Wolfgang Amadeus Mozart
Jan 4 at 7 PM
Jan 7 at 7:30 PM
Jan 10 at 3 PM
Jan 16 at 1 PM
Jan 20 at 7 PM
Jan 23 at 8 PM
Jan 27 at 7:30 PM
Jan 30 at 8 PM
May 23 at 3 PM
May 27 at 7 PM
May 30 at 3 PM
Jun 3 at 7:30 PM
Jun 5 at 8 PM
All exchange fees will be waived for tickets purchased in the 2020–21 season.
All performances of Die Zauberflöte will feature Julie Taymor’s production rather than the new production by Simon McBurney originally announced.
The performance of Die Zauberflöte scheduled for December 31 will now be a special gala, the details of which will be announced in the coming months. Tickets already purchased for this date will be transferred to the new performance. If you have purchased gala dinner tickets, please email email@example.com for more information.
The performances scheduled for January 4, 7, 10, 16, 20, 23, 27, and 30, May 23, 27, and 30, and June 3 and 5 REMAIN on the calendar, but some curtain times have changed. Please see individual dates below for updated curtain times.
One of opera’s most beloved fables returns in a colorful, puppet-filled production by Tony Award–winner Julie Taymor. The cast of leading Mozarteans includes soprano Christiane Karg as Pamina, tenor Stanislas de Barbeyrac as Tamino, baritone Thomas Oliemans in his Met debut as Papageno, soprano Kathryn Lewek as the Queen of the Night, and bass Stephen Milling as Sarastro. Gustavo Dudamel and Cornelius Meister share conducting duties.
Languages sung in Die Zauberflöte
Title languages displayed for Die Zauberflöte
Met Titles In
Timeline for the show, Die Zauberflöte
Estimated Run Time
3 hrs 5 mins
Premiere: Freihaus-Theater auf der Wieden, Vienna, 1791. Die Zauberflöte—a sublime fairy tale that moves freely between earthy comedy and noble mysticism—was written for a theater located just outside Vienna with the clear intention of appealing to audiences from all walks of life. The story is told in a singspiel (“song-play”) format characterized by separate musical numbers connected by dialogue and stage activity, an excellent structure for navigating the diverse moods, ranging from solemn to lighthearted, of the story and score. The composer and the librettist were both Freemasons—the fraternal order whose membership is held together by shared moral and metaphysical ideals—and Masonic imagery is used throughout the work. The story, however, is as universal as any fairy tale.
Wolfgang Amadeus Mozart (1756–1791) was the son of a Salzburg court musician who exhibited him as a musical prodigy throughout Europe. His achievements in opera, in terms of beauty, vocal challenge, and dramatic insight, remain unsurpassed. He died three months after the premiere of Die Zauberflöte, his last produced work for the stage. The remarkable Emanuel Schikaneder (1751–1812) was an actor, singer, theater manager, a friend of Mozart who wrote the opera’s libretto, staged the work, and sang the role of Papageno in the initial run.
Julie Taymor, Michael Curry
J. D. McClatchy
Wolfgang Amadeus Mozart
The libretto specifies Egypt as the location of the action. Egypt was traditionally regarded as the legendary birthplace of the Masonic fraternity, whose symbols and rituals populate this opera. Some productions include Egyptian motifs as an exotic nod to this idea, but many more opt for a more generalized mythic ambience to convey the otherworldliness that the score and overall tone of the work call for.
Die Zauberflöte was written with an eye toward a popular audience, but the varied tone of the work requires singers who can specialize in several different musical genres. The comic and earthy are represented by the baritone, Papageno, while true love in its noblest forms is conveyed by the tenor, Tamino, and the soprano, Pamina. The bass, Sarastro, expresses the solemn and the transcendental. The use of the chorus is spare but hauntingly beautiful, and fireworks are provided by the coloratura Queen of the Night