Book contents
- The Cambridge Companion to The Magic Flute
- Cambridge Companions to Music
- The Cambridge Companion to The Magic Flute
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Musical Examples
- Contributors
- Acknowledgments
- Abbreviations
- Introduction
- Part I Conception and Context
- Part II Music, Text, and Action
- Part III Approaches and Perspectives
- Part IV Reception, Interpretation, and Influence
- 17 Zauberflöte: A Cultural Phenomenon in an Age of Revolution
- 18 The Magic Flute in Biography, Criticism, and Literature
- 19 The Elusive Compositional History of The Magic Flute
- 20 Staging The Magic Flute
- 21 Ingmar Bergman’s Film Version of The Magic Flute
- Further Reading
- Index
17 - Zauberflöte: A Cultural Phenomenon in an Age of Revolution
from Part IV - Reception, Interpretation, and Influence
Published online by Cambridge University Press: 24 November 2023
- The Cambridge Companion to The Magic Flute
- Cambridge Companions to Music
- The Cambridge Companion to The Magic Flute
- Copyright page
- Dedication
- Contents
- Figures
- Tables
- Musical Examples
- Contributors
- Acknowledgments
- Abbreviations
- Introduction
- Part I Conception and Context
- Part II Music, Text, and Action
- Part III Approaches and Perspectives
- Part IV Reception, Interpretation, and Influence
- 17 Zauberflöte: A Cultural Phenomenon in an Age of Revolution
- 18 The Magic Flute in Biography, Criticism, and Literature
- 19 The Elusive Compositional History of The Magic Flute
- 20 Staging The Magic Flute
- 21 Ingmar Bergman’s Film Version of The Magic Flute
- Further Reading
- Index
Summary
The manner in which Die Zauberflöte established itself as a cultural icon in late-eighteenth-century German society is remarkable. It permeated daily life in countless ways: fashion, pet naming, board games, risqué party entertainments, mechanical toys, children’s playlets, and whistling birds. While this represents the escapism of the opera’s fairy-tale plot, darker strands are woven into the fabric of its early reception. It swept across Europe during a period of bloody revolutionary war, and all sides made use of it in their political propaganda. Papageno was ensconced at the heart of the Prussian military establishment when one of his tunes was added to the carillon of the Potsdam Garnisonkirche. At the same time, his music, under the banner of freedom, entered the republican song repertoire. After Napoleon’s cataclysmic defeat near Leipzig in 1814, a satirist was quick to wish him a derisory farewell as he sailed back across the Rhine. What better choice than the language of the opera: auf wiedersehen!
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- The Cambridge Companion to The Magic Flute , pp. 275 - 290Publisher: Cambridge University PressPrint publication year: 2023