The Magic Flute (The Black Dog Opera Library) (Hardcover)

by Wolfgang Amadeus Mozart (Composer) "Tne day a handsome prince named Tamino went out hunting..." (more)
Key Phrases: Queen of the Night

Editorial Reviews

Amazon.com Review
Mozart's last opera, the simultaneously comic and serious fairy tale The Magic Flute (Die Zauberfloete), is as problematic as anything in the medium. Some deplore it for its perceived sexism and racism; some deplore it for its arguably goofy plot. "Depending on your perspective," writes David Foil in his essay in this book, it "is either the silliest opera ever written or a work of profound insight that happens to be dressed in the trappings of a cartoon." That it is Mozart's sublime music that ennobles something meant to be merely a short-lived popular entertainment is not in question.

This volume, issued by Black Dog Opera Library, puts together Foil's essay, lots of pictures, a complete libretto (with running commentary) in English and German, and a classic recording on two compact discs in one comfortably priced hardcover package. It is a fine introduction to what remains a great opera, goofy plot or no. (And Bellini's plots aren't even goofier?) It is worth buying just for the now out-of-print EMI/Angel 1972 (remastered in 1987) recording, contained on two very long-playing CDs, found inside the front and back covers of the book. The dialogue portions work better in this version than in most recordings. Anneliese Rothenberger is an appealing Pamina, and Walter Berry is a delightful Papageno. Edda Moser nails the difficult music of the Queen of Night, while Kurt Moll is our day's definitive Sarastro. Wolfgang Sawallisch, brisk and never lugubrious, conducts his soloists and the Bavarian State Opera Chorus and Orchestra with total certainty.

From Publishers Weekly
Adapting any work to sequential art is intimidating, but adapting opera takes a special kind of confidence. Adapting comic opera-particularly one by Mozart-takes a confidence that borders on hubris. Fortunately, Russell, who's adapted everything from Neil Gaiman's short stories to The Ring of the Niebelung, has the talent to back up his ambition. Sure and confident, Russell's art switches from tense action sequences to slapstick without missing a beat. His sense of physical characterization is also impressive, helping readers keep track of Mozart's often confusing cast of characters. Even traditionally less-recognized aspects of comics presentation, like color and lettering, here serve the story brilliantly. And as impressive as Russell's art is, his writing is possibly even more noteworthy. Much of this graphic novel is told without narration or dialogue (presumably to simulate the longer musical passages Mozart included in the opera), and Russell's selection of sequential images keeps the story moving along without ever losing readers. When he does use dialogue, often the hardest part of a graphic novel to pull off properly, he hits just the right tones: brash and aspiring for young Prince Tamino, earthy and hearty for cynical bird-catcher Papageno, haughty and cryptic for the mysterious Queen of Night. NBM's reprint of Russell's classic adaptation superbly displays the artist's skill at both writing and illustrating.
Copyright 2003 Reed Business Information, Inc. --This text refers to the Hardcover edition.

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Product Details

• Hardcover: 144 pages
• Publisher: Black Dog & Leventhal Publishers (January 9, 1996)
• Language: English
• ISBN-10: 1884822827
• ISBN-13: 978-1884822827
• Product Dimensions: 7 x 6.3 x 0.8 inches
• Shipping Weight: 13.4 ounces
• Average Customer Review: 4.7 out of 5 stars See all reviews (25 customer reviews)
• Amazon.com Sales Rank: #824,946 in Books (See Bestsellers in Books)

Customer Reviews

Most Helpful Customer Reviews

68 of 73 people found the following review helpful:

3.0 out of 5 stars Make sure you're getting the right version!, March 11, 2000

By	Ms J. A. Heirtzler "mother at large" (Dover, NH USA) - See all my reviews (REAL NAME)

This review is from: The Magic Flute (Hardcover)

I just wanted to warn people thinking of getting this book -- make sure you're getting the one you want! The editorial review for the children's version of "The Magic Flute" refers in part to a Black Dog Opera version -- *that's* the one with the libretto and two CDs. The children's version (retold by Anne Gatti) has only one CD of selections from the opera, and no libretto, just a retelling of the story. I bought the children's version by mistake, based on the editorial review and the customer reviews (some of which also claim that 2 CDs are included), but it turns out these do not refer at all to the children's version.

That said, if you're just looking for something for your kids, definitely go for the children's version (ASIN 0811810038). The illustrations are cute, and the text is written to follow along with the CD selections... fine for the age range they indicate. If, however, you want the full libretto with translations, and the full opera on CD, make sure you get the "Black Dog" version which is referenced as "hardcover edition" on the kid's version page. (Hope that makes sense!)

20 of 22 people found the following review helpful:

4.0 out of 5 stars Perfect introduction to Opera--3-7 year olds, November 27, 2002

By	Kendal B. Hunter (Provo, UT United States) - See all my reviews (TOP 500 REVIEWER)    (REAL NAME)

This review is from: The Magic Flute (Hardcover)

This is sheer genius! Put the opera in CD form, and attach a nice picture book for children, and you have a perfect classic. I hope more books like this are on the way. This is a perfect introduction to a masterwork of opera.

I confess that "The Magic Flute" is my favorite opera. It retells the ancient Freemason legends in opera and dramatic form, so you know that the story is rather primeval and sacred. I am glad, therefore, to see that someone has transposed the story for children. The book and the legend hold up well against "The Odyssey," Shakespeare, and Harry Potter, and the story has an incredible soundtrack to boot.

After all, we are really focused on the mysterious music and the incredible love story of Tamino and Pamina, and the trials that keep these two apart. The more I read and ponder the story, and ultimately its esoteric message, the more I love this story.

The CD is perfect and without hiss or crackle. The book is geared for a 3-7 year old, and doesn't do the story justice. However, it is a great introduction to this opera.

10 of 10 people found the following review helpful:

5.0 out of 5 stars A Good Introduction To Opera, Outstanding Recording, December 27, 2002

By	Rachel Garret (Beverly Hills) - See all my reviews

The Black Dog Opera Library Series had outdone themselves once again. In this 1972 recording of Mozart's last opera, we are treated to a fine performance by fine singers, a fully illustrated book with liner notes and commentary, as well as information useful in biographies on the composer and his time. Mozart was close to his death bed at the time he composed The Magid Flute. He made an opera that could be enjoyed at many levels. At one level, it is a comic, brilliant fairy tale for children, at another level, it is deeply symbolic and layed with Masonic ideals of universal brotherhood and love. Mozart and his librettist were both Freemasons, a religous "sect" that was under hot water in 18th century Vienna for its pagan origins and its advocation of ideas of the Enlightenment. The story is about Tamino, a prince who is lost in a strange land (originally, a mystic Egypt), who is rescued from a serpent by three mysterious women and promised the hand of the daughter of the Queen of the Night if he saves her from the wizard Sarastro. Together with the help of the comic bird-catcher, Papageno, he sets out on his adventure. But halfway through the opera, he discovers that he has been deceived. The Queen of the Night is the true villain and Sarastro is really a holy man. After many trials, the forces of evil are defeated and the opera ends blissfully with a victory.

Musically and dramatically, it is Mozart's greatest opera. From the striking Overture to the use of dark strings, trumpet and soaring flute passages, the individual arias which express intense emotions to the neverending theme that good triumphs over evil, the Magic Flute stands out as a great opera to begin with for newcomers and a favorite for old time opera fans.

In this recording, conductor Wolfgang Sawallisch leads the Bavarian State Orchestra in a highly effective, thoroughly dramatic and sentimental, full interpretation of Mozart's score. Tenor Peter Schreir as Tamino is exceptional, passionate in his aria "Dies Bildnis" (This portrait), and again as he plays his flute in "Wie Stark ist Nicht dein Zauberton" (How powerful is your music, magic flute), his individual lines in the ensembles and his duet with Pamina as they undergo the final trial of fire. Annelise Rothenberger, a sublime German lyric soprano, is moving in her portrayal of Pamina. She has her moments in this recording. Note how her high, melodic voice seems to come from nowhere as she confronts Sarastro and Tamino for the first time "Herr! Ich bin zwar Verbrecherin ! (Sir! I am the transgressor). Her aria "Ach Ich Fuhls" (O, I feel that happy days have passed) is the finest interpretation, full of pathos and a kind of melancholic madness, as well as her lines in her suicide attempt, finally, she is sublime as a strong woman ready to face trials with Tamino, especially striking when she sings the line "Tamino!".

Kurt Moll's Sarastro is without question the best. His voice is suited for God. So divine and sonorous and full of grace, his voice is especially noticeable in the aria "O Isis and Osiris " and "In deisen Heilen Hallen"( In these holy halls). Finally, and not to be missed, is Edda Moser's incredible interpretation of the Queen of the Night. You have not heard the true Queen of the Night, until you've heard Edda Moser. She has a Wagnerian intensity and neurosis in her lines, apt and effective for the role of a Queen bent on deception and the murder of her rival, Sarastro. Her aria "O Zittre Nicht, Mein Lieber Son" (O tremble not, beloved son" is full of lyric dramatic passages and coloratura at the end. The vengeance aria "Der Holle Rache Kocht Meine Herzen "(Hell's Anger Burns Within My Heart) is full of fire. The way she attacks the dramatic, powerful lines is out of this world and the high F's she escalates are unsurpassed.