Misinterpreting the opera Die Zauberflote…:-0

One of the most curious scholastic errors I find myself having to deal with is the lack of intellectual curiosity on the part of scholars interpreting Mozart’s intent and vision with this opera.  For many years the libretto was simply ridiculed — there were ‘two’ Queens of the Night, for example.  How clumsy of Wolf!  How artificial the temple setting…<yawn>…3 children bobbing in and out to keep Pamina from taking her own life in despair, how very trite!  The Queen of the Night ‘must’ have been modeled after Constanze’s mother, Madam Weber.  We all know that!  Oh, and, of course, Sarastro was modeled after Ignaz von Born: https://en.wikipedia.org/wiki/Ignaz_von_Born. No curiosity there.  End of discussion.

In short, if there is anything about the opera Die Zauberflote that the critics don’t understand, they have just tended to blame Mozart!  To think that he, of all people, would agree to such a lumbering and clumsy plot!  What was he thinking?  :-0

Musicians and their critics have, in my estimation, one consistent shortcoming, and that is a refusal or an inability to think outside-of-the-box.  If it doesn’t come on paper, staff or otherwise, or someone has not ‘told’ them something, they just refuse to consider the possibility. Very unscholarly approach, to my thinking…

If, on the other hand, one considers that a genius such as Mozart knew exactly what he was doing and agreed to, and sensed in a way that he was launching this opera out into a future time and place where it might even conceivably come to exist in the material world, one might actually grasp what Wolfgang Mozart was all about.  For he did not have a mind riveted by limited thinking.  He simply moved forward with assurance and tenacity, not unlike the father of modern rocketry, Wernher von Braun on his quest to land men on the moon and return them safely to the earth.

So to those tempted to settle for superficial clues to what the opera Die Zauberflote is really all about I humbly ask that you consider the possibility that Wolf was describing people who would not even be born on this earth for over 200 years, and that he was doing his very best to describe them. 🙂





A post from my horsey blog “Hooves R Us”…M4B*

What kind of an instructor do you have? :-0

Needless to say, in any endeavor, and particularly with anything having to do with what I call the “underworld of music” (eg Non-Christian), parents can anticipate that any Christian children will probably be singled out and targeted to be taught to fail.  Based on my own experience there is very little, if any, interest in having any Spirit-filled Christians in a secular orchestra.

M4B*=Mozart For Believers

Insights from the Salzburg Salt Mine…M4B*

Lake in the Salzburg Salt Mine

When I was speaking with a family member about the Salzburg Salt Mine yesterday I had an insight — that it works well imo as a symbol of what Wolf was supposed to have been all about and how that got twisted around.

Wolf was born in Salzburg, Austria.  Everyone knows this. His birth house is something of a shrine.  Salzburg is named for the salt mine outside of town.  Jesus spoke of the people as the ‘salt of the earth’, meaning the common people.  What use is salt, He asked, if it loses its flavor?  What does this have to do with Wolf?

When Wolf was a child, beginning to exhibit his extraordinary talents, his father, Leopold, quickly assessed the situation.  He also had begotten another prodigy, Wolf’s older sister, Nannerl.  He did not want their talents to languish in the outpost of Salzburg.  He did not want them to die in anonymity because of the callous indifference and lack of sophistication of the common people of Salzburg.  So he decided to take the show on the road and instead court the crown heads of Europe.

The rest is history — we all know that Wolf played with Marie Antoinette at court, that the Mozart family, while given audience to perform, were treated as little more than servants, eating in the quarters of the help and being tossed trinkets instead of being given cold hard cash for their efforts.  We know of Leopold’s frustration at not being able to find a secure place for Wolf in one of the courts.  This failed effort contributed to the death of Wolf’s mother in Paris, for she had accompanied him when Leopold was no longer allowed by the Archbishop to leave Salzburg.

But how many of us have bothered to question Leopold’s mission?  I would certainly hope in this day and age that any parent who exploited their children at a young age and to such a great extent as to even move them overseas for a few years would come under severe scrutiny and have to take responsibility for spoiling their chances for life as an adult.

What could have happened if Wolf had been allowed to have a ‘normal’ childhood? Would people have flocked to Salzburg to hear him perform — at least during the summer months? Might Nannerl have been allowed to find her own successful path in music, instead of having her character stunted by the almost supernatural brilliance of her younger brother?

The Mozart family was part of the salt of the earth.  They were not nobility.  They were working class people. What if they had stuck to their roots, and plumbed the depths of Gd’s will for them, instead of running around chasing after the whims of royalty? Would Wolf have lived longer? Might he not have ended up being, in effect, mind-controlled by his father?

*M4B=Mozart For Believers

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