Symphonie Fantastique, Shostakovich's Lady Macbeth with the Orchestre de l'Opera Bastille; a series of Dvoak's symphonies and serenades with the Vienna Philharmonic Orchestra, a series dedicated to the great sacred music with the Orchestra dell'Accademia Nazionale di Santa Cecilia, including the award-winning recording of Durufle's and Faure's Requiems with Cecilia Bartoli and Bryn Terfel. karstenwitt.com karstenwitt.com Er war hier u.a.

zu erleben als Mozarts Figaro, Leporello, [...] [...] Masetto, Papageno und Don Alfonso, als Musiklehrer (Ariadne auf Naxos), Vater (Hï¿œnsel und Gretel), Schaunard (La Bohï¿œme), Onkel Bonzo (Madame Butterfly), Monterone (Rigoletto), Trombonok (Die Reise nach Reims / Il viaggio a Reims), Fritz Kothner / Nachtwï¿œchter (Die Meistersinger von Nï¿œrnberg) und Mann 3 in Schuberts Schwanengesang. 2006/07 ï¿œbernahm er auï¿œerdem z.B.

Reinmar in Tannhï¿œuser, Surin in Pique Dame, Altgesell in Jenufa, Barone Douphol in La Traviata und Dumas/Schmidt in Andrea Chï¿œnier (konzertant) und 2007/08 kamen Auftritte in der Neuproduktion von Il trittico (Puccinis Triptychon) und konzertanten Auffï¿œhrungen von Otello hinzu sowie Don Fernando in der Neuinszenierung von Fidelio.

oper-frankfurt.de oper-frankfurt.de His roles here have included Mozarts Figaro, Leporello, Masetto, Papageno and Don Alfonso, the Music Teacher (Ariadne auf Naxos), Father (Hï¿œnsel und Gretel), Schaunard (La Bohï¿œme), Uncle Bonzo (Madame Butterfly), Monterone (Rigoletto), Trombonok (Il viaggio a Reims), Fritz Kothner / Night Watchman (Die Meistersinger von Nï¿œrnberg) and the 3rd Man in Schuberts Schwanengesang. In 2006/07 he sang Reinmar in Tannhï¿œuser, Surin in Pique Dame, Altgesell in Jenufa, Barone Douphol in La Traviata Dumas/Schmidt in Andrea Chï¿œnier (in concert) and, in 2007/08, Betto di Signa in a new production of Puccinis Il trittico, concert performances of Otello and Don Fernando in a new production of Fidelio.

oper-frankfurt.com The Magic Flute - Die Zauberflote - libretto only - English & German - English National Opera 3 | Wolfgang Amadeus Mozart | Largest Collection of Plays and Musicals in the World The Magic Flute - Die Zauberflote - libretto only - English & German - English National Opera 3 English National Opera Guides are ideal companions to the opera, providing stimulating introductory articles together with the complete text of each opera in English and the original With his last opera Mozart created a piece of theatre which defies categorization In theory it is a Singspiel, a mixture of songs and dialogue, in which the spectacular effects and comedy fit naturally They appeal today as much as they did when it first opened in popular Viennese theatre two hundred years ago and Rodney Milnes recalls some of the other pieces playing at the time, such as Kaspar the Bassonist, or The Magic Zither On the other hand, it belongs to a tradition of Enlightenment texts in which a young Prince, destined to be a ruler, learns from his adventures how to behave wisely as a social being This is a re-working of the Orpheus myth, in the context of the Age of Reason and Freemasonry David Cairns describes the

 many beauties of the score in loving detail, taking the reader through the complex plot, to clarify and interpret it Famous commentaries by Goethe, Berlioz, E T A Hoffmann and G B Shaw reveal their enthusiasm for the opera A useful and unusual feature of this guide is the complete dialogue, in German with an English translation, which is often badly cut in performance Like so many fairy tales, The Magic Flute repays careful attention: its music has a charm to inspire the child in every listener REVIEWS 'Brilliantly produced and superb value' ~ Sunday Times 'All these will provide the new opera-goer with food for thought' ~ Daily Telegraph 'Wholehearted recommendation of this valuable new series' ~ TLS Die Zauberflöte, K.620 (Mozart, Wolfgang Amadeus) - IMSLP/Petrucci Music Library: Free Public Domain Sheet Music Die Zauberflöte, K.620 (Mozart, Wolfgang Amadeus) Movements/SectionsMov'ts/Sec's 1791 Genre Categories Source: Musopen (lossless file also available) Purchase Javascript is required for this feature.

Naxos Search Javascript is required for this feature. Synthesized/MIDI These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. Selections These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. Overture What I Make of It Publications, 2014 Copyright Javascript is required for this feature. Das klinget so Herrlich (from Act I, No.8) For 2 Sopranos, 4 Recorders and Glockenspiel (Knuth) These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. Könnte jeder brave Mann (from Act I, No.8) These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. Marsch der Priester (Act II, No.9) For Organ (Gouin) MIDI file by Pierre Gouin Publisher Info. Montréal: Les Éditions Outremontaises, 2016 Copyright Javascript is required for this feature.

Duetto: Bewahret euch vor Weibertücken (Act II, No.11) For Brass Ensemble (Bjerre) These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. Duetto: Ein Mädchen oder Weibchen wünscht Papageno sich (Act II, No.20) For Mixed chorus (Knuth) These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. Sheet Music Staatsbibliothek zu Berlin (D-B): Mus.ms.autogr. Mozart, W.A. 620 . Slightly higher quality images (ca.300 dpi) Purchase * #97540 - 8.85MB, 28 (#1-28) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 41238x ⇩ * #97541 - 8.93MB, 32 (#29-60) pp.

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- 0.0/10 2 4 6 8 10 (-) - V/V/V - 1927x ⇩ * #97574 - 4.60MB, 16 (#374-389) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 5349x ⇩ * #97575 - 2.57MB, 9 (#390-398) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 1742x ⇩ * #97576 - 4.10MB, 15 (#399-413) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 10054x ⇩ * #97577 - 2.56MB, 9 (#414-422) pp.

- 0.0/10 2 4 6 8 10 (-) - V/V/V - 1801x ⇩ * #97578 - 2.99MB, 10 (#423-432) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 2600x ⇩ * #97579 - 4.67MB, 16 (#433-448) pp. - 0.0/10 2 4 6 8 10 (-) - V/V/V - 1951x ⇩ Staatsbibliothek zu Berlin (D-B): Mus.ms.autogr. Mozart, W.A. 620 . Color scans Opern, Bd.11, No.20 (pp.fm, 1-224) Leipzig: Breitkopf & Härtel , 1879. Plate W.A.M. 620. Copyright These file(s) are part of the Werner Icking Music Collection .

Purchase Javascript is required for this feature. Overture Leipzig: C.F. Peters , n.d.(ca.1875). Plate 5714. Reprinted Opern, Bd.12, No.20 (pp.fm, 1-26) Leipzig: Breitkopf & Härtel , 1879. Plate W.A.M. 620. Copyright [ tag / del / mrg ] Misc. Notes Original images: ca.300dpi, grayscale djvu files approx. 3010 by 3800 pixels. Editing: re-sampled to 600dpi, converted to black and white tif files, de-skewed, and set uniform margins. (#363995) *Bar numbers and Rehearsal Marks added to match Breitkopf & Härtel, Ed.4417, n.d.(ca.1890). Plate Orch.B. 209. (#262367) This score includes measure numbers.

Part of the research project Romantic Overtures, 1820-1850 (#388191) Purchase Leipzig: Ernst Eulenburg , No.614, n.d. Plate E.E. 3714.4355. Copyright These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. Könnte jeder brave Mann (from Act I, No.8) These file(s) are part of the Werner Icking Music Collection . Purchase Javascript is required for this feature. Aria: Der Hölle Rache kocht in meinem Herzen (Act II, No.14) Leipzig: Breitkopf & Härtel , 1879. Plate W.A.M. 620. Copyright Javascript is required for this feature. Parts New York: Edwin F. Kalmus , n.d.(1933-70). Copyright Neue Mozart-Ausgabe , Serie II, Werkgruppe 5, Band 19 [NMA II/519] Kassel: Bärenreiter-Verlag , 1970. Plate BA 4553.

URTEXT EDITION This “urtext” or “scholarly” (scientific) edition was published at least 25 years ago in Germany and thus is public domain in its country of origin. Such editions are also public domain in Canada because they fail to meet the minimum ‘threshold of originality’ to qualify for copyright as an ‘adaptation’. It may not be public domain elsewhere, however. More information about this can be found here . Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country. Copyright Neue Mozart-Ausgabe , Serie II, Werkgruppe 5, Band 19 [NMA II/519] Kassel: Bärenreiter-Verlag , 1970. Plate BA 4553. URTEXT EDITION This “urtext” or “scholarly” (scientific) edition was published at least 25 years ago in Germany and thus is public domain in its country of origin. Such editions are also public domain in Canada because they fail to meet the minimum ‘threshold of originality’ to qualify for copyright as an ‘adaptation’.

It may not be public domain elsewhere, however. More information about this can be found here . Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country. Copyright

Question: What is the English translation of the title of Mozart's opera "Die Zauberflte"?
Answer: The Magic Flute