The Magic Flute's Second Part

The Magic Flute Zweyter part. The Labyrinth or The Struggle with the elements (also: Second part of the Magic Flute ) is the title of an opera by Emanuel Schikaneder with music by composer Peter von Winter and the earliest resulting continuation opera The Magic Flute Wolfgang Amadeus Mozart.


The libretto of this " great heroic- comic " opera librettist Schikaneder wrote Mozart, who had already for The Magic Flute (1791 ) wrote the text. Composed 1797/1798, the first performance took place in the Wiedner Theater ( Vienna) on 12 June 1798. It worked with Schikaneder himself as Papageno, Josepha Hofer as Queen of the Night ( sung in Frankfurt am Main in 1806 by her sister Aloysia Lange), Josepha's second husband Sebastian Mayer as Sarastro, and Mozart's posthumous brother Jacob Haibel as Monostatos.

Roles of the opera

  • Sarastro.
  • Queen of the Night.
  • Pamina, her daughter.
  • Tamino.
  • Papageno.
  • Papagena.
  • First Lady (later Venus).
  • Second Lady (later Adonis ).
  • Third Lady (later the Page ).
  • First Genius. Second Genius. Third Genius.
  • Monostatos, a Moor.
  • Tipheus, King of Paphos.
  • Sithos, his friend.
  • High Priestess
  • First Priestess. second Priestess
  • Gura, a Mohrin
  • Papageno. Papagena ( the elderly ).
  • First Priest. Second Priest.
  • First Guardian of the labyrinth. Second Guardian of the labyrinth.
  • Several priests and priestesses.
  • Several warriors of Tipheus.
  • Many small Papageno and Papagenas.

The plot

The plot of this opera (for more sequels see below) begins shortly after the end of the plot of "The Magic Flute " and depicts the rivalry and the rematch between the Queen of the Night and Sarastro one hand, separation test ( in other trials with the elements earth and air) and merge the pair Tamino and Pamina other hand, and in a further action the events surrounding the couple Papageno Papagena and; these are also separated, reunited and exposed to particularly Papageno various temptations.

Act 1: Pamina is kidnapped at the wedding of her mother in order to marry her to Tipheus, Papageno Papagena and is separated from verkuppelt with a Cushite.

Act 2: Papageno finds Pamina Tamino and both made their final exam. Papageno Papagena returns to Tamino defeated Tipheus, the Queen of the Night and her entourage are chained to a rock.

Full Table of Contents

The plot in detail: ( the information on scene classification follow the Librettoerstdruck the vocal numbers (1798 ) and the additions of the manuscript traditions of the libretto on the edition of Jahrmärker / Waidelich )

1st to 5th scene

In the Garden of Tamino's Palace, the Queen of the Night, her three ladies and Monostatos along. You plan the separation of Pamina and Tamino: Two of the ladies are in the shape of Venus and Adonis the wedding couple to infidelity seduce the third lady appears as Page. Tipheus, was the promised Pamina from her mother, and Sithos added and join the conspiracy, but want to come in its own way to the destination. Monostatos pursues its own goal, to take revenge on Papageno, through disguise. The transformed ladies go to the still ongoing wedding celebration.

Scene 6

Papageno Papagena and come happily happiness besingend on and off again.

7 to 13 scene


Before a large Tabernacles Sarastro is preparing for the second trial of Tamino and Pamina. Pamina enters and is to be able to pass this test together with Tamino confident. She goes to meet with him in the grove at the Feast of Tabernacles.

The two transformed into Cupid and Venus ladies meet in the grove in front of the gazebo on Tamino and Pamina and want to say goodbye. They range the wedding couple a farewell drink, however, and the causes Tamino falls in love with Venus and Cupid Pamina in a love potion. Sarastro, however, observed everything, cancels the effect of the potion and distributes the two ladies.

A high priestess enters with Papageno Papagena and on and announces their first test on: Papageno's loyalty is led by the high priestess and two of her priestesses into temptation, but Papageno pass this test, observed from a hiding place of Papagena.

The queen of the night comes from her two ladies turned from unsuccessful " stop " on Tamino and Pamina. Together with Tipheus wants the Queen disturb the feast of the sun circle and kidnap Pamina.

14th and 15th Scene

Transformation - Finale -

In Sarastro's castle, the initiates gathered with Sarastro, Tamino and Pamina have to witness the official handover, appear as Sithos and Tipheus front of the castle. Sarastro receives it and she passed a letter from the Queen of the Night to Tamino, in which she reclaims her daughter and threatened in case of non fulfillment of the requirement with the destruction of the castle. Sithos and Tipheus be forced out of the hall and the castle, while Sarastro, Tamino and Pamina separated and individually leads to the underground labyrinth, in order to pass a test.

Scene 16


Meanwhile Papageno wanders alone through the woods and found his parents and his numerous brothers and sisters there.

17 and Scene 18

Monostatos tries to move ( in schwarzfedriger panel) Papagena by false promises to go with him. However, Papageno and his family stop him. Monostatos promises then a Moorish woman to her lover. The Queen of the Night appears in the guise of a priestess and he and Monostatos on the way to the labyrinth, while Papageno with his family celebrating a festival.

19 to 22 scene


The Queen of the Night has teamed up with Monostatos and three other Ethiopians Pamina through the maze and can eventually kidnap under the eyes of the helpless Tamino.


In ruins on a desert island, the Queen of the Night meets the rest of her entourage and they can escape just in time to the underground Star Empire from Tamino and Sarastro.


On Tipheus ' lying at anchor queen of the night wants her daughter just passed as a bride as her pursuers appear. The Queen of the Night transforms the ship into a cloud, and all occupants to escape.

End of the first act.

Second Act

1st to 5th scene

Papageno Papagena and celebrate with her ​​new family a feast, this comes as Monostatos and Papageno offers three Mohrinen to choose as a lover. He is then kidnapped by the angry Papagena, while Papageno to stay against Gura who must defend him from selected lover, forcing him by force with her.

6th and 7th scene

Sarastro can be guided by the labyrinth guards to Tamino.


In the throne room of Sarastro's castle is the half-crazed Tamino awarded courage to continue together with the initiated the search for Pamina and the fight.

8 to 10 Scene


Meanwhile Papageno must grapple in the forest, as Tamino comes to priests and Papageno commissioned Pamina regain for him with his new lover Gura. He gets back his glockenspiel for this adventure.

11 to 14 scene


Was in the bay, from the abducted Pamina from her mother, Tamino and Papageno meet, Papageno is set in a cloud to reach Pamina. The Three Ladies and the Queen of the night trying in vain wangle Papageno 's glockenspiel and Papageno makes with the three boys on the trip.

15 to 17 scene


In a smoke and fog Cabinet of the Queen of the Night Pamina is being prepared for her wedding with Tipheus. Papageno appears and can take you on his cloud, despite the Three Ladies Pamina.

18th and 19th Scene


Meanwhile, Papagena must resist the snares in the forest Monostatos.

Scene 20

Transformation - Finale -

Before the clouds palace of the queen of the night over a mountain range Tamino can conduct with the sound of his flute to be using the Three boys Pamina. On the run they are persecuted by the Three Ladies and the Queen of the Night.

21 to 23 scene


In the forest Papagena is through the help of Papageno and freed his family from Monostatos and this locked in a bird cage. The Queen escapes through those same woods in front of the victorious Sarastro.

24 scene


On the battlefield are the armies of Sarastro and Tipheus ' opposite. On Sarastro's proposal, the decision will be made in a duel between Tamino and Tipheus. Tamino wins the wrestling match and throws Tipheus into the fiery abyss of a volcano. On the mountain tops listed there forged Queen of the Night and its also forged Three ladies and Monostatos be visible.

A jubilant chorus ends the opera.

The music of the opera

Schikaneder put in the " Palatinate - Bavarian " Kapellmeister Peter von Winter highest expectations, for the work should also be after a prestigious opera based on the written jointly in 1797 by Johann Mederitsch and winter plant Babylon pyramids. A disease caused by Schikaneder initially an overdraft of leave of Kapellmeister of Munich Bavarian Hofdiensten wherein the local content it has been deleted. Winters artistic standards came into conflict with the " theater routine " of Schikaneder Wiedner Theater, so that its actual mastery as he or presented (1817 La Scala ) in The interrupted Feast of Sacrifice ( Court Opera Vienna 1796) later in Maometto proof, not in full could come into its own dimensions. The Ouverture is created as a sort of potpourri of opera and that some topics are cited and processed from the finale. Sonnleithner points out in his article shows the scenic and charming musical ensemble numbers, which based on templates from the Magic Flute, however, he blames. Sonnleithner résumé is that the music was " partially compliant, but not infrequently boring, . Nowhere warming and poignant "


Today, contemporary piano scores in three different issues and (at least) five score copies are known. The published libretto premiered pressure contained only the text of the song numbers. The dialogues are against text or preserved only in manuscript roll books, but apparently remained unknown until 1991. Since 2000 have been published (as rental equipment ) revisions of the score, the first edition of Manfred App. The full text book contains the book of Jahrmärker / Waidelich.

Contemporary criticism

Based on the ( detailed ) Synopsis clearly illustrates the discontinuous structure of Schikaneder's libretto has, which stands in the tradition of " heroic- comic opera " and is applied almost exclusively to striking effects go. The plot is convoluted, but can many lively situations for ensemble numbers to create. The success of The Magic Flute was not repeated. The performance figures ( Vienna are 67 ideas proven) show only moderate enthusiasm of the audience, even, than in the years 1799 to 1803, both parts of The Magic Flute were given on consecutive evenings.

All contemporary critiques and reviews complain in the first place, the shortcomings of the libretto in action and language. The music is, with a few shining moments described as mediocre. In the eyes of contemporaries both Schikaneder and winter are far remained behind their abilities. Through all comments on this opera is its evaluation draws as " facilities spectacle" of no value and claim. Leopold von Sonnleithner have saved nothing in his extensive description of the opera in the " recensions and communications on theater, music and visual arts " (1862 ) with critical remarks and jabs.

Versions and adaptations

For the Berlin premiere in 1803, the still largely followed the original version, arias were composed by Vincenzo Righini.

1803 also staged Schikaneder himself the new opera in Vienna and took in the two final major cuts before that caused particular streamlining of action in these parts. In addition, Schikaneder had by Abbé Vogler edit the introduction of the second act and compose arias and a ballet.

For the performances in Frankfurt in 1806, there were trays of Fernando Orlandi and Giuseppe Farinelli (ie G. Francesco Finco ). For both of these productions also dialogue games have been extended, changed or replaced. The staging 1807 in Nuremberg brought a profound treatment of the dialogues with social and critical conditions passages with it.

The duet of Papageno Papagena and from the first act ( " Come, bring her people " ) was a template for Piano Variations by Joseph Cub, which already appeared in the premiere.

Productions in the 19th century

Productions in the 20th and 21st centuries

The opera was restaged because of not known at this time dialogues with neuerfundener action and that

Further extensions of the Magic Flute in the 19th century

Mozart's Magic Flute was soon after its premiere numerous admirers. And although the text found little appreciation, there was, in addition to Schikaneder himself ( still in 1803 a second continuation of the Magic announced this project but no longer executed ), three other authors who dealt with a continuation of the Magic Flute.

First, the Magic Flute Project by Johann Wolfgang von Goethe is mentioned, which is so focused on the period 1795-1801 and a setting by Paul Wranitzky considered. A letter expressed opinion Schiller Goethe may have caused, to put aside the work. Various other interested in this text, the first playwright and theater director August Wilhelm Iffland (1798 and again in 1810), and later the composer Carl Friedrich Zelter (1803 and again in 1814). Zelter seems some parts to have music by Goethe's text, but which are now lost, by Bernhard Anselm Weber, the composition of a few pieces is attested.

1886 came two more sequels to the stage. Zelter's grandson Wilhelm Rintel set to music his father Ludwig Rintel the libretto, Zelter's son. The title of this opera is The Magic Flute, II.Teil. Another opera, Nitocris, the Magic Flute second part, based on a libretto which Goethe fragment involving, here set to music Heinrich August Schultze the libretto of his son Martin Schultze.

The last stand-alone continuation of that century came in 1892, the " music drama" Sarastro of Liszt 's pupil Karl Goepfart to a text by Gottfried Stommel premiered.