"Die Zauberflote", with the famous aria of "Queen of the Night", is the last masterpiece of the genius composer Mozart with the fairytale-like plot and the beautiful music completing the enjoyable piece. As a piece composed for the German commoners who could not understand the Italian operas, it was extremely popular, always selling all the tickets every time it performed. '밤의 여왕'의 아리아로 유명한 [마술피리]는 천재 작곡가 모차르트의 마지막 오페라 작품으로, 동화 같은 내용과 아름다운 음악이 어우러져 즐겁게 감상할 수 있는 오페라입니다. 당시 이탈리아 오페라를 이해하지 못하는 독일 서민을 위해 만든 후, 오페라가 공연될 때마다 티켓이 매진될 만큼 인기를 누렸던 오페라 [마술피리]에 대해 알아보겠습니다.

A comprehensive guide to Mozart's THE MAGIC FLUTE, featuring insightful and in depth Commentary and Analysis, a complete, newly translated Libretto with German/English translation side-by side, and over 30 music highlight examples.

Die Zauberflöte had its premiere at the Theater auf der Wieden in Vienna on 30th September 1791, less than ten weeks before Mozart's death. It has proved to be one of the most enduringly popular of all his works and has enchanted generations of opera-goers of all ages. In a fairy-tale allegory imbued with serious philosophical concerns, the opera combines ethereal music with earthy comedy to convey a message of hope for a better world.In this guide, Nicholas Till writes about the background and genesis of the opera, locating it on the cusp of the Enlightenment and the beginnings of German Romanticism. Julian Rushton provides a detailed analysis of the score with numerous musical examples highlighting its many delights, and Hugo Shirley surveys the different and often bizarre permutations that the opera has undergone on stage since some of its very earliest performances through to the present day.The guide contains the complete German libretto with a new English translation by Kenneth Chalmers and incorporates all the dialogue so frequently cut in performances. There are sixteen pages of illustrations, a musical thematic guide, a discography, a bibliography and DVD and website guides. The guide provides a perfect companion to opera-goers wishing to extend their understanding and increase their enjoyment of this much beloved work.

From Glyndebourne to the King’s Head, in the flesh and streamed online: opera is reaching a broader audience than ever before. With over 400 years of history, and a beguiling mix of musical motifs, costumes, storytelling and song, opera has fascinated and enthralled audiences for centuries. However it can also cast the impression of an intimidating high-art form, inaccessible to the uninitiated. How to Enjoy Opera is an engaging, illuminating primer which will demystify the world of opera. John Snelson, who has worked at London’s world-famous Royal Opera House in Covent Garden for over 15 years, gives his expert insight into how to absorb an opera and understand its inner workings. Aimed at newcomers to the art form as well as long-time fans, this book will help the reader to absorb and understand any opera: with examples drawn from more than 45 composers and just over 100 operas included. There are references to some of the most famous of all opera moments, sometimes from less familiar perspectives, but also to lesser-known works. This book decodes many of the elements that opera composers and librettists put into their operas that give enjoyment to audiences, in the hope that readers can gain greater enjoyment from their future viewing and listening too.

Do you cringe when your opera-loving friends start raving about the latest production of Tristan? Do you feel faint just thinking about the six-hour performance of Parsifal you were given tickets to? Does your mate accuse you of having a Tannhäuser complex? If you're baffled by the behavior of Wagner worshipers, if you've longed to fathom the mysteries of Wagner's ever-increasing popularity, or if you just want to better understand and enjoy the performances you're attending, you'll find this delightful book indispensable. William Berger is the most helpful guide one could hope to find for navigating the strange and beautiful world of the most controversial artist who ever lived. He tells you all you need to know to become a true Wagnerite--from story lines to historical background; from when to visit the rest room to how to sound smart during intermission; from the Jewish legend that possibly inspired Lohengrin to the tragic death of the first Tristan. Funny, informative, and always a pleasure to read, Wagner Without Fear proves that the art of Wagner can be accessible to everyone. Includes: - The strange life of Richard Wagner--German patriot (and exile), friend (and enemy) of Liszt and Nietzsche - Essential opera lore and "lobby talk" - A scene-by-scene analysis of each opera - What to listen for to get the most from the music - Recommended recordings, films, and sound tracks

Curation as a concept and a catchword in modern parlance has, over recent decades, become deeply ingrained in modern culture. The purpose of this study is to explore the curatorial forces at work within the modern opera house and to examine the functionaries and processes that guide them. In turn, comparisons are made with the workings of the traditional art museum, where artworks are studied, preserved, restored, displayed and contextualised – processes which are also present in the opera house. Curatorial roles in each institution are identified and described, and the role of the celebrity art curator is compared with that of the modern stage director, who has acquired previously undreamt-of licence to interrogate operatic works, overlaying them with new concepts and levels of meaning in order to reinvent and redefine the operatic repertoire for contemporary needs. A point of coalescence between the opera house and the art museum is identified, with the transformation, towards the end of the nineteenth century, of the opera house into the operatic museum. Curatorial practices in the opera house are examined, and further communalities and synergies in the way that ‘works’ are defined in each institution are explored. This study also considers the so-called ‘birth’ of opera around the start of the seventeenth century, with reference to the near-contemporary rise of the modern art museum, outlining operatic practice and performance history over the last 400 years in order to identify the curatorial practices that have historically been employed in the maintenance and development of the repertoire. This examination of the forces of curation within the modern opera house will highlight aspects of authenticity, authorial intent, preservation, restoration and historically informed performance practice.