Symbols and self-discovery: The Atlanta Opera’s ‘Magic Flute’ unveils Masonic mysteries

Mark Gresham | 11 NOV 2024

One hundred twenty-one years before the publication of Carl Jung’s Psychology of the Unconscious, Mozart’s opera Die Zauberflöte (“The Magic Flute”) premiered at the Freihaus-Theater auf der Wieden, the theater of the opera’s librettist, Emanuel Schikaneder.

The year was 1791. Mozart and Schikaneder were both Freemasons. They were also part of a circle of people around the enlightened Holy Roman Emperor Joseph II who were interested in Republicanism and what they called the “American Thesis.”

By the time of the opera’s premiere, a mere two months before Mozart’s death, it had been 15 years since the American colonies declared their independence and only two years since their formal adoption of a ratified Constitution of the United States. The influence of Freemasonry on the new nation was significant; many of its founding fathers were Masons.

Reverse of the Great seal of the United States, as portrayed on the back of the U.S. one dollar bill. (click to enlarge in new window)

That included symbolisms adopted by the new American government, incorporated into such things as the reverse side of the Great Seal of the United States, in use since 1782, a year before the Revolutionary War formally ended with the Treaty of Paris in 1783.

On December 14, 1784, Mozart, then 28 years old, was initiated into the ‘Zur Wohltätigkeit’ (‘Beneficence’) Masonic lodge in Vienna. He composed music for use at gatherings of Masons, including songs, cantatas, and the Maurerische Trauermusik (“Masonic Funeral Music”) for orchestra.

The Magic Flute is laden with Masonic symbolism and themes, ranging from the characters and plot to the music and numerical references. Understanding the Masonic elements offers insight into the opera, shedding light on how Mozart interpreted Freemasonry’s ideals of wisdom, virtue, and enlightenment — clues to how contemporary opera companies might, in part, interpret its story today, over 230 years later.

The Atlanta Opera’s production of The Magic Flute opened this past Saturday night, capturing the mystical essence and symbolic depths of Mozart and Schikaneder’s iconic work. Directed by Tomer Zvulun and conducted by Arthur Fagen, with set design by C. David Higgins (who also designed the costumes), vivid projections by Nicholas Hussong, and lighting by Thomas C. Hase, the production wove a tapestry of Masonic, Jungian, and astrological symbolism through a synergistic interplay music and theater, illuminating the deeper layers of this deceptively playful opera.

Upon entering the Centre’s 2,750-seat John A. Williams Theatre, the audience sees a wall of 288 glyphs set inside a contrasting rectangular proscenium adorned with another 54 of them. Each cubic block in the wall features a single glyph on its face.

For the uninitiated, a glyph is any purposeful symbol (such as a curved arrow on a road sign) meant to convey information nonverbally. Freemasonry is rich in glyphs and symbols, each with layered meanings representing moral, philosophical, and esoteric teachings. In Jungian psychology, such glyphs, symbols, and archetypal imagery play a central role in conveying the language of the unconscious mind, providing a means to access deep-seated parts of the psyche, helping individuals navigate their personal and collective unconscious through discovery, integration, and growth. The glyphs on this particular wall are wide-ranging: Roman, Greek, and Hebrew alphabetic letters, simple geometric figures, and symbols from astrology, nature, and religion.

Fagen and the Atlanta Opera Orchestra launched into the Overture with aplomb, prepared the audience for fantasy, and set the tone for the opera’s themes of enlightenment, wisdom, and spiritual transformation. During this, an uncredited supernumerary in 18th-century garb — perhaps a stand-in for Mozart himself — emerged through a hidden door in the wall and conjured the wall to swing open, revealing Higgins’ largely abstracted set design.

A hero’s journey: Santiago Ballerini as the Tamino, a prince from another land. (credit: Raftermen)

The hero’s journey then begins with a dramatic confrontation as Tamino (Santiago Ballerini) is chased by a dragon, a multifaceted symbol deeply rooted in Freemasonic philosophy, representing the obstacles and inner struggles that individuals must overcome on their journey toward enlightenment, moral integrity, and self-improvement. But unlike the typical hero archetype, he does not escape or slay the dragon himself but, trapped, falls unconscious, between its head and its tail. (Interesting to note that in astrology, the North and South Nodes, two moving points at which the Moon’s path crosses the ecliptic, are also known as “The Dragon’s Head” and “The Dragon’s Tail” respectively — more about the Moon itself in a moment.)

In Jungian psychology, the dragon embodies the shadow self and unconscious fears, as well as the transformative power that can be unleashed when these aspects are confronted and integrated, allowing us to move forward on the path of individuation, becoming whole and complete selves.

Instead, while unconscious, Tamino is promptly rescued by a trio of Ladies (Diana Newman, Alexandra Razskazoff, Meridian Prall), who represent the allure of the unconscious. They are devotees of the Queen of the Night (Rainelle Krause) who embodies traits that resonate strikingly with Carl Jung’s concept of the “anima” in its “shadow” state — the darker, repressed female aspects of a man’s psyche which can “possess” him if left unexamined. She is also, allegorically, the Moon.

The three Ladies are enamored of Tamino and none want to leave the others by themselves with him, so they all go together to inform the Queen, leaving him alone.

Enter the “everyman” comic foil, Papageno (Luke Sutlif), who captures birds for the Queen, luring them with the sound of his pan pipes. He views himself as very birdlike, wearing a “bird’s head” hat. He is paid with food and wine, and enjoys life except that he is lonely and longs for a wife.

Luke Sutliff as Papageno surrounded by his felt-feathered friends. (credit: Raftermen)

Tamino awakes and assumes Papageno is responsible for slaying the dragon. Papageno eagerly accepts the praise, boasting he killed it with his bare hands. But the three ladies return, denying him his usual wine, cake, and figs; instead, they give him water and a stone and lock his mouth shut to teach him not to lie. They then present Tamino with a portrait of the Queen of the Night’s daughter, Pamina (Mei Gui Zhang). He falls in love with her at first sight and sings the lyric aria, “Dies Bildnis ist bezaubernd schön” (“This portrait is enchantingly beautiful”). Her portrait is projected at the back of the set on a circle inside a triangle for the audience to see.

The three ladies inform Tamino that Sarastro (Peixin Chen), whom they portray as a powerful, malevolent figure, has taken Pamina away and imprisoned her in his temple. Determined to rescue her, Tamino swears to set Pamina free.

The Queen of the Night then appears, promising that if Tamino succeeds, Pamina will be his, singing the recitative “O zittre nicht, mein lieber Sohn” (“Oh, tremble not, my dear son!”) followed by the aria: “Du, Du, Du wirst sie zu befreien gehen” (“You will go to free her”). After the Queen and ladies depart, Papageno, still silenced by a padlock for lying, can only hum in frustration.

The Ladies return and remove the lock, cautioning him to be truthful. They gift Tamino a magical flute that can turn sorrow into joy and give Papageno enchanted bells for protection. They also introduce three young Spirits (Angel Williams, Adrienne Ocfemia, and Max Walls), who fly in a hot air balloon basket and will help guide Tamino and Papageno to Sarastro’s temple. With that, Tamino and Papageno begin the rescue mission that will ultimately become their journey to enlightenment.

The scene shifts to the compound of Saratro’s temple. Sarastro’s slaves drag in Pamina, who has attempted to escape, and Monostatos (Barry Banks), who is the head slave, commands them to chain her before leaving him alone with her.

Papageno, sent ahead by Tamino to locate Pamina, arrives, and a trio ensues: “Du feines Täubchen, nur herein!” (“Just come in, you fine little dove!”). Like Papageno, Monostatos wears a bird head hat (but his is the head of a vulture). They startle each other, believing the other to be a demon, and they run off in fear.

What is intriguing but often overlooked is that Monostatos and Papageno coming face-to-face is necessary for the story’s deeper meanings. While both are characterized by comedic elements and serve as foils to the more noble characters like Tamino and Pamina, their characters reveal important contrasting symbolisms.

As an archetype, Monostatos is both the “unredeemed shadow” and “corrupt guardian” characterized by his lust, jealousy, and deceit. Instead of protecting sacred principles, he threatens them due to personal vices. Unlike other characters, Monostatos never undergoes a transformative journey; he remains bound to his darker impulses and ultimately fails in his pursuits. In many ways, he is a “dark parody” of Sarastro’s enlightened leadership, showcasing what happens when selfish motives drive power and authority.

Monostatos’ henchmen mirror his traits, creating a sense of a “collective shadow,” reinforcing the idea that the shadow is not merely an individual phenomenon but can be collective, affecting groups, institutions, or societies — a reminder that any quest for knowledge and morality will face collective as well as individual obstacles.

Barry Banks as Monostatos, overseer of Sarastros’s Temple. (credit: Raftermen)

In contrast, Papaeno is not such a morally complex character. While he has his human shortcomings, Papageno has a good heart and is not motivated by malice. His desires are straightforward: he seeks companionship and happiness without ulterior motives.

Papageno returns to inform Pamina that her mother has sent Tamino to rescue her. Overjoyed, Pamina learns that Tamino loves her. She consoles Papageno, who yearns for a companion. They sing about the beauty and sanctity of marital love in a duet, “Bei Männern welche Liebe fühlen” (“In men, who feel love”).

The three Spirits lead Tamino to Sarastro’s temple, assuring him that patience, wisdom, and perseverance will lead him to rescue Pamina. He tries to enter the Temple of Reason and is turned away, then again is denied entry at the Temple of Nature. At the Temple of Wisdom, a priest appears, explaining that Sarastro is kind, not evil, and warns Tamino not to trust the Queen of the Night.

This scene carries significant symbolic meaning. In Freemasonry, Reason, Nature, and Wisdom represent guiding principles toward personal enlightenment and moral integrity. Each temple signifies a step in this spiritual journey.

One of the most recognizable Masonic symbols, the Square and Compasses, represents the application of reason and moral discipline. The square symbolizes honesty, integrity, and rational action, while the compasses signify restraint and boundary—tools of reasoned conduct. The “G” in the middle is generally understood to represent God and Geometry. (Click the image to enlarge in a new window.)

Reason is the intellectual pursuit, emphasizing logic and analytical thinking, which grounds a person but can also limit understanding if it excludes emotion or intuition. Nature represents humanity’s primal, instinctual aspects, which, while powerful, can lead to chaos or hedonism without guidance. Wisdom integrates Reason and Nature, embodying balance and insight, the harmonious state that transcends intellectual and instinctual boundaries, guiding one toward self-awareness and spiritual truth.

Tamino is denied entry to the Temples of Reason and Nature because he has yet to achieve the maturity required to balance these forces. Only at the Temple of Wisdom — where intellect and instinct come into alignment — is he greeted by the senior priest, who helps him on his path, reinforcing the idea that true understanding requires synthesis and self-control.

Similarly, from a Jungian perspective, these three concepts align with the stages of psychological integration. Reason corresponds to the conscious mind and the ego, our rational self that organizes thoughts and actions. Nature aligns with the unconscious and primal instincts, including the shadow aspect of our psyche, which holds suppressed urges and hidden desires. Wisdom represents individuation, the Jungian process of self-actualization. Here, Tamino faces his shadow but does not let it control him, integrating it into a higher sense of self. His encounter with the priest at Wisdom’s door symbolizes a guide in his inner journey, indicating readiness to balance his conscious mind and unconscious instincts to reach wholeness.

Thus, Tamino’s journey to the Temple of Wisdom represents a step toward self-integration, where he learns to harmonize reason and instinct to achieve true understanding and inner harmony.

Following this episode, Tamino plays his flute, enchanting animals. He then hears Papageno’s pipes and hurries to find him.

Searching for Tamino, Papageno and Pamina are captured by Monostatos but escape when Papageno uses his magic bells to enchant the guards, compelling them to dance.

Papageno and Pamina hear Sarastro’s procession drawing near. Nervously, Papageno asks Pamina how they should respond. She replies that they must simply speak the truth.

When Sarastro arrives, Pamina explains her attempted escape due to Monostatos’s advances. Sarastro kindly reassures her but refuses to return her to her mother, whom he sees as misguided.

Monostatos brings in Tamino. Seeing each other for the first time, Tamino and Pamina embrace, which stirs disapproval among Sarastro’s followers. Monostatos informs Sarastro about catching Papageno and Pamina attempting to flee and demands a reward. Sarastro, however, mockingly “rewards” him with a punishment and dismisses him. He then declares that Tamino and Pamina must undergo purification trials. In the final chorus to Act I, the priests proclaim that through virtue and justice, life is sanctified, elevating mortals to a divine state.