Die Zauberflote — the prophetic opera…What happens when characters morph? :-0

Some time ago, after it had been pointed out to me by a member of Monostatos’ Orchestra that the opera Die Zauberflote had a connection to my family and me, my first reaction was one of relief, as so much about our lives had seemed confusing, especially to my (at that time small) children.  I thought, “Here are the answers.  Wolf has encoded it all in the opera.  I know the ending.  Everything is ok.”  I could not have been more mistaken.

The characters in the opera are clearly drawn, as they frequently are in opera.  They are either very good, or very wicked.  But is this so?  At the time the opera was first performed, critics were horrified at some aspects of the libretto.  The Queen of the Night, for example, did not seem to be clearly drawn.  There almost seemed to be two of them — a good one and a wicked one.  But what if there really, in fact,  were two people vying for that position– one obviously wicked and the other far more deceitful, presenting themself as ‘good’? Monostatos was clearly wicked, but what if there were a group of wicked servants?  But the greatest mystery of real life, compared to the opera, is the three children.  In the opera they encourage Pamina to keep her from despair at Tamino’s not talking with her.  What if they seemed to morph into, artistically speaking, characters that could be used against Pamina?

This can be somewhat confusing…but hopefully all turns out well in the end…

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Monostatos’ Orchestra…M4B*

This orchestra, which has, in effect, locked me out, has a considerable presence both in the metro area and around the state.  They do a lot of outreach concerts and go into the schools, generating interest in classical music.  They will even offer to teach some of your children.  Children are, in fact, very important to them. But, for Believers, I ask you to beware. Yes, people with an association with this organization can get involved in private Christian schools as well as the public schools.  They are really given a free pass.  Believers need to ask for discernment in anything involving them.

*M4B=Mozart for Believers…:-)

Why was Wolfgang Mozart despised?

In just about any book you pick up about Wolfgang Mozart you will find a few or a number of references to how conceited he was.  In fact, to many, it seemed that his arrogance had no end.  He was constantly correcting his colleagues in musical matters.  He enjoyed humiliating them, in fact, when they were especially pompous.  He was overbearing and, unfortunately for his victims, always right.  Did any of his colleagues during his life actually acknowledge the superiority of Mozart’s gifts to theirs?  Hardly.  They didn’t seem to have the time to do that — they were too busy cutting him down behind his back to rework him into something they were more comfortable with.  The result was the curious and infuriating ‘slander factory’ that accompanied Wolf wherever he went.  His colleagues, in short, could do no wrong, while he could do no right.  We even have a contemporary (if the 80’s of the last century can still be called that) abstraction of most of the slander and criticism directed at Wolf in the inglorious and unseemly play/movie Amadeus.  Wolf didn’t deserve the gifts he was given, goes its thesis — and guess who did?  The mediocrities.

But what everyone seemed to be overlooking in their rush to redesign Mozart’s character and gifts into something they could comprehend, his colleagues managed to avoid dealing with the obvious.  Mozart was just ‘too’.  He was too smart, too arrogant, too brilliant, too funny, too rude, too obnoxious.  He did not set the proper limits and boundaries.  He did not ‘fit’.  He was too different.

And there lies the crux of the issue.  For Mozart’s gifts were, in fact, different from theirs.  His was a gift of perfection, and theirs were not.  Mozart’s gift was perfect in the way a fifth or fourth is perfect; they cannot be compared to a major or minor interval.  They are just different.  No one would acknowledge that very obvious fact.  Instead, they decided to get rid of him, one way or another.  They treated him as though he were already dead, and then waited for something to happen.  And when he died, their secret was safe.  Now they could perform his music with impunity, and pretend to be him.  Who was to object now?  Could Mozart speak from the grave?

And thus, the myths about Mozart have grown and almost swallowed up the truth of his life and character.  But not entirely…for indeed, as he said in the opera The Magic Flute, ‘thy magic tones will speak for me, my message carry…”  🙂

An article on the upcoming Third Temple….M4B*

My reply:

Insightful article. In fact, this logic needs to apply to everything connected with the current state of Israel. This is not the nation that will rule in the Millenium; this is the state from where the Anti-Christ will rule out of the temple in Jerusalem. This current Israel may be, in fact, a “death-star” Israel.

http://www.nowtheendbegins.com/blog/?p=34100#comment-1168773

*Mozart For Believers

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