The Magic Flute: He Said, She Said

03/02/23 • 19 min

In Mozart's "The Magic Flute," Monostatos is smitten by the white princess Pamina, whom he is supposed to be guarding under the orders of the high priest Sarastro. His desire to love and belong is the source of anguish, as he feels unworthy of Pamina due to his race and enslaved status. Rather than serve as a commentary on the harsh racial realities of 18th century society, Monostatos instead serves as the comic relief of the opera, embodying the loud, threatening, and childish caricature which became the template for American minstrelsy.

This episode is hosted by Terrance McKnight and produced by David Norville and Tony Phillips with help from Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Sapir Rosenblatt. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.

This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

Previous Episode

The Magic Flute: Invisible Man

At over 200 years old, “The Magic Flute” remains a classic opera which continues to be taught, studied, and performed in sold-out venues around the world. But with more than two centuries of history since “The Magic Flute’s” conception, how do we best shed light on the stereotypes each staging continues to portray?

In this episode of Every Voice with Terrance McKnight, get to know the character of Monostatos, the enslaved overseer of Sarastro’s temple, whose longing for Pamina, a white woman, is meant to be a source of comedy. Despite the stereotypes that inform this character, his experience of loneliness and feeling othered is one that many can relate to. Could future stagings of “The Magic Flute” highlight the depth and complexity of Monostatos’s character – and provide an important teaching moment?

This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.

Next Episode

The Magic Flute: Recycling

The use of blackface is a dying trend, but it was fundamental to one of the most popular operas of all time, Mozart’s hit comedic opera, “The Magic Flute“.

Over the last few decades a number of opera companies have been working to create alternate versions of this piece, all of them attempting to shape essential messages relevant to our society; we find out how.

Amongst our guests in this fourth episode of Every Voice, is Professor Melvin Foster, a voice instructor at Morehouse College, Atlanta, who prepares young men for careers in music, including opera.

And next week, Every Voice with Terrance McKnight begins the journey into Giuseppe Verdi’s “Otello.”

This episode is hosted by Terrance McKnight and produced by David Norville. The Executive Producer is Tony Phillips. The Executive Producer for WQXR Podcasts is Elizabeth Nonemaker. Our research team includes Ariel Elizabeth Davis, Pranathi Diwakar, Ian George, and Jasmine Ogiste. Sound design and engineering by Alan Goffinski. Original music composed by Jeromy Thomas and Ashley Jackson. Special thanks to The Met archives.

This project is supported in part by the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.