Die Zauberflöte

Wolfgang Amadeus Mozart

Die Zauberflöte

Upcoming Performances


Mar 23 at 3 PM


Mar 28 at 7:30 PM


Apr 1 at 7 PM


Apr 4 at 7:30 PM


Apr 7 at 7:30 PM


Apr 9 at 7:30 PM


Apr 12 at 1 PM


Apr 16 at 7 PM


Apr 19 at 8 PM


Apr 23 at 7:30 PM


Apr 26 at 8 PM


Simon McBurney’s uproarious full-length German-language production of Mozart’s beloved fable—with its ingenious theatrical concoction of projections, puppetry, and special effects—returns to the Met stage following its celebrated 2023 premiere. Tenor Ben Bliss and soprano Golda Schultz are the noble lovers Tamino and Pamina, and baritone Thomas Oliemans repeats his animated portrayal of the outlandish bird catcher Papageno. Soprano Kathryn Lewek reprises her hair-raising turn as the Queen of the Night, Stephen Milling is the priest Sarastro, and Evan Rogister conducts.

Production a gift of the Berry Charitable Foundation 

The Met gratefully acknowledges the support of the Kirsh Foundation

Original co-production of Dutch National Opera, Amsterdam; English National Opera, London; and Festival d’Aix-en-Provence

In collaboration with Complicité


Languages sung in Die Zauberflöte

Sung In



Title languages displayed for Die Zauberflöte

Met Titles In

  • English
  • German
  • Spanish


Timeline for the show, Die Zauberflöte

Estimated Run Time

3 hrs 15 mins

  • House Opens

  • Act I

    70 mins

  • Intermission

    35 mins

  • Act II

    90 mins

  • Opera Ends

Die Zauberflöte

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 (1756–91) 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.

Production and Choreography

Simon McBurney

Set Designer

Michael Levine

Costume Designer

Nicky Gillibrand

Lighting Designer

Jean Kalman

Projection Designer

Finn Ross

Sound Designer

Gareth Fry

Associate Director

Rachael Hewer

Headshot of Wolfgang Amadeus Mozart


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