Almost from the moment of its premiere the public was talking about the occult significance of Wolfgang Mozart’s last major opera, The Magic Flute. There was so much to consider — after all, it was full of Masonic symbols, and, despite the fact that it was a jocular singspiel, it held a pregnant sense of awe — of things not explained. To make things even more convincing, Mozart himself died a few weeks later. Was there a connection? Was Mozart poisoned? What happened? Everyone wanted to know. Or was it just the hand of fate? Some asked. Perhaps writing the Requiem under someone else’s name was what did him in? Others questioned.
Well, for one reason or another, the mystery has continued to this day. And for good reason. What if the opera were, in fact, a prophecy that included Wolf himself? What if that prophecy was to come to life over 200 years later?
Unthinkable! said many. Impossible, said others.
However, if this were to be the case, let me provide some details that are implied in the opera. I don’t ask anyone to believe what I say, simply to test my words. Just for the moment take as an hypothesis that the opera being prophecy is simply a possibility — extraordinary though that might be.
Here might be a few insights —
Pamina’s father dies after presenting her with the magic flute. Her Mother, the Queen of the Night, flies into a rage as she feels her power is threatened by her daughter’s having the flute. Sarastro, Pamina’s step-father, steps in and kidnaps Pamina to keep her out of harm’s way, but says nothing to Pamina, who is confused and frightened.
The three children are Pamina’s children. They are an even greater threat to her Mother, who comes after them and tries to bewitch them and steal them from Pamina, who is terrified. The Queen of the Night holds the children ransom as she orders Pamina to kill Sarastro, creating even more terror. To make matters even more sinister, the Queen has a ‘spare’, so to speak, in Pamina’s sister,(the so-called ‘other Queen’) who helps her Mother against Pamina and her children. And, last-but-certainly not least — add to that the possibility that Monostatos, who happens to be a musician in an orchestra of false servants to Sarastro, has also attempted, frantically and viciously, to insinuate himself into the lives of Pamina and her children, in order to help the Queen.
Pamina has had glimpses of Tamino, but nothing more, except his picture. When she sings her desperate aria “Ach, ich ful’s”…she feels she has lost everything. As the children are being deceived by the Queen, even they cannot really help her.
And yet, Pamina perseveres, in love and in faith…with the help of her longest best-friend, Papageno…