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The Magic Flute was labeled by Wolfgang Amadeus Mozart as a comic opera. Undeniably, it has comic elements, but spiritual threads where also interwoven with it throughout the opera.
When actor, stage director and poet Emanuel Schikaneder organized a company for the Theater auf der Weiden in Vienna, he asked his composer friend Mozart to write for him a Sinspiel, a new type of comic opera incorporating music and spoken dialogue. Mozart completed it on September 28, 1781 and was presented two days later, with tremendous success.
Since both collaborators were Masons, it is understandable that the libretto of this magical fairy-tale is filled with all kinds of obscure Masonic references, symbols and figures. Tamino’s journey represents initiation rituals for new Masons in Vienna. The basic struggle between good and evil was personified by Sarastro and the Queen of the Night. Pamina and Tamino , the idealistic young lovers, can come together only after the trials of fire and water. The use of the number three, which is an important number in masonry was generously used throughout the opera: at the beginning of the overture, there are three long and solemn chords that evoke Sarastro , the awesome priest of high ideals; the main key of the music is in E flat major having three flats. In the characters, there are three young boys, three ladies, and three trials. The trials symbolize Masonic rituals and ceremonies.
