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Is The Marriage of Figaro just about Figaro? Is Don Giovanni’s story the only one—or even the most interesting one—in the opera that bears his name? For generations of critics, historians, and directors, it’s Mozart’s men who have mattered most. Too often, the female characters have been understood from the male protagonist’s point of view or simply reduced on stage (and in print) to paper cutouts from the age of the powdered wig and the tightly cinched corset. It’s time to give Mozart’s women—and Mozart’s multi-dimensional portrayals of feminine character—their due. In this lively book, Kristi Brown-Montesano offers a detailed exploration of the female roles in Mozart’s four most frequently performed operas, Le nozze di Figaro, Don Giovanni, Così fan tutte, and Die Zauberflöte. Each chapter takes a close look at the music, libretto text, literary sources, and historical factors that give shape to a character, re-evaluating common assumptions and proposing fresh interpretations. Brown-Montesano views each character as the subject of a story, not merely the object of a hero’s narrative or the stock figure of convention. From amiable Zerlina, to the awesome Queen of the Night, to calculating Despina, all of Mozart’s women have something unique to say. These readings also tackle provocative social, political, and cultural issues, which are used in the operas to define positive and negative images of femininity: revenge, power, seduction, resistance, autonomy, sacrifice, faithfulness, class, maternity, and sisterhood. Keenly aware of the historical gap between the origins of these works and contemporary culture, Brown-Montesano discusses how attitudes about such concepts—past and current—influence our appreciation of these fascinating representations of women.
Chailley, a professor of music history at the Sorbonne, reveals the coherence of the opera and the hidden significance of its characters and situations. The author relates each of these elements to the esoteric tradition from which they emanate and to Mozart's own involvement with the Masonic brotherhood.
A comprehensive, up-to-date, resource providing an essential framework for understanding Mozart's most-performed opera and its extraordinary afterlife.
A complete, newly translated LIBRETTO of Mozart's THE MAGIC FLUTE featuring Music Highlight Examples and German/English translation side-by-side.
Hermes is the Greek god of the Word, of thought and magic, the swift-moving messenger of the Divine and guardian of souls in the Afterlife. In Ancient Egypt he was the majestic god Thoth, the Recorder, the lord of measurement and science, the brother/husband of Isis. In Rome, he was of course Mercury, flying through the Empyrean at the speed of idea by the aid of his winged helmet and boots. In this broad survey of the Hermetic arts, author Jacob Slavenburg brings an unparalleled depth of insight to the subject. He examines the historical Hermetic literature and details its relevance to modern occultism, from the symbolism of architecture and art to the mysteries of Freemasonry. The heavenly mysteries of astrology are explored as are the healing arts which derive from the spirit of scientific inquiry embodied by Thoth/Hermes. Slavenburg examines the magical writings of the Greek papyri and their development into the contemporary magical practices of modern adepts. He sheds light on the workings of alchemy and the esoteric philosophy to the world of modern chemistry and physics. He explores the origin of evil and the realm of the afterlife, and the Hermetic doctrines of reincarnation and karma. In addition, the author provides a wealth of biographical data on the magi of Hermeticsm, from Ficino to Agrippa, John Dee to Giordano Bruno.
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.
Focusing on the operas of Mozart, Gluck, and Rameau, Building the Operatic Museum examines the role that eighteenth-century works played in the opera houses of Paris around the turn of the twentieth century. These works, mostly neglected during the nineteenth century, became the main exhibits in what William Gibbons calls the Operatic Museum -- a physical and conceptual space in which great masterworks from the past and present could, like works of visual art in the Louvre, entertain audiences while educating them in their own history and national identity. Drawing on the fields of musicology, museum studies, art history, and literature, Gibbons explores how this "museum" transformed Parisian musical theater into a place of cultural memory, dedicated to the display of French musical greatness. William Gibbons is Associate Professor of Musicology at Texas Christian University.
On the one hand, New Testament scholarship has been preoccupied with a search for the "historical Jesus." On the other, twists and turns occurring after the first century brought about "an enforced orthodoxy" that views modern visionaries as heretics. The inconclusive nature of theology pits those who are reluctant to support the miraculous against the witness of the original oral tradition. One result of the confusion over the New Testament record is that contemporary fiction such as The Da Vinci Code has emerged to fill the void. It has been so popular because there is hunger for a better understanding of those events. The author of this book aims to fill the gap. Drawing on the visionary reports of Anne Catherine Emmerich (1774-1824) and Judith von Halle (b. 1973), as well as the spiritual research of Rudolf Steiner and Robert Powell, Charles Tidball traces the events of two thousand years ago in Palistine, including scenes in the life of John the Baptizer, Jesus' forty days in the wilderness, healings, the Transfiguration, the raising of Lazarus, the Passion, Resurrection, and Ascension of Christ, and much more. The author's purpose is to "present these relatively unknown facets of the life of Jesus Christ as stories [so] they can achieve the broader recognition they deserve." The result is that this book breathes new life and meaning into familiar stories, offering the reader a fresh beginning in understanding the profound wisdom contained in the New Testament.
An exploration of Mozart’s strong ties to Freemasonry and how its principles profoundly shaped his musical work • Reveals how Mozart structured his music on Masonic ritual and ceremony to provide a musical lexicon of Masonic symbols • Shows that Freemasonry plays the same role in Mozart’s work as Lutheran Christianity plays in that of Bach Thanks to recently discovered documents, we now have a fuller picture of the esoteric influences on the life and work of Wolfgang Amadeus Mozart. Musicologist Jacques Henry shows that the Masonic influence on Mozart goes beyond those pieces, such as The Magic Flute, that fulfilled a ritual purpose for the composer. His works actually provide a complete musical lexicon of Masonic symbols inspired by the principles of the craft and the spirit of the Masonic quest. Mozart constructed his Masonic compositions by creating auditory correspondences to the symbols present in the rituals, choosing keys and tempos that transpose their content into harmony. His understanding of the use of symbol allowed him to create music that would lead the listener into a harmony that transcended earthly existence. A number of musicologists believe that the place of the Masonic spiritual vision in Mozart’s work is comparable to that held by Lutheran Christianity in the work of Johann Sebastian Bach. Mozart wed his deep understanding of music to the esoteric wisdom he gained as a Freemason. He shows that when we lose ourselves in the expression of pure harmony, it is the same as the symbol being lost in what it symbolizes. Jacques Henry provides a rigorous and original analysis of Mozart’s works that reveals their inner meaning as shaped by the composer’s profound embrace of the spiritual principles of Freemasonry.