Over time, many questions have been asked about the deep meaning of Mozart's last opera, what the genius from Salzburg wanted to reveal to us, its hidden message, and its true meaning. So much concern has also led to an infinite number of answers. Thus, The Magic Flute (Die Zauberflöte) has been described as anything from a "Masonic oratorio", or a ceremony for initiates, to a simple fairy tale suitable for all audiences.
On the outskirts of Vienna The Masonic symbolism is present throughout the work, but the fact that it was premiered in a suburban theater, the Theater auf der Wienen, before an audience far from Masonic doctrines as from any other philosophical idea, that is, a plain and simple audience, leads us to think that Mozart was far from pretending to compose an elaborate work, full of truths accessible to a few. If we also remember that both the librettist Schikaneder (and administrator of the theater) and the composer were under serious financial difficulties at the time, Mozart's intention could not have been other than to reach a large audience, whether they were Masons or not.
A triumphal tour
The reception on the day of its premiere (September 30, 1791) began cold, but in the end, it was warmly applauded. And from its second performance, it began a triumphal journey that continues to this day. In October 1791 it was performed 24 times, and after a little more than a year it reached its hundredth performance. But Mozart was not there to see it. He had died a year before.
Queen of the Night Aria
The obscure character with no name but simply called the Queen of the Night has only two arias to perform, one in the first act and another in the second. The most famous of these is the one in Act II, known for short as "Der Hölle Rache..." and popularly referred to as "Queen of the Night Aria". It requires a coloratura soprano of extreme skill, as it is one of the most difficult soprano arias in operatic literature.
"Hell's revenge..."
"Der Hölle Rache kocht in meinem Herzen" is its full title. That is, something like "Hell's vengeance boils in my heart". Indeed, the queen suffers a fit of vengeful rage and puts a knife in the hands of her daughter Pamina exhorting her to murder Sarastro, the queen's rival, under penalty of cursing her forever if she does not comply.
The performance is by German soprano Diana Damrau, accompanied by the Vienna Philharmonic, conducted by Riccardo Muti.
