The Magic Flute (Die Zauberflote) in Full Score(歌剧《魔笛》全谱)

Unfortunately, his tragic death a scant two months later prevented Mozart from ever realizing the full accuracy of this observation made a few performances after the cool reception given The Magic Flute at its Viennese premiere.
In May 1791, Mozart's friend Emanuel Schikaneder commissioned The Magic Flute.In keeping with the popular level of his theater, Schikaneder himself supplied Mozart with the libretto about the rescue of a good fairy's daughter from a wicked magician by a hero armed with a magic flute. After a good deal of the music was written, composer and librettist, both Freemasons, grafting Masonic ideals onto the plot, transformed a simple fairy tale into a moralistic allegory, and a Singspiel into one of the world's greatest operas.
This handsome, moderately priced volume, reprinted directly from an authoritative edition, will enable musicians, music students and opera lovers to gain a fuller appreciation of Mozart's mastery of operatic language, orchestral color and dramatic expression. A helpful feature of this edition is the inclusion of all the spoken dialogue （often abbreviated）.

Amazon.com
Mozart's "fairy-tale opera" is one of the most beloved works in the repertory. It is a favorite for children's first exposure to opera as it is an enchanting work jammed with melodies that are both noble and playful. The Magic Flute is also one of the most problematic works in the repertory, full of staging difficulties (the hero enters, pursued by a monstrous serpent, and promptly faints--not very heroic of him) and some elements that seem unpleasantly sexist and racist to today's sensibilities. And there's the perennial malcontent who's all too eager to point out that The Magic Flute is not really a grand opera in any case, but a mere singspiel, with spoken dialogue and coarse comedy, no better than an operetta. And what's with all the Masonic imagery?

The story certainly has problems, but the score--one of Mozart's last--overcomes them all as surely as the Three Ladies scrag the serpent and Sarastro and the forces of truth and reason overcome the wicked Queen of the Night. This music has it all, from the heroic notes of Sarastro and the priests to the humor of the bird catcher Papageno. Don't overlook the wonderful ensembles of the Drei Damen and Drei Knaben; Mozart blends trios of soprano voices in a way that's undiluted magic, and that no one even came close to imitating until more than two centuries later, when Richard Strauss took the master's lessons to heart.

You can examine for yourself just how Mozart achieved his effect with this full orchestral score from Dover. It's a reprint of another publisher's out-of-copyright score (C.F. Peters of Leipzig, in this particular case); also, there's not a word of English in it once you get past Dover's title pages and the translation of the table of contents that they've thoughtfully provided. What you will get is all of the instrumental parts (note that most pianists will be unable to do much with this score!), all of the vocal parts, and acres of uncut German dialogue. Dover scores are a reasonably priced resource for singers, instrumentalists, conductors, and anyone who cares deeply about the opera.

From Publishers Weekly
Adapting any work to sequential art is intimidating, but adapting opera takes a special kind of confidence. Adapting comic opera-particularly one by Mozart-takes a confidence that borders on hubris. Fortunately, Russell, who's adapted everything from Neil Gaiman's short stories to The Ring of the Niebelung, has the talent to back up his ambition. Sure and confident, Russell's art switches from tense action sequences to slapstick without missing a beat. His sense of physical characterization is also impressive, helping readers keep track of Mozart's often confusing cast of characters. Even traditionally less-recognized aspects of comics presentation, like color and lettering, here serve the story brilliantly. And as impressive as Russell's art is, his writing is possibly even more noteworthy. Much of this graphic novel is told without narration or dialogue (presumably to simulate the longer musical passages Mozart included in the opera), and Russell's selection of sequential images keeps the story moving along without ever losing readers. When he does use dialogue, often the hardest part of a graphic novel to pull off properly, he hits just the right tones: brash and aspiring for young Prince Tamino, earthy and hearty for cynical bird-catcher Papageno, haughty and cryptic for the mysterious Queen of Night. NBM's reprint of Russell's classic adaptation superbly displays the artist's skill at both writing and illustrating.
Copyright 2003 Reed Business Information, Inc. --This text refers to the Hardcover edition.

From School Library Journal
Grade 4 Up?A stunningly illustrated, well-written retelling of one of Mozart's most beloved works. This operatic fairy tale is related in an elegant, clear tone in 15 scenes; most have a single page of text and one facing full-page painting. This technique breaks the rather complicated story into easy-to-follow pieces. Malone's soft oil paintings are full of light; stylized but warm, they precisely catch the flavor of Mozart's vision. Story and pictures are lovely, fresh, and rich, but it is the enclosed CD with 16 selections coded to each page of the book that make this a unique and appealing offering. This reading-plus-listening package is almost as good as being in the audience. Libraries may encounter problems circulating a book with a CD tucked in the back, but this a special item and it deserves a place on the music shelves of most libraries. A beautiful treat for the eyes, the ears, and the imagination.?Beth Tegart, Oneida City Schools, NY
Copyright 1998 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.

From Kirkus Reviews
This retelling of Mozart's wonderful opera works particularly well for two reasons. First is the eye-catching appeal of Malone's illustrations, with their gorgeous theater-set qualities, fresco naturalness, and zesty characterizations. The second is that Gatti keeps tempo of the opera in her text, with pleasingly swift scene changes and quick character portraits. She neither simplifies the story, nor bevels its edges: Papageno might be there for light relief, Tamino and Pamina feel destined for one another despite their miscues, but good and evil often wear their opposite qualities, and the mother, disquietingly, is still the most evil of all; consider the scene outside the temple walls (Pamina: ``Oh, Mother, I don't know what to do! Please protect me.'' Queen of the Night: ``Protect you?''). An audio CD is included (with musical cues in the book); if everything pales before the music, readers will still sense how the opera's magic worked on Gatti and Malone, and gain an entry to the magic themselves. (Picture book. 7-11) -- Copyright ©1997, Kirkus Associates, LP. All rights reserved. --This text refers to an out of print or unavailable edition of this title.

First Act
　1.Introduction.
　 Tamino: "Zu Hiilfe! zu Hulfe!"
　 The Three Ladies: "Stirb Ungeheu'r."
　2.Aria.
　 Papageno: "Der Vogelfanger bin ich ja."
　3.Aria.
　 Tamino: "Dies Bildniss ist bezaubernd schon."
　4.Aria.
　 Queen of the Night: "o zitt're nicht, mein liebe Sohn!"
　5.Quintet: Tamino, Papageno, the Three Ladies.
　 Papageno: "Hm hm hm hm hm hm hm hm."
　 First Lady: "Die Konigin begnadigt dich."
　6.Trio: Pamina, Monostatos, Papageno.
　 nonostatos: "Du feines Taiubchen nur herein!"
　7.Duet: Pamina, Papageno.
　 Pamina: "Bei Mannern, welche Liebe fuhlen."
　8.Finale.
　The Three Boys: "Zum Ziele fuhrt dich diese Bahn."
　 Tamino: "Die Weisheitslehre dieser Knaben."
　 Tamino: "Wie stark ist nicht dein Zauberton."
　Pamina, Papageno: "Schnelle Fusse, rascher nuth."
　 nonostatos: "Ha, hab' ich euch noch erwischt!"
　 Chorus of Slaves: "Das klinget so herrlich."
　Offstage Chorus: "Es lebe Sarastro! Sarastro lebe!"
　 Pamina: "Herr, ich bin zwar Verbrecherin."
　 nonostatos: "Nun stolzer Jungling, nur hieher!"
Chorus: "Wenn Tugend und Gerechtigkeit."
Second Act
9. March of the Priests.
9a. The Triple Chord.
10. Aria with Chorus.
Sarastro: "o Isis und Osiris, schenket der Weisheit Geist."
1l. Duet.
First and Second Priests: "Bewahret eueh vor Weibertucken."
12. Quintet: Tamino. Papageno, the Three Ladies
The Ladies: "Wie? wie? wie? Ihr an diesem Schreckensort?"
13. Aria.
Monostatos: "Alles fuhlt der Liebe Freuden."
14. Aria.
Queen of the Night: "Der HSlle Rache kocht in meinem Herzen."
15. Aria.
Sarastro: "In diesen heil'gen Hallen."
16. Trio.
The Three Boys: "Seid uns zum zweiten Mal willkommen."
17. Aria.
Pamina: "Ach, ich fiihl's, es ist verschwunden."
18. Chorus.
The Priests: "o Isis und Osiris, welche Wonne!"
19. Trio. Pamina, Tamino, Sarastro.
Pamina: "Soil ich dich, Th, eurer, nicht mehr sehn?"
20. Aria.
Papageno: "Ein Madchen oder Weibehen."
　……