"The Magic Stick Dora" Once upon a time, in a small village nestled between the mountains, lived a curious and adventurous little girl named Dora. She had wild, curly brown hair and bright blue eyes that sparkled with mischief. Dora was always seeking new adventures and loved to explore the enchanted forest that bordered her village. One sunny afternoon, while wandering deep into the forest, Dora stumbled upon a hidden glade. In the middle of this glade stood a tall oak tree, its branches reaching towards the sky. Nestled in the roots of the tree, Dora discovered a small, mysterious box.
Mozart was badly in need of income, and the best way to earn serious money was through an imperial appointment (which was not likely at the moment) or a successful opera. He was already giving music lessons, playing piano recitals, and writing bushels of instrumental music, but none of this provided a sense of economic stability. Mozart’s wife was not in good health and was forced to spend the summer at the spa in Baden-Baden with their five-year-old son; and another child was due in the course of the summer. The composer had begun to borrow substantial sums and, although his condition was far from desperate, he was flirting with what could easily escalate into financial disaster.
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Nestled in the roots of the tree, Dora discovered a small, mysterious box. Curiosity getting the better of her, Dora cautiously opened the box. Inside, she found a beautifully crafted wooden wand, shimmering with a soft glow.
Program Notes
Joannes Chrisostomus Wolfgang Gottlieb Mozart (He began to call himself Wolfgango Amadeo about 1770 and Wolfgang Amadè in 1777)
BORN: January 27, 1756. Salzburg, Austria
DIED: December 5, 1791. Vienna
COMPOSED: He wrote his opera Die Zauberflöte (The Magic Flute) to a libretto by Emanuel Schikaneder, mostly between April and July of his final year, although the opera’s Overture and its Act II March of the Priests were apparently completed later, since in his personal catalogue Mozart dated them September 28
WORLD PREMIERE: The world premiere occurred only two days after the work was entirely completed, at Vienna’s Freihaustheater auf der Wieden
US PREMIERE: The first full production in the US was mounted in New York on April 17, 1833; the Overture had, however, been played in New Orleans as early as January 1806
SFS PERFORMANCES: FIRST—October 1919. Alfred Hertz conducted. MOST RECENT—October 2008. Peter Oundjian conducted
INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings
DURATION: About 6 mins
THE BACKSTORY Mozart had finished almost all of The Magic Flute during the spring and early summer of 1791 when, in July, he was invited to compose an opera to Metastasio’s already much-used libretto La clemenza di Tito, for the festivities surrounding the coronation in Prague of Emperor Leopold II as King of Bohemia. He gladly accepted, plunging into a flurry of composition that continued until the eve of the performance, which took place on September 6. La clemenza di Tito enjoyed only a moderate reception at first, due in large part to deficiencies in the casting, but audiences gradually warmed to it, and its final performance, on September 30, was a resounding success.
Mozart had to enjoy this cliffhanger of a triumph from a distance, since he had returned to Vienna two weeks earlier to oversee final preparations for the premiere of The Magic Flute. This opera marked an important new path for the composer. It was the first stage work he had written for the commercial theater, rather than on commission from an aristocratic court. This realignment may have been born out of necessity. In recent years, Mozart’s principal link to the Italian-dominated Viennese court opera had been the librettist Lorenzo da Ponte. But in the spring of 1791, a series of scandals caught up with da Ponte, and the Emperor was compelled to dismiss him from his post as librettist to the royal court.
Mozart was badly in need of income, and the best way to earn serious money was through an imperial appointment (which was not likely at the moment) or a successful opera. He was already giving music lessons, playing piano recitals, and writing bushels of instrumental music, but none of this provided a sense of economic stability. Mozart’s wife was not in good health and was forced to spend the summer at the spa in Baden-Baden with their five-year-old son; and another child was due in the course of the summer. The composer had begun to borrow substantial sums and, although his condition was far from desperate, he was flirting with what could easily escalate into financial disaster.
At about this time, Mozart renewed a friendship with Emmanuel Schikaneder, a singer-actor-dancer-manager-playwright who had had regular contact with the Mozart family since 1780, when a company he directed appeared in Salzburg. Mozart’s father referred to Schikaneder as a “good honest fellow,” and the warm relationship must have only increased when, four years later, Schikaneder produced a revival of Mozart’s singspiel The Abduction from the Seraglio at Vienna’s Kärntnertor Theater, which he was by then managing. Several years later, Schikaneder re-emerged at the helm of the city’s thousand-seat Freihaustheater auf der Wieden, where he specialized in presenting lighthearted German-language singspiels, sometimes to his own librettos. His resident musical ensemble was impressive, including an orchestra of thirty-five players and a troupe of singing actors.
In crafting the libretto for The Magic Flute, Schikaneder drew on several collections of stories and fairytales popular in Germany and Austria at the time. His audience did not embrace the new work immediately but soon fell to its charms. Finally, Mozart had a hit on his hands. If he had not died little more than two months following the premiere, The Magic Flute would doubtless have changed his life.
Schikaneder’s libretto has perplexed commentators ever since, as it effects something of an about-face halfway through the action. The heroic Tamino is sent by the Queen of the Night to rescue her daughter, Pamina, who she says has been kidnapped by Sarastro, her “ex,” a sort of cult leader. Tamino sets out on his mission (accompanied by Papageno, a curious being who is half-man and half-bird) but soon discovers that Sarastro is actually the good guy, that he has in fact rescued Pamina from the evil Queen. In the course of his quest, Tamino falls in love with Pamina, and the two prove their steadfastness through various trials in Sarastro’s realm before the Queen and her wicked minions are banished.
THE MUSIC There does seem to be a good deal of hocus-pocus going on in The Magic Flute, and much of it, we are told, makes sense only when one understands that the work is an allegory for Masonic beliefs and rites. Schikaneder was a Freemason, and Mozart had also joined a Masonic lodge in 1784. The number three is said to hold mystical significance to Freemasons. Accordingly, the overriding key of The Magic Flute is E-flat major, with three flats in the key signature, and the Overture opens with a grand proclamation of each of the three notes of the tonic triad. Following this grave introduction, the orchestra skips off in a gleeful, fugal Allegro, only to be interrupted by another solemn proclamation of the three chords (this time in the dominant key of B-flat). The remainder of the Overture is notable for Mozart’s brilliant use of counterpoint and dynamic contrasts, building a considerably more complex piece than one might expect from what is really only a single theme.
—James M. Keller
This note originally appeared in different form in the program books of the New York Philharmonic, and is reprinted with permission. Copyright © New York Philharmonic.
MORE ABOUT THE MUSIC
Recordings: Colin Davis conducting the Dresden Staatskapelle (RCA Red Seal) | Neville Marriner conducting the Academy of St Martin in the Fields (EMI Classics Encore)
Reading: 1791: Mozart’s Last Year, by H.C. Robbins Landon (Schirmer Books) | Mozart: A Musical Biography, by Konrad Küster (Oxford University Press) | Mozart: A Cultural Biography, by Robert W. Gutman (Harcourt) | The Cambridge Mozart Encyclopedia, edited by Cliff Eisen and Simon P. Keeffe (Cambridge University Press) | The Mozart Compendium: A Guide to Mozart’s Life and Music, edited by H.C. Robbins Landon (Schirmer)
—James M. Keller
Intrigued by this magical find, Dora picked up the wand and felt a surge of energy coursing through her veins. Little did Dora know that this wand was no ordinary object. It held ancient powers and had the ability to grant wishes. This was the Magic Stick. From that day forward, Dora's life took a magical turn. With the Magic Stick in hand, she could explore the forest like never before. She waved the wand and whispered her deepest desires, and instantly, they came true. Dora would use the Magic Stick to help her friends and family, too. Whenever someone was in need, she would rush to their aid, brandishing her wand and using its powers to solve their problems. One day, a mischievous gnome named Felix joined Dora on her adventures. Felix had a wicked sense of humor and loved to pull pranks on innocent forest creatures. Dora thought he was funny and decided to show him the power of the Magic Stick. Together, they embarked on thrilling escapades. Dora used the Magic Stick to turn Felix into a mischievous butterfly, a tiny flower, and even a singing bird. It was all in good fun, and Felix learned the importance of treating others with kindness. As time passed, word of Dora and her Magic Stick spread far and wide. People came from near and far to witness the wonders she could perform with a wave of her wand. The village celebrated her as a hero, and Dora was humbled by their admiration. But with great power came great responsibility. Dora realized that she had to use the Magic Stick judiciously and responsibly. She vowed to only use its power for good and never for selfish gain. With newfound wisdom, Dora continued her adventures, wielding the Magic Stick wisely and selflessly. Over time, she became known as the protector of the forest, using her powers to maintain the harmony between humans and nature. And so, the legend of Dora and her Magic Stick spread throughout the land, passing from generation to generation. Even after Dora's time, her story lives on as a reminder that true power lies not in magic objects but in the kindness and compassion within our hearts. The end..
Reviews for "The Magical Properties of Aitck Dora's Wand: Myth or Reality?"
1. John - 2 stars - I was really disappointed with "The Magic Aitck Dora". The animation was lackluster and the storyline was predictable. It felt like a cheap cash grab rather than a thoughtful and entertaining film. I wouldn't recommend it to anyone, especially if you're a fan of the original Dora series. Stick to the classic episodes instead.
2. Emily - 1 star - "The Magic Aitck Dora" was a complete waste of time. The characters were flat and uninteresting, and the dialogue was cringe-worthy. The jokes fell flat and the overall plot was forgettable. It's definitely not worth the ticket price, and I left the theater feeling disappointed and unsatisfied.
3. Mark - 2 stars - I had high hopes for "The Magic Aitck Dora" but it fell flat for me. The pacing was off, making it hard to stay engaged throughout the film. The storyline felt forced and disjointed, and the attempts at humor fell flat. I wouldn't watch it again and wouldn't recommend it to others.
4. Sarah - 2 stars - "The Magic Aitck Dora" was a letdown. The animation was subpar, and the plot was lacking depth. It didn't capture the magic and charm of the original Dora series and felt like a watered-down version. It's not a movie I would recommend, especially if you're expecting the same level of quality as the TV show.