Magic Flute Score Pack

Garsington Opera Learning and Participation
The Magic Flute

(Die Zauberflöte)
Wolfgang Amadeus Mozart
Teachers’ Pack
(2018)
This pack has been created as a resource for teachers taking part in Garsington Opera’s 2018
OperaFirst workshops. The musical extracts that have been included can be used as they are, or
the words can be changed to suit your purposes.
Examples of physical and vocal warm-up exercises can be found at the end of the pack, along with
tips for staging a scene with your group.
Audio tracks of the musical extracts can be found at www.garsingtonopera.org/learning along with
further information about Garsington Opera’s Learning and Participation programme.
The Magic Flute (Die Zauberflöte)
Mozart’s final opera, The Magic Flute, celebrates the triumph of love and reason over chaos and
evil. Prince Tamino and the bird-catcher Papageno set out on a perilous quest to rescue
Pamina from the evil Sarastro. But is everything as it seems? As they enter Sarastro's world they
must overcome a series of trials to be reunited with their true loves.
Premiered in 1791, just two months before Mozart's death, this sublime masterpiece is as moving
as it is witty; combining heart-warming arias, dazzling coloratura and lyrical folksong, the search
for wisdom and virtue are at the heart of this enchanting tale.
CHARACTERS
Character Voice type
Tamino, a prince Tenor

Papageno, a bird-catcher Baritone
Pamina, daughter of The Queen of the Night Soprano
The Queen of the Night Soprano
Sarastro, high priest of Isis Bass
Three ladies, attendants to The Queen of the Night 3 Sopranos
Monostatos, chief slave of the temple Tenor
Three child-spirits Treble, alto, mezzo-soprano
Speaker of the temple Bass-baritone
Three priests Bass, tenor, speaking role
Papagena Soprano
Two armoured men Tenor, bass
Three slaves 2 Tenors, bass
Priests, priestesses, slaves, populace, animals
SYNOPSIS
The synopsis below breaks the story down into 6 sections; the notes in bold italics show where
each of the musical extracts relate to the story. A copy of this synopsis, in larger print and without
the musical references, to photocopy and cut-out for use with your group, can be found later in
this pack.
TELLING THE STORY
Divide into 6 groups and provide each group with a copy of one section of the numbered synopsis.
Each group is responsible for telling their section of the story; firstly, get them to read their section
aloud to each other (making sure no one else overhears). Then, they should stage their section
using narration, devised text, song, dance, mime or any other skills they may have.
Once each group has prepared their section, show them to the rest of the group working through
in order to tell the complete story of the opera. Groups watch the story re-enacted bit by bit to
learn it as a whole.
1. The story takes place in a mythical land between the sun and the moon. In a forest, Prince
Tamino is being attacked by a deadly serpent (Music 1: Oh help me!) but luckily three ladies
appear and save him from certain death. The three ladies work for the Queen of the Night and
leave immediately to tell her what has happened. With that, the bird-catcher, Papageno
appears (Music 2: The bird catcher’s song) and decides to take the credit for saving Tamino.
The three ladies return and give Tamino a portrait of the Queen’s daughter, Pamina, who they
say has been kidnapped by the evil Sarastro (King of the day). Tamino immediately falls in love
with the girl’s picture (Music 3: Oh wondrous beauty). The three ladies place a padlock on
Papageno's mouth as a punishment for lying to Tamino about killing the serpent. Tamino has
no power to help (Music 4: Humming song).
2. The queen, suddenly appears in a burst of thunder and tells Tamino about the loss of her
daughter and commands him to rescue her. The ladies give a magic flute to Tamino and silver
bells to Papageno and tell them that these items will ensure their safety on their quest to save
Pamina (Music 5: Zauberflöten!).
The three ladies inform Tamino and Papageno that they will send three spirits to guide them
on their quest (Music 5b: Three spirits).
Sarastro’s slave Monostatos is pursuing a terrified Pamina but is frightened away by Papageno
who tells Pamina that Tamino loves her and is on his way to rescue her. When she sees his
picture she also falls in love. She and Papageno commiserate together about love being so far
away. (Music 6: My love is like a blooming flower)
3. The three spirits lead Tamino to Sarastro's temple. Tamino pleads with them to tell him
whether Pamina will be saved but they simply tell him to remain courageous and stay on the
path (Music 7: Song of the spirits).
Outside Sarastro's temple, Tamino hear's the voices of the priests tell him that it is the Queen,
not Sarastro who is evil and that Pamina is alive (Music 8: Tamino and the priests). Hearing
that Pamina is safe, Tamino charms the wild animals with his flute, (Music 8b: Tamino’s flute)
then rushes off to follow the sound of Papageno’s pipes.
4. Monastatos and his helpers chase Papageno and Pamina but Papageno plays his magic chimes
and puts them into a trance (Music 9: Papageno’s spell). Sarastro enters in great ceremony
(Music 10: Long live Sarastro). He punishes Monostatos for his behaviour towards Pamina
and promises that he will eventually set her free. The Queen appears and gives her daughter a
dagger and orders her to murder Sarastro. Tamino and Papageno are told that the Queen of
the Night is evil and they decide to undergo initiation into Sarastro's temple by taking a vow of
silence. When Pamina misinterprets Tamino's silence for coldness, she is heartbroken (Music
11: My joy forever vanished).
5. Papageno immediately breaks his vow of silence when he takes a glass of water from a chatty
old lady. When he asks her name, the old lady vanishes. He has given up on entering the
brotherhood and longs for a wife instead (Music 12: If I could find someone to love).
Pamina and Tamino are reunited and decide to face the trails of water and fire together,
protected by the magic flute (Music 13: Tamino mine!).
6. Papageno tries to hang himself on a tree as he is so lovesick. The three spirits save him and
remind him to play his magic bells. When he strikes the chimes, Papagena appears and the
two start making family plans (Music 14: Pa-pa-pa-pa-pa-pa).
Monastatos and the Queen of the Night are defeated and banished. Tamino and Pamina
survive their trials and Papageno has found love. Everyone joins together to praise the power
of love and wisdom (Music 15: Raise your voices).
CHARACTER CARDS
These are role descriptions of the main characters in the opera. The character cards can be used
in many ways, here are some ideas:
• Become the character; thinking about a gesture, a way of walking, a want, a need; think of
a phrase they might say on a regular basis.
• Think about the vocal interpretation of the character; accent, volume, pitch, timing, pace,
intonation, phrasing, emotional range, delivery of lines.
• Think about the physical interpretation of the character; build, age, height, facial features,
movement, posture, gesture, facial expression.
• Write a short biography; thinking about your age, what you like/dislike, what you dream
about, your biggest nightmare, what you do in your free time, etc.
• Design a costume for the character.
• Group characters together and improvise a scene.
A copy of these cards to photocopy and use with your group, can be found later in this pack.
Papageno You are a bird-catcher. This is a rare profession; you catch the most beautiful
birds and sell them to people that live at the court of The Queen of the Night.
You get paid with tasty food. Usually you chatter the whole day long; you like to
tell stories. Usually they are about how brave you are – which is not true! You
are a little clumsy but can show moments of wisdom and down to earth clarity.
You have a sense of humor, unlike most of the others who take themselves
extremely seriously. You dream of finding a lovely wife and having a cosy life.
The Queen You are middle-aged and used to be the most powerful woman on earth; at your
of the Night husband’s side you had everything. Your husband was rich and you had power.
But since your husband died everything is different; horrible and beyond
endurance. Your husband did not leave you his wealth or reward you with
unlimited power; he said important decisions were too much for the female
intellect. This deeply offended you. Your husband gave all his power to Sarastro
who has now abducted your daughter! You are filled with sorrow and rage; you
want revenge.
Sarastro You are middle-aged and are the most senior priest in the temple of wisdom. You
gained this position when Pamina's father gifted you the Sevenfold Circle of the
Sun on his deathbed. You wear the Sevenfold Circle around your neck and are
supposed to guard and use it as your friend, as Pamina’s father did before you.
You say that love should rule in your world, though this does not count for your
slaves! A while ago, you stole Pamina from the Queen of the Night; the widow of
your friend. You tore her away and now Pamina is under your control. You did
this because you believe that it is better for her to be in your kingdom. You want
to keep Pamina to yourself, but as prince Tamino has fallen in love with her you
decide he must pass three impossible trials.
Pamina You are a young woman; people say that you are gentle and very beautiful. Your
father died several years ago and your mother (The Queen of the Night) has been
angry ever since, because your father left the Sevenfold Circle of the Sun to
Sarastro, rather than to her. You have been abducted by Sarastro and your
mother gives you a knife and tells you to kill him. This is very confusing as
Sarastro is good to you and you are enjoying the luxury of his house. You fall in
love with Tamino and help him on the path to wisdom through a series of trials.
Tamino You are a young prince. You are noble and good but sometimes your head is in
the clouds. You love to go hunting with your bow and arrow and have fought off
many creatures. You meet three ladies who show you a picture of Pamina and
you immediately fall in love with her. Pamina is The Queen of the Night’s
daughter; she has been abducted and you go on a quest to save her. You are
given a flute which helps you in your initiation process; it can charm animals and
assists you through the terrible trials of fire and water. You want the world to be
a better place.
Papagena You are a young woman who lives in Sarastro’s court. You often help him test
people by disguising yourself as an old woman; beautiful or ugly - whatever is
needed. You long for a husband who is happy and enjoys life. You dream of
having a family of your own with children that you can jump around with and
laugh a lot; you can already picture how your life will be. Unfortunately, you can’t
choose your husband yourself; Sarastro will find one for you as he is in charge -
women have no say.
A Spirit You always appear with two other spirits and are only seen in Sarastro’s kingdom.
You appear whenever someone needs your help. You don’t know where you are
coming from but know that you always come from above – maybe from a better
world. Your moto is ‘be firm, tolerant, and discreet’.
Monostatos You are middle-aged and are Sarastro’s slave. You feel quite satisfied with your
work because you get to know a lot about what goes on in Sarastro’s temple. You
are privileged; normally only the Priests are allowed to enter this area. But you
do sometimes feel lonely. Sarastro has asked you to guard the beautiful Pamina,
daughter of The Queen of the Night. You intend to force her to love you.
A Lady You are one of three servants of The Queen of the Night; the three of you serve
her and do anything she asks. In the kingdom of The Queen of the Night you have
the gift of supernatural powers, so you don’t fear any sort of danger. You have a
good life but sometimes you dream of meeting a young man; it is not easy to find
one because the three of you are always together and all share the same dream.
THEMES FOR DEVISING AND WRITING
The following themes can be explored to find a meaning in the opera that students can relate to
and develop their own interpretation. Some themes will be more suitable for secondary students
and some more suitable for primary students.
• What is this world like that exists between the moon and the sun?
• Who is jealous and who is greedy? Do we all have similar traits?
• What would you use the magic flute for in your life?
• Does music have power?
• What do the flute and the chimes represent?
• What is the role of the serpent? Discuss the personification of evil.
• Papageno works for the Queen. He is overworked and underpaid. He dreams of finding
love – can this make him happy?
• What are your dreams?
• Tamino falls in love with the picture of Pamina. Can you fall in love with a picture? In this
world of internet dating is this now more realistic? What are the pitfalls?
• The Queen of the Night tells Tamino that if he rescues Pamina, she will be forever his. Is it
OK that the Queen has promised her to Tamino? Why does Tamino take on the challenge
and what does this say about him?
• The three ladies punish Papageno for telling a lie by locking his mouth shut. Is it acceptable
to silence someone? Do we all have a right to free speech? Should prisoners be able to
vote?
• Tamino and Papageno are challenged to three trials as part of an initiation to become part
of the brotherhood. Do you/we put friends and partners through any sort of initiation? Is
it right to put someone to the test? What trials would you give someone? Walking on fire
etc.?
• Have you ever experienced a test that seems unfair? How does that feel?
• Pamina and Papageno both want to find love for themselves – to find the one. How do you
know when you’ve found the one? Is there such a thing?
• What is the back story of the three young spirits? Why are they helping? Where are they
from? The three spirits are unified – why?
• Papageno plays the bells and casts a spell. If you could cast a spell, what would it be?
• Monostatos - why do stories need a baddie?
MUSICAL EXTRACTS
The following musical extracts have been specially selected and arranged for this pack; as you will
see, many have been arranged specifically for young voices.
These musical extracts can be used as they are, or the words can be changed to suit your
purposes.
Audio tracks of the musical extracts can be found at www.garsingtonopera.org/learning.
No. Title Character Page
1 O help me! Tamino 1

1b O help me! Young voices version 3
2 The bird catcher’s song Papageno and young voices 5
3 O wondrous beauty! Tamino 8
4 Humming song Papageno, Tamino and young voices 9
5 Zauberflöten Tamino, Papageno and young voices 12
5b Three spirits Young voices 15
6 My love is like a blooming flower Pamina, Papageno and young voices 17
7 Song of the spirits Tamino and young voices 21
8 Tamino and the priests Tamino and young voices 23
8b Tamino’s flute Instrumental solo 24
9 Papageno’s spell Papageno, Monostatos and young voices 27
10 Long live Sarastro Pamina, Tamino, Papageno and young voices 30
11 My joy forever vanished Pamina 33
12 If I could find someone to love Papageno and young voices 34
13 Tamino mine! Pamina, Tamino and young voices 37
14 Pa pa pa pa pa pa… Papageno, Papagena and young voices 40
15 Raise your voices All 43
Arrangements and translation: John Barber

1
1. O help me! (Tamino)
In a forest, Prince Tamino is being attacked by a deadly serpent.

He cries out for help.
{
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Allegro
b
&b b Ó œ œ Œ ‰
œœœ
f p
? bb ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙
Piano p
b ˙˙
{
œ œ œ œœœœœ
4
b ‰ œ nœ œ ‰ nœ œ ‰ œ œ nœ œ œ œ
&b b Œ Œ œœ
nœ f p
Pno.
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b˙ ˙
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7
b ‰ ≈ œ œ œj ≈ œR œ œ ≈ R œ
Tamino
&b b Ó Œ œ
‹
Tam.
R J
{
O help me O help me the mon - ster comes
b œ ‰ œœ œ œœœœœœœ
&b b œ Œ Œ ‰ œ œ œ ‰ œ œ œœœœœ
Pno.
? bb ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙
b
bb nœ œ Œ ‰ ≈ œ œ nœ ™ œ œ œ ™ œ ˙ œ
10
b œ œ œ Œ ‰ œ
& R
‹ clo - ser
Tam.
J
{
O help me, O help me, the mon - ster comes clo - ser This
œ œœœœœ
b
&b b Œ Œ ‰ œnœ œ ‰ nœ œ œ ‰ œ œ œnœ œ œ œ
œ Œ Œ œ
nœ œ œ
˙˙ ˙ ˙˙ ˙
Pno.
? bb ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
b˙ ˙ ˙ ˙ n˙
˙ ˙
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2
œœ ˙ œ œ
14
b œ œ œ œ œ œ œœ œ
& b b nœ J œ Ó
‹
Tam.
{
te - rri - ble ser - pent its scales all a - round me o Gods come to save me!
Ÿ
bbb nœ. œ. ‰ Ÿœ œ œ œ. œ. ‰ œ .œ œ. ‰ œ œ œ œ. œ. ‰ œ œœ œœ œœ#œœœ œœœ œœœ nœœ
& J J J J J J œ n ˙˙˙ œœ
œ
nœ œ œ œ bœ œ œ œ œ ˙
p cresc.
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Pno. f p
b nœ œ bœ œ nœ œ œ œ bœ œ œ œ œ
œ œ ˙ œ #œ œ œ
18
b Œ œ ˙ œ nœ
&b b Ó Œ Œ Œ Œ
‹
{
Tam.
It draws e - ver near it draws e - ver near O
b
&b b ˙ œ œ œ œ ˙ œ œ œ œ œ#œ œ œ ˙ ˙ ˙ ˙
b ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ œ nœ œ œ ˙ œ œ bœ œ n˙
œ
Pno.
?b œ œ œ œ
b b œ œ bœ œ œ. œ œ œ. nœ. œ. œ. œ . nœ. œ œ.
. .
23
b œ™ œJ œ ‰ œ bœ ™ œ œ™ œ œ™
&b b J J J nœ œ ‰ nœJ œ™ œ œ™ œ
‹ res - cue me O save
J J J
{
Tam.
me, save me, res - cue me De - fend me from this
& b b œœ ™™ œœ œœ Œ
b j b˙˙ ˙˙ b˙˙ ˙˙ nn˙˙ ˙˙
˙ ˙ n˙ ˙ ˙ ˙
p f p
Pno.
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b J œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ
bb ˙™ œ ˙™
27
b œ œ™ œ œ™ ˙ Ó
& œ
‹
J J
{
Tam.
te - - rror save me, save me res - - cue me!
b ˙ n˙˙ ˙˙ ˙˙ œœ œœ ™™™ œœnœœœ œœ ™™ œœ ˙˙

&b b ˙ ˙ ˙ n˙ ˙ œ œ œœ Ó
˙
f
Pno.
? bb nœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ ˙ Ó
b nœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ
˙
3
1b. O help me! (Young voices version)
In a forest, Prince Tamino is being attacked by a deadly serpent.

He cries out for help.
* 'us' could be replaced by 'him' if preferred.
{
or you could re-write the words entirely from the point of view
of the serpent...
œ œ œ œœœœœœœ
Allegro
b œ œ œ
& b bb Ó Œ ‰ œœ ‰ œ ‰ œœœœœ
Piano
˙
p
? bb ˙ ˙ ˙
˙ ˙ ˙
˙ ˙ ˙
˙ ˙ ˙ ˙
f
˙
p
˙˙ ˙
bb
{
œ œœœœ
œ œœ œœ œ œ nœ œ œ
4
b nœ nœ
& b bb nœ Œ Œ ‰ œ ‰ ‰ œœœ
? bb b ˙˙ ˙ ˙˙ ˙ ˙ ˙ ˙ ˙ n˙˙˙ ˙ ˙
f p
˙˙
Pno.
b ˙ ˙ ˙
r
7
b
Young Voices
& b bb Ó ‰ ≈ œr œ j ≈ œ œ œj ≈ œR ˙
*
Œ œ œ
œ
Y.V.
{
O help us O help us the mon - ster comes
b b œ œ œ œ œ œ œœœœœœœ
&b b œ Œ Œ ‰ œ œ ‰ œ ‰ œœœœœ
? bb b ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙
Pno.
œ œ œ™
10
b ‰ ≈ œr œ nœ ™
Y.V. & b bb nœ œ Œ œ ˙ œ œ
{
clo - ser O help us, O help us, the mon - ster comes
b nœ œ nœ œ œ œ œ œ œ œ œ œ œ œ nœ nœ œ
& b bb nœ Œ Œ ‰ œ ‰ ‰ œœœ
? bb b ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ n˙˙˙ ˙ ˙˙˙ ˙
Pno.
b
4
13
b
& b bb œ Œ ‰ j
Y.V. œ œ nœ œ œ œ œ œ
{
clo - ser This te - rri - ble ser - pent its
Ÿ
b œ nœ. œ. œ œ œ œ. œ.œ
& b bb œ Œ Œ ‰ J ‰
˙ ˙ œœœ œœœ œœ
p
œœ œœ œœ œœœ œœœ
? bb b ˙˙ ˙˙
Pno. cresc.
nœ ™
15
b
& b bb œ œ œ œ œ œ ˙ œ
J
œ Ó
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Y.V.
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scales all a - round us o Gods come to save me!
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.
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&b bb ‰ ‰ œJ J J œ nœœœ
J J Ó
f
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? bb b œ œ œnœ œœ
Pno.
œ œ b œœ œœ nœ œ œ œ bœ œ œ œ œ Ó
b
5
2. The Bird Catcher's Song

(Papageno + Young Voices)
Three Ladies who work for the Queen of the Night have rescued Tamino
but leave immediately to tell her what has happened. With that,
the birdcatcher Papageno appears and he decides to take all the
{
credit for saving Tamino.
# œ œ 2 œ. œ. œ œ œ œ œ. œ. œ. œ œ œ ™ œ™ œ œ. œ. œ. œ œ
Moderato
œ
& 4
œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œ œ
? # ∑ 2 œœ œ œ œœJ
Piano p
4 œ œ œ œ œ J
‰ . . J ‰ ‰ J . . . ‰
.
{
. . . . œ™ œ œ™ œ œ. œ. œ. œ œ œ. œ. œ œ œ œ
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
6
&
Pno.
?# œ ‰ œ ‰ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ
œ œ œ #œ œ #œœ œ œ ‰ œJ
J J . . .J ‰ J ‰ J ‰ . . .J ‰
{
œ.
œ™
. . œfij . . .
# œ œ œ. œ œ œ œ œ œ œ œJ œœ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ
11
& œ
J
Pno. œ œ œ œ œœ œ œ œ œœ œ œ œ
? # œœ œœœ œœ œ œœœ œ œœ œ œœœj j j j
‰ œj œœ ‰
œ ‰ Œ ?
&œ
. . .J ‰ . . .J œ œ
{
œ. œ.
œ™
œ œ œ œ œ œ. œ œ
# œ™ œ œ œ œ œ
16
&
œ n œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œ œ œœ œ œ œ œ œ œœ œ
?# œ
Pno.
J J
‰ . . . ‰ ‰ J
{
start from here if you want to skip the intro
œ œ œœ œ œ œ œ œ
# œ œ œ œ œ. œ œ œ œ œ œœ œœ œ œ œ ™
19
& œ œ œ œœ œœ œœ œœ œœ
œ œ œ œœj œ œ œ
f
œ j
Pno.
?# œ j j j ? œ
œ J ‰‰ & ‰ œ œ
œ ‰ ‰ œ œ ‰ œ
. . . œ œ
1st verse: Papageno
2nd verse: Young voices 6
(or visa versa)
° # ™Œ œœ™™
™
23
Y.P. & ‰ œ œ œ œ œ œ œ œ œ œ œœ
œ œ œ™ œ
A bird man's work is ne - ver done from crack of dawn to
œ™ œ
? # ™™ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
¢
‰ œ
{
Pap.
A bird - man has to charm his birds and soothe them with be -
# ™ œ œ œ œ. œ. œ œ œ œ œ. œ. œ. œ œ ™ œ™ œ
& ™ œ. œœ œœ
œ œ
. œ. p
? # ™™ œœ œ œ ‰
j œœ œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœœ œ
Pno.
œ œ œ
œ œ ‰ J . . J ‰ ‰ J
.
° #
≈ œœ œœ™™
j r
27
Y.P. & œ œ œ œ œ œœœœœœœ œ œ œ œœ œ™ œœ

R œ™
œ œ™
se - tting sun. He works all day and all night long to catch them with a
?# œ œ œ œ œ œœœœœœœ œ œ œ œ œ™ œ
Pap.
¢ J ≈R
{
œ œ™
gui - ling words. They fly the coop they learn to roam but al - ways find their
. œ. . œ™
#œ œ. œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ. œœ œœ. œœ. œ
&
œ œ œ œ œœ œ œœ œ œœ œ œ œ œœ œ œ œ œœ œ œœ œ
? # œœ œœœ œœJ œ
Pno.
œ ‰ œ ‰ #œ ‰
. . . ‰ J J . . .J ‰ J ‰ J
° #
31
j ‰ ∑ Œ ‰ œ œœœ
œ œ œ
Y.P. & œ
œ œ
œ
ma - gic song But when he's curled up
œ œœœ
œ œ œ
?# œ œ
¢
œ œ ‰ ∑ Œ ‰
Pap.
J
{
œ ™™ œ œ™
own way home When I see a pair of
œœ ™
. œ. œ œœœ
# œ. œ. œ.
œ œœ œ™ œœ œœ. œ.
#œ œ. œ œ œ
&
œ œ œ œ
? # œœ œ #œœ œ œœ œ œ œ œœ œ œ œ #œœœ œ œœ œ œœ œ œ œ œœ œ œ œ œœœ œœ œœ œœœ
Pno.
œ œ
. . .J ‰ . . .J ‰ ‰ J
° #
7
35 Uj
œœ œfi
j
Y.P. & œ œ œ œ™ œœ œ œœ œ œ œ ‰ ∑
J
tight in bed he dreams of find ing a girl in - stead
œ™
œ œfij U
?# œ œ œ œœ œ œœ œ œ œ ‰
¢
Pap. J ∑
{
chir - pping doves then soon my thoughts will turn to love
œ.
œ™
. œfij U œ.
#œ œ. œ. .
œœ œ œœ œ œ. œ œ œ œ œ œ œ œœ
& J œ œ
J
œ œ œ œ œ œ
œœ œ œœ œ œ œ œ j
? # œœ œœœ œœJ œ œ œœœ œœ œœœ j j ‰ j
Pno.
&œ œ ‰ œœ
. . . ‰ . . J œ
.
° # ‰ œ œ œ™
39
œ œ œœœ œ œ œœ
Y.P. & Œ œJ J œ œ œ™ œœœœœ
A ha - ppy bird - man he would be if he had a wife to
œ œ™ œ œ œœœ œ œ œ œ œ œ™
Pap.
¢
?# Œ ‰ œ œœœœœ
{
A ha - ppy bird - man I would be if I had a wife to
œ œ œ œ œ™ œ œ œ œ œ œ. œ. œ. œœ ™
# œœ œ œ œ œ œœœœœ
&
Pno.
# œj ‰ œœ n œ œ œ œ œ œœ œ œœ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ
& œ Œ ? J œ œ
‰ J . . . ‰ ‰ J
° # ™™
43
Y.P. & œ œ œ œj ‰ ∑ ∑ ∑ ∑
set him free
? # œ œ œ œJ ‰ ™™
¢
Pap. ∑ ∑ ∑ ∑
{
sing with me
œ œ
# œ œ œ œ œ. œ œ œ œ œœ œœ œ œ œ œ œœ œœ œ œ œ ™ œœ œœ œ œ ™™ œ œœ œj ‰
& œœœ œ œ œœ
. œ. œœ
œ j œ œ œ . . .j
? # œœ œœ œ œœJ ‰ & ‰ œj œœj ‰ j j œ ™™ œ
œ œ œ ‰
Pno.
‰ œ œ ‰ ? œ
. . . œ œ œ œ.
8
3. Oh wondrous beauty! (Tamino)
The three ladies return and show Tamino a picture of Pamina

- he instantly falls in love.
Larghetto
b 1 2
& b bb 16 ∑ 4 ∑ Œ ‰ œj œ™ œ œ œ œ ‰ j
‹
Tamino
œ œ œ
{
Oh won - drous beau - ty past com - pare No
™ œr œ ™
b 1 K
œœ ™™™ œ œ œœ œœ ™™ œœ œœ ‰
K2
& b bb 16 ® œr 4 j ≈ j œœ
œ Œ
œœœ œœœ œœœ œœœ
œœ œ œœ œœ œ œ
Piano œ œ. œ. œ.
? bb b 1 ∑ 2
p
b 16 4 œ Œ œ Œ œ Œ ‰ j
œ œ œ œ œ œ
œ. œ. œ.
&b b œ™ œ œ œ œ œ œ ‰ œ œ bœ ™ œ œj ≈ œr
j j
6
bb ‰ œ nœ œ ‰ œ
‹
nœ b œ
{
T.
eye has seen a face so fair! a fee - ling a fee - ling in my heart a - wakes a
bb ‰ œj bœ œ ‰ œj j
&b b œœœ
œ
Œ
œœ œœ œœ œœ nœ œ b œœœœ œœœ ‰
sfp œ b œ œ
œ
œœ œœ œœ œœ sfp œ n œ œ
Pno. . . . sf p
? bb b Œ
b œ œ œ œ œ ˙ œ œ œ ˙ œ nœ œ œ œ
j ‰
œ. œ. œ. œJ œ œ œJ n œ œ
œ œ œ
11
b
& b bb œ œ œ œ œ œ œfij œ ™ œ œ œ œ œ ‰ œj œ œ œ œ œ œfij œ™ œ œ œ œ œ Œ
‹
{
T.
fire is burn - ning in my soul a fire is burn - ing in my soul
j
b
& b bb ‰ œœ ‰ j ‰ œj ‰ œj ≈ œ œ ≈ œ œ œ œ œ ‰ j ‰ j ‰ j ‰
œ
œœ
œ œœ œœ œœ nœb œœ œ. œœ b œœœ œœ œœ œ œ œj
. œ œ œ œ. œ
Pno.
j . .
? bb b j ‰ j ‰ j ‰ j ‰ nœœœ œ œœ ‰ j ‰ j ‰ j ‰ œ œ œj ‰
b œ œ œ . bœ œ œ
œ œ œ. œ. œ.
œ
9
4. Humming song
(Papageno + Tamino + Young voices)
The three ladies place a padlock on Papageno's mouth as a punishment

for lying to Tamino about killing the serpent. Tamino has no power to help.
°? b2
Allegro
Papageno
œ œ œ œ
Papageno b2 ∑ ∑ Œ œ œ œ œ
Hm Hm Hm Hm Hm Hm Hm
b2
¢& b 2
Young Voices
∑ ∑ Œ œ œ œ œ
Young voices
œ œ œ œ
{
Hm Hm Hm Hm Hm Hm Hm
‰ ™ œ œ œ œ œ œ. œ
b2 Ÿ .
&b 2 ˙ R . œ.
Œ Ó œœ Œ Ó
œ.
œ. œ.
mf
œ. œ. œ. œ.
f p
? b2 ˙ œ
Piano
b2˙ Œ œ œ œ œ œ œ œ œ. œ. œ.
œ. œ œ.
.
° bb
Œ œ œ œ
œ
5 Tamino
& ∑ ∑ œ œ œ œ œ œ œ œ
‹
T.
Oh Pa - pa - ge - no I can't hear you a wick - ed
? bb œ œ œ œ œ œ œ œ œ œ œ
Pap. œ Œ Ó ∑ ∑
Hm Hm Hm Hm Hm Hm Hm Hm Hm!
b
Y.V.
¢ & b
œ œ œ œ œ œ œ œ œ œ œ
œ
Œ Ó ∑ ∑
{
Hm Hm Hm Hm Hm Hm Hm Hm Hm!
b
& b œœ Œ Ó œœ Œ œœ Œ
œ œ
œ Œ Ó
œœ
w
w
w
œœ œœ
œ œ
Œ œ
œ
œ
? bb œ œ œ. œ. œ. œ œ œ œ œ œ œ Œ
Pno.
œ Œ Ó w œ Œ
w œ œ
° bb œ œ
10
10
& œ œ œ Œ Ó ∑ ∑ ∑
‹ spell on you's been cast!
T.
œ œ œ œ
Pap.
? bb ∑ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm
b
¢ & b ∑ Œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{
Y.V.
Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm
b
& b Œ œœœ Œ œœœ œ Œ Ó
œœ
œœ Œ Ó œ
œœ
Œ Ó œœ Œ œœ Œ
œ œ
œ. œ. œ. œ . . .
œ œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ
Pno.
? bb œ Œ œ Œ œ
œ œ
œ
° bb Œ œ œ œ œ
15
& œ œ œ œ œ œ œ œ œ œ œ œ œ
‹
T.
I can do no - thing to re - lieve you you'd be - tter think of some - thing
Pap.
? bb œ Œ Ó ∑ ∑ ∑
b
Hm!
¢ &b Œ Ó ∑ ∑ ∑
{
Y.V.
œ
Hm!
b œœ œ œœœ œœ
& b œœ Œ Ó w
w
w
œœ Œ ˙˙ œœ œ
œ œ œ
Pno. ˙ œ œ œ
? bb œ Œ Ó w œ Œ
w œ
° bb œ œ
19
Œ Ó Œ #œ œ œ #œ œ Ó Œ œ œ
&
‹ fast
T.
œ œ Œ œ œ Œ
I can do no - thing I can do
Pap.
? bb Œ œ œ œ Ó Œ œ œ œ Ó
Hm Hm Hm Hm Hm Hm Hm Hm
b
¢& b Œ œ œ Œ Ó Œ œ œ Œ Ó
{
Y.V. œ œ œ œ œ œ
Hm Hm Hm Hm Hm Hm Hm Hm
b œœ œœ œœ œœ nœœ œœ
& b œœœ Œ Ó Œ œœ #œœ Ó Œ
œ. œ. œ. œ. œ. œ. œ œ Œ
Pno.
? bb Œ œ œ Œ Ó Œ Ó
° bb œ œ Ó
11
˙™
˙
œ œ œ ˙
23
Œ œœ œ Œ Ó Œ œ œ œ
&
‹ no - thing
T.
I have no power to help at all I can do
Pap.
? bb Œ œ œ œ œ œ Œ Ó ∑ ∑ Œ
œ œ œ œ
œœ œ œ
Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm
bŒ
¢ œ œ œ œœŒ Ó
& b ∑ ∑ Œ œ œ œ œ
œœ œ œ
{
Y.V.
Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm Hm
˙™
b œ œœ bœœ œœ ẇ ˙
& b nœœ œ Ó Œ
˙™
œœ œ Œ Ó
œœ œ œœ Œ Ó
Pno. ˙ œ ˙ ˙ ˙ œ œ œ œ œ
? b Œ œ. œ. œ. œ ˙ œ œ. œ. œ.
b
° bb ˙ œ œœœœ œ œ œ œ œ
29
œ Œ Œ œ œ œ Œ Ó
& œ
‹ no
T.
- thing I have no power I have no power to help at all
? bb œ œ œ œ œ œœœ œœœ œ œ œ œ œœœ œœœ

Pap. œ Œ Ó
Hm Hm Hm Hm Hm Hm Hm Hm Hm! Hm Hm Hm Hm Hm Hm Hm Hm!
b
¢& b œ œ œ œ œ œœœ œœœ Œ Ó
Y.V.
œ œ œ œ œœœ œœœ
œ
{
Hm Hm Hm Hm Hm Hm Hm Hm Hm! Hm Hm Hm Hm Hm Hm Hm Hm!
b
& b œœ Œ Ó œœ Œ œœ Œ œœ Œ œ Œ
œœ
œœ Œ œœ Œ œ Œ Ó
œœ
œ œ œ œ œ œ
? bb œ œ œ. œ. œ. œœœ œœœ œ œ œœœ œœœ œœœ
Pno.
œ Œ Ó
12
5. Zauberflöten!
(Tamino + Papageno + Young voices)
The three ladies give Tamino a magic flute and Papageno

some chimes and send him to rescue Pamina..
° b2
Allegro Young Voices (playing role of the three ladies)
Young voices & b b2 ∑ ∑ œ Œ œ Œ œ œ Ó œ Œ œ Œ

Zau - ber - flö - ten! Flute of
b2 œ
Tamino
œ œ œ œ œ
& b b2 ∑ ∑ Œ Œ Ó Œ Œ
‹
Tamino
œ œ
Papageno
œ œ œ œ
?b2
¢ b b2
∑ ∑ Œ Œ Ó Œ Œ
{
Papageno
. . œ. bœ.
b2
& b b2 ∑ Œ œœ œœ œœ. œœ. œœ œœ œœ Œ ˙˙ œœ œœ œ œœ. œœ. œœ œœ œœœ Œ n˙˙˙
. . œ n˙ . .
Piano mf
? bb 2 œ Œ nœ Œ œ œ Ó œ Œ nœ Œ œ œ Ó œ Œ nœ Œ
b2 œ n œ œ. œ œ nœ œ. œ œ nœ
. .
° bb
˙™
6
˙™
& bœ œ Ó ˙™ œ œœ œ œ Ó
Y.V.
œ
˙™ ˙™
œœ œ œ
ma - gic! Sound your chimes in times of pe - ril
b œ ˙™
&b b œ Ó œ œ Ó
‹ ma - gic!
T.
˙™
Sound your chimes in times of pe - ril
? bb œ œ Ó ˙™ œ œ ˙ œ œ œ œ
¢ b
Ó
{
P.
bb œ œœ. bœœ. œœ œœ œ œ
ma - gic! Sound your chimes in times of pe - ril
b
& œ œ . . œ. œ. œœ Œ ˙˙˙ Ó ˙˙˙ ˙˙ ™™ œœ œœ œœ œ
œ œ œ
.
œ œ œ œ œœ œ œ œ œœ œ œ œ œ̇ œ œ œ Œ œ œ œ œ
Pno.
? bb œ œ Ó Ó
bœ Œ
. œ. œ
° bb ˙ ™
13
˙™
11
Y.V. & b œ œ œ Œ Œ œ œ œ œ Œ Ó
Ma - gic flute pro - tect them well
b ˙™ ˙™
&b b œ œ Œ Œ œ œ œ Œ Ó
‹ Ma
T.
- gic flute pro - tect us well
? b ˙™ œ Œ œ ˙™ œ Œ
¢ bb
œ Œ œ Ó
{
P.
˙˙ ™™ œ œ œ nœ œ ‰ œ œ ‰ œ œ ‰ ˙˙ ™™
Ma - gic flute pro - tect us well
b
&b b œ œ œ nœ œ ‰ œ œ ‰ œ œ ‰
Pno.
˙™ œ ˙™ œ
? bb
bw w w w
w w w w
° bb œ Œ
15
& b œ Œ œ ˙ œ œ Œ œ Œ Œ Ó
Y.V.
œ
˙™
play your song and cast a spell
b œ Œ œ œ œ Œ œ
&b b Œ œ Œ Œ Ó
‹ play
T.
˙™ œ œ
your song and cast a spell
?b œ Œ œ Œ œ
¢ bb
œ Œ Œ Œ Ó
{
P.
b œ Œ œ̇ ™ ˙
& b b œœœ Œ œ. œ œœ Œ œœ Œ ‰ ‰ ‰ œ‰
. ˙™ œ œœ # œ œ n œ œ œ œ #œ
œ
˙™
Pno.
? bb
bœ Œ œ Œ œ œ Œ œ Œ œ Œ Ó
œ. œ. ˙™ œ œ œ œ
° bb œ
19
Y.V. & b Œ œ Œ œ ˙ œ œ Œ œ Œ œ Œ Ó bb
˙™
b œ œ œ œ œ œ bb
&b b Œ Œ Œ Œ Œ Ó
‹ play
T.
˙™ œ œ
your song and cast a spell
?b œ œ
¢ bb
P. Œ œ Œ Œ Œ œ Œ Ó bb
{
b œ̇ ™ ˙ bb
& b b bœœœ
.
Œ nœœ. œ Œ ˙™ œœ Œ
œœœ Œ œœœ œ
Œ Ó
. .
˙™
Pno.
? bb
f
bœ Œ œ Œ œ œ Œ œ Œ Œ Ó bb
œ. œ. ˙™ œ œ. œ. œ
œ
° bb Œ
14
23 Tamino
œ œ œ œ œ œ œ œ Œ Ó ∑
&
‹
T.
o wise ma - gi - cians tell us, pray
œ
Papageno
œ œ œ œ œ œ
? bb
¢
P. ∑ ∑ Œ
{
please can you help us find the
w w œ w
b
&b w
w œ Œ Ó w
mp
? b #w w œœ w
Pno.
w
w w
w nw
w
b Œ Ó
° bb œ œ
27
∑ Œ nœ œ Œ Ó
&
‹
T.
please can you help
? bb œ œ œ œ œ
P.
¢ Œ Ó Œ Œ Ó
{
way? please can you help
b œ. œ. œ. nœ. œ. œ. œ. . .
œ. œ œ. œ. nœ. œ. œ œ.
. .
œ. œ œ. œ. nœ. œ. œ œ.
&b ‰ J
œ. . n œœ. œ. n œœ. œ. n œœ.
. œ. œ. œ. œ.
Pno.
? bb œ œ œ œ œ
° bb Œ œ œ œ œ œ œ Œ Ó
30
nœ œ nœ œ nœ œ bbb
&
‹
T.
us find the way, please can you help us find the way?
?b œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
P.
¢ b Œ bbb
{
us find the way, please can you help us find the way?
b . œ. œ. œ. nœ. œ. œ. œ. œ. œ. nœ. œ. œ. œ. œ. œ. œ. œ. nœ. œ. œ. œ. œ. œ. œœ

œ
&b Œ Ó bbb
œ. . n œœ. œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
.
Pno.
? bb œ œ œ Œ Ó bbb
15
5b. Three Spirits

(Young voices)
The three ladies inform Tamino and Papageno that they will send
three spirits to guide them on their quest.
° bb
34 Andante Main Part
& b ∑ ∑ ∑ Ó Œ ‰ œ
J
We'll
Y.V.
bb Œ ‰ œj
Optional harmony part
{
& b ∑ ∑ ∑ Ó
œ ™ œ
We'll
b
& b b ẇ œœ ™ Œ œ œ œ™
ẇ ‰
˙ ˙ ˙˙ œ œœ œœ œj
? bb œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ
Pno. mp
œ œ œ œ œ Œ
b . . . . œ. . œ. . œ. œ. œ. . œ. . œ. . œ.
° b
œ œ œ™ œ œ ™ œ œ
38
j j j
& b b œJ ‰ œJ ‰ œJ ‰ œJ ‰ œ ‰ œ ‰ œ œ ‰ œ™ œ œ™
j ‰ œ
J
Y.V.
bbb œj ‰ œj ‰ œj ‰ œj ‰ j ‰ j ‰ ‰ œj
œ œ™ œ œ ™ œ œ
send three spi - rits strong to guide you. Trust in them and you will find the way when
¢
j
œ œ™
{
& j‰ j
œ œ œ œ œ™
send three spi - rits strong to guide you. Trust in them and you will find the way when
b œ œ™ œ œ
& b b ẇ ˙ ẇ ˙ ˙˙ œœ ™ Œ œ œ œ™
œ œ œ œ
j‰
? bb œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ.
Pno.
b œ.
. . . . œ. . œ. . œ. . œ. œ. œ.
° bb œ ‰ œ ‰ œ ‰ œ ‰ j ‰ j ‰
œ œ œ™ œ œ ™ œ œ
42
j
& bJ J J J œ œ œ œ ‰ œ™ œ œ™
j ‰ œj
Y.V. you're in fear they'll be be - side you trust in them and you will save the day when
bb j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
¢ œ œ™ œ œ ™ œ œ
j
œ œ™
& b œ œ œ œ œ œ œ j‰ j ‰ j
œ œ™ œ
{
you're in fear they'll be be - side you trust in them and you will save the day when
b œ œœ ™ œ œ
& b b ẇ ˙ ẇ ˙ œœ ™ Œ œ œ ˙˙ œ™
œ œ œ
j‰
? bb œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ.
Pno.
b œ.
. . . . œ. . œ. . œ. . œ. œ. œ.
° bb
16
œ œ™
46
j j œ œ œ œ œ œ œ
& b œ™ œ œ™ œ œ™ œ œ Œ
dan - ger strikes they'll catch you when you fall trust in their song and
Y.V.
bb
¢ œ œ™
& b j j Œ
œ™ œ œ™ œ œ™ œ œ œ œ œ œ œ
{
dan - ger strikes they'll catch you when you fall trust in their song and
œ ™™
j
œœ ™™ œœ œœ ™™
b œ œ̇ œ œ œ
& b b ˙˙ ˙˙ œ œœ
œ
Œ
œ œ
. œ. . œ. œ. œ.
? bb œ. œ. œ. œ. œ. œ. œ. œ. .œ œ œ.
Pno.
b œ œ. œ. œ. œ. œ. œ. œ. œ.
° bb
49
& bœ œ Œ œ œ œ œ œ œ œ œ œ Œ
œ œ
you won't stray trust in their song and you won't stray
Y.V.
bb
¢& b œ
Œ Œ
œ œ œ œ œ œ œ œ œ œ
{
you won't stray trust in their song and you won't stray
œ™
b j
œ™
& b b œœ Œ œ œ̇ œ œ œ Œ
œœ œœ œ œœ œœ œœ
œ
? bb œ œ. œ œ œ. œ. œ. œ.
Pno.
œ œ œ œ. œ. œ. œ. œ Œ
b . . . œ. . œ. œ. œ. . œ. .
17
6. My love is like a blooming flower

(Pamina + Papageno + Young Voices)
Sarastro's slave, Monastatos, pursues Pamina but is frightened away by Papageno. The
bird-catcher tells her that Tamino is on his way to rescue her. When she sees his picture she also
falls in love. She and Papagena commiserate together about love being so far away.
Andantino
° b œ œ œ œ
Pamina
6
¢
Pamina & b b ∑ 8 ∑ ‰ ‰ œ œ œ œ œ œ œ œ œ
J œ œ œ
{
œ™
My love is like a bloo - ming flo - wer that rea - ches
b
&b b œ œ œ
6 j ‰ ‰ œ™ œœ
‰ j‰ j j‰ j j‰ j j ‰ œj œœj ‰ œœj
8 œœ œœ œœ œœ œœ œœœ œœ œœ œœ œ œ
œœ œœ œœ œ œ. œ. . . .
. . . œ™ œœ œ. œ. œ. œ. .
. .
6 œj ‰ ‰ œ™
Piano
? bb œ. œ. œ. ‰ œJ. ‰ œJ. œJ. ‰ œJ. œj ‰ j œ. ‰ œ. œJ ‰ œJ
p
b 8 . œ. J J
° bb œ œ œ œ
œ ‰ ‰ Œ™
6
Pam. & b œ œ j ∑ ∑
up to feel the sun
œ œ œ œ œ œ œ œJ ‰ œJ
Papageno
?b œ œ œ œ œ œ
¢ bb
Pap. ∑ ‰ ‰ J
{
My heart it yearns for a Pa pa - ge - na, To - ge - ther
b j
œœ ‰ œj œœj ‰ œj j j j ‰ œj nœœj ‰ œœj
&b b œ. œœ œ œœ œœœ ‰ ‰ œœj ‰ œœj j j
œœ ‰ œœ œœœj ‰ œœœ œœ œœ œ.
. œ.
. . . . œ. œ. œ. œ. . . œ.
œ. .
œ
? bb J ‰ J œ. ‰ œ. j ‰ ‰ œ. ‰ œ. œ. ‰ œ. œ ‰ œj
j œ. ‰ œ. œj ‰ œ.
Pno.
b J J œ. J J J J . . J J . J
18
° bb
œ œ œ œ œ œ œ œ
10
∑ Œ œ œ ‰ ‰ œ œ œ
Pam. & b J J J
™ œ œ œ™ œ nœ
? bb œ œ œ bœ œ œ œ œ œ œ ‰ ‰ œ œ œ
to fall in love is such a joy when you're in
¢ b
Pap. J ‰ J J J J J
{
we could be as one to fall in love is such a joy when you're in
œ ‰ œœ œœ ™™ œœœ ™™™ œœ ™™
j . œ. œ.
œœ ‰ œj œœj ‰ nœj
b j j j
œœœ ‰ ‰ œœ
&b b œ. œœ œ. œœ
. œœ œ. œ ™ œ™ œ œ
. . .
. .
? b œ. ‰ œ œ ‰ j j ‰ œJ œ œ œ œJ œ œ œ ‰ ‰ œ œ œ
Pno.
bb J J J œ. J J J œ œ œ
œ.
° bb œ ‰ œ œ ™ œ œ œ ‰ ‰ œ œ œ œ œ œ œœœ œ œ œ ‰ Œ™
14
Pam. & bJ J J
love it's such a joy when you're in love it's such a joy
? b œJ ‰ œJ œJ ‰ œJ œJ ‰ ‰ œ œ œ œ œ œ œ œ ‰ Œ™
Pap.
¢ bb J J
{
love it's such a joy when you're in love it's such a joy
œ™
b œœ. ‰ œœ. œ ™ œ œ œj ‰ ‰ œœ œœ œ œœ œ œœ œ
œ œ œœ œœ œ œ œ œœ œœ œœ ‰ œ™
&b b œJ œJ œœ ™™ œœ œœ œœ . . œœ™™
? bb œ ‰ œ œœ ‰ œœ œœ ‰ ‰ œ œ œ œ œ œ œ œ œ œ ‰
Pno.
b œJ œJ J J J œ œ œ œ œ œ œ œ œ œ
* you don't have to split these parts into groups but

it may help with sustaining the long lines
° bb
18 Young voices group 1*
Y.V.
¢& b ∑ Œ œ œ œ œ œ œ œ
J œ œ œ œ œ
œ œ œ
J
{
Young love is like the sweet - est po - tion which soothes a -
b œœ j j
& b b J ‰ ‰ œ nœ bœ œ œ œ œj ‰ ‰ œj ‰ œj j ‰ j j ‰ œj œj ‰ œœj œœ ‰ œœ
œœ œœ œœ œœ œœœ œœ œœ œ. œ. œ.
œœ œ. œ. . . .
œœ œœ ‰ ‰ œ. ‰ œ..
. .
œ. ‰ œ. œj ‰ œj œ. ‰ œ. œJ ‰ œJ
.
Pno.
? bb J ‰ ‰ Œ
b œJ J J J J J . . J J
19
° bb
œ œ œ œ j ‰ ‰ Œ™
22
j ∑ ∑
& bœ
œ
way life's aches and Pain
Y.V. Young voices group 2
b
&b b ∑ ‰ ‰ œ œ œ œ œ œ œ
J œ œ œ œ œ œ nœ œ
J
œ œ œ œ œ œ œ œœœœœ œ œ œ œ
Love lifts up moun - tains and fills the o - cean with - out it
œ
?b J
Pap.
¢ bb ∑ Œ J œ
{
Love lifts up moun - tains and fills the o - cean with - out it
b j j
œœ ‰ œ œœj ‰ œj j j j ‰ œj nœœj ‰ œœj
&b b œ. œœ œ œœ œœ ‰ ‰ œj ‰ œj œj ‰ œj œœœ
j ‰ œœ œœ œœ œ.
. œ.
. . . œ. œœ œœ œœ œœ . œ. œ.
œ. . . . . .
œ . . j ‰ ‰ œ. ‰ œ. œ. ‰ œ. j j œ. ‰ œ. œj ‰ œ.
Pno.
?b J ‰
bb J œJ ‰ œJ œ. J J J J œ. ‰ œ. J J . J
° b ™
26
j j j j j
&b b ∑ Œ œ œ œ œ œ œ œ œ ‰ ‰ Œ
œ œj ‰ ‰ Œ ™ Œ™
Y.V. to fall in love is such a joy
b j j
&b b œ œ œ
∑ œ œ œ
life won't feel the same when you're in
œ
b
&b b ∑ Œ œ œ œ œ œ œJ œ œ œ œ œ œJ ‰ ‰ œ œ œ
Pam.
J
™
to fall in love is such a joy when you're in
œ œ œ™
? bb œ
œ nœ œ œ bœ œ œ œ œ œ œ œ œ œ
¢ b
Pap. J ‰ J J J J ‰
{
life won't feel the same to fall in love is such a joy when you're in
bb œj ‰ œœ ‰ nœœj œ ‰ œœ œœ ™™ œœœ ™™™

œœ ™™
j j j j j . œ. œ.
œœœ ‰ ‰ œœ
œ. œ ™ œ™
b
& œœ œœ œ œ
. œ. œ. œ. œœ.
.
? bb œ. ‰ œ. œ. ‰ j œj ‰ œJ œ œ œ œ œ œ œ ‰ ‰ œœ œ œ
Pno.
bJ J J J J J J œ œ
œ. .
20
° bb Œ™
30
∑ j œ œ
& b œ œ œ œ œ J
j
Y.V.
b j
when you're in love it's such a
& b b œj ‰ œj œ
j
œ œ ‰ ‰ œ œ œ œ œ œ œ
J
&b b J ‰ J œ™
œ œ œ
love it's such a joy when you're in love it's such a
b œ œ œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ
Pam. J
œ
? bb œJ ‰ œJ œJ ‰ œ J ‰ ‰ œ œ œ œ œ œ œ
¢ b
Pap. J J J
{
b œœ. ‰ œœ. œ ™ œ œj ‰ ‰ œœ œœ œ œœ œ œœ œ
œ œ œœ œœ œ œ œ œœ œœ
œJ œœ ™™ œœ
œœ
&b b œJ œ œœ
. .
Pno.
?b œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ
bb œ œJ œJ œJ œ ‰ ‰ œ œ œ œ œ œ œ œ œ
J J
° bb Œ™
33
& bœ ‰ ∑ ∑
joy
Œ™
Y.V.
b
&b b œ ‰ ∑ ∑
joy
Pam.
b œ
&b b ‰ Œ™ ∑ ∑
joy
?b œ Œ™
¢ bb
Pap. ‰ ∑ ∑
{
joy
b œ œ ™™ œœ
œ j
&b b œ ‰ J ‰ ‰ œ nœ bœ œ œ œ
œ
‰ ‰
œœ™™ œœ
œœ
Pno.
? bb œ ‰ J ‰ ‰ Œ œœ ‰ ‰
bœ œJ J
21
7. Song of the spirits

(Tamino + Young Voices)
The three spirits lead Tamino to Sarastro's temple. Tamino pleads

with them to tell him whether Pamina will be saved but they simply tell him
to remain courageous and stay on the path
° #C
Young Voices
Larghetto
Œ ‰ j œ ™ œj œ ™ œj
(Spirits)
¢&
∑ ∑ Ó
Young Voices
œ
{
This path will lead you
‰ ™ r œ ™ œœ ˙˙ œœ ™™ Ÿ
œœ œ ™ œœ œœ œœ ™™ œ œ œ ‰ j w
#
& CÓ œœ œ ™ œ™ œ œ œ œ ™ œJ œ ™ œJ
œ™ œ
‰ ™ œœr œœ ™™ œœ œ™ œ œœ™™
Piano mp œ œœ œ™ œ œ™ œJ
? #C ∑ œ œ œ Œ J
° #
œ ‰ œ œ ™ œ #œ ™ œ ˙
j
5
j œ™ œj œ™ œ œ™ œ ˙ j j
¢ & œ™ j Œ œ œ œ Ó
{
Y.V.
œ œ™ œ
˙™ j ™
to your goal but there is still so far to tra - vel Ta - mi - no heed our word be pa - tient
œœ œœœ ™™™ œ #œœ ™™ œœ œœ ™ œj œ

# j j
& w œœ™™ œ œ™ œ œ™ œJ œ™ œ œ™ œ ˙ œ ‰
w œœœ œœ œœœ ˙˙
J J . œ. .
™ ™œ œ œ™ œœ œ ™ # œœ œ ™™ œœ œœ
? # œ ™ œJ œ ™ œJ œ ™ œJ œ œ œ ˙ œ ‰ œ.
Pno.
J J J œ œJ œ œ. œ. ˙
˙
° #
11
‰ œj œ œ
Tamino
& ∑ Ó ‰ j œ œ œ™ j œ œ Œ
œ œ™ J
‹
Tam.
œ
O gen - tle spi - rits tell me true Pa - mi - na's
#
¢& œ œ Œ œ™ œ œ œ Ó
Y.V. ∑ ∑
{
stead - fast and cou - ra - geous
#
& œœœ œœœ ˙˙
˙ œ œ œ œ œ œ œ œ
3 3 3 3
œœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ
. . œ. . ˙
? # œ. œ. ˙ œ. œ. ˙ ™ j ™ j 3 3 3 3
œ œ™ ™
Pno.
œ œ œ j j
˙ ˙ œ™ œ œ™ œ œ œ œ
œ
° # #œ ™
22
œj œ™ j
15
& #œ œ œfij œ Œ Ó ∑ ∑ ∑
œJ œ ™
‹ ™
Tam.
bonds shall I un - do?
#
‰ œj œ™ œj œ™ œ œ™ œ œ œ œ œ Ó
¢&
∑ Ó Œ
Y.V.
J J
{
To tell you this is not our task be pa - tient
œœ ™™™ #œœj
j
& œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œœ ™™ œœ œœœ ™™™ #œœœ
# œ œ œ j
œœœ ˙˙
3 3 3
#œ œ œœ
3 3
3 3
œ œ œ. œœœ nœœœ
œ œ™ œ œ ™ œ
. . .
j œ™ j œ™ œ œ. œ.
3
œ™ œ œ™ œ. œ. ˙
Pno.
?# j œ œ ‰ J J J
™
œ
œ™ œ œ™ œ œ œ J ˙
œ
° #
œ™ œJ œ Œ œ œ ™ œ
j
20
j
Y.V.
¢ & œ œ Œ œ™ œ œ œ Œ ‰ œ œ™ œ œ Œ ˙
{
stead - fast and cou - ra - geous re - mem - ber this Stay on the path stay on the
j
œœ ™™ œœj œ ™ œœ œœœ ™™™ œœœ œœœ ™™™ œœ œœ Œ œ œ ™ œœ
# j j
œœ ˙ œœ ˙
& œœœ œ™ œœ œ ™
œœ œ œ
. œ. ˙ œ. œ. ˙
? # œ. œ. ˙ œ. œ. ˙ œ™ œ œ™ œ œ™ œ œ™ œ œ Œ Ó
Pno.
˙ ˙ J J J J
° # œ ™ œ œ œ™ œ œ œ
œ œ™ œ
œ
25
œ Œ Ó œ™ œ œ œ
& œ œ Œ Ó
‹ stay on the path to Pa - mi - na's
Tam.
heart stay on the path to pa - mi - na's heart
œ™ œ œ œ œ œ™ œ ˙ œ™ œ œ œ
#˙
¢
Y.V. & Œ œ Œ Œ œ Œ Ó
{
path to Pa - mi - na's heart stay on the path to pa - mi - na's heart
œœ ™™ œ ™ œœ œœ ™™ œ ™ œœ œœ Ÿœ ™ œœ œ Œ Ó
Ÿ
#
& ˙˙ œœÓ œœ ™™ œœœ Œ œœ œœ ™™ œœ ˙˙ œœ œ ™ œ œ œ ™ œœ
œœ œ ™ œ
œ ‰ ™ œœ œœ™™ œœ œ
R
? # œ œœ ™™ œœ œœ™™ œœ œœ™™ œ œ œœ œœ™™ œ œ ™ œ ™ œœ œœ™™ œœ œœ™™ œ œ œœ
Pno.
œœ
™
œ Œ
œ œ™ œ
œ
œœ œ œ Œ Ó
œ œ
23
8. Tamino and the Priests

(Tamino + Young Voices)
Outside Sarastro's temple, Tamino hear's the voices of the priests

tell him that Pamina is alive
° 4
Andante
œ™ œ #œ ≈ œ œ œ
¢& 4
∑ ∑ œ
‹
Tamino
{
Dark - ness pro - found why do you
4 œ. œ. œ. j œj œ. œ. œ. j
& 4 œj #œ #œ œ Œ
œ # ˙˙˙˙
Piano p
˙ œœ œœ œœ œœ
?4 j ‰ Œ ˙ Œ œ ‰ œ ‰ Œ
4œ J J ˙
œ ˙
° œ œ ≈ œ ™
4
& œ œ #œ œ œ œ #œ œ Œ Ó ∑
‹ blind me oh light of truth when shall I find thee?
Tam.
Young Voices
j
¢&
j‰
{
∑ ‰ ‰ Œ Œ œœ ‰ Œ œ œ Œ
(priests)
Y.V.
œœ œ œ
J J
‰ œj ‰ œj ‰ œœj ‰ œœj œœj ‰ œj ‰

soon or ne - ver
& œj ‰ Œ # ˙˙˙ #œœ Œ

œœ œœ œœ
œœ œ œ œ œ
™
‰ œj œ ™ œ œœ œ œ™ œ œ™ œ œ™ œ œ™ œ
mp
Pno.
? j ‰ Œ ˙ œ
œ ˙ Óœ œ œJ ‰ J ‰ œJ ‰ œJ ‰ œ ‰ œJ ‰
œ J
° Ó j
7
Œ ‰ Œ #œ ‰ œ œ œ œ
& œ œ
‹
Tam.
J
soon or ne - ver did they just
¢& Œ œœ™™
Œ ∑
{
Y.V.
œœ œœ
œ
per - se - vere
j
& ‰ œœ ‰ #œœj œœ Œ #œœœ ‰ Œ Ó
œ œ œ J
? œj
Pno. f
‰ j ‰ Œ nœ Œ Ó
œ œ œ nœ
œ œ
° œ ‰ œ œ œ ™ œ #œ ‰ Œ
24
9
& œ œ œ œ #œ œ œ Œ Ó
J J
‹ say?
Tam.
Oh won't you tell me then if my Pa - mi - na lives?
¢&
∑ ∑ Œ ‰ œj œj ‰ j
œœ ‰
{
Y.V.
œ œ
J J J
œœ
Pa - mi - na
& Œ œ ‰ Ó Œ ‰ œœj ‰ œœj

J #w
w
w
#œœ
œ œ œ
j ™ œ œ™ œ
mp
œj ‰ Ó
Pno.
? Œ w œ ‰ œ œœ œ ‰
œ w œ œ J ‰ J
°
12
œœ™™
j j
Y.V.
¢& Œ ‰ œœ œœ ‰
œœ
j ‰ Œ œœ œœ Œ
J J J
{
Pa - mi - na is a - live
j j jj j U
& ‰ œœ ‰
œœ ‰ œœ ‰
œœ ‰ œœ ‰ #œœj œœ Œ
œ œ œ
œ œ œ œ
Pno.
? œ™ œ œ ™ œ œ™ œ œ™ œ
j U
œ œ ‰ j ‰ œ Œ
œJ ‰ J ‰ œJ ‰ œJ ‰ œ œ
œ œ
8b - Tamino's flute
{
Tamino charms the wild animals with his flute
Allegro
œ œ. #œ œ œ. œ. œ. œ. #œ. œ. ™ œ œ œ#œ œ nœ œ œ œ œ œ
œ™ œ œ
14
n œ œ œ
& Œ œ œ œ œ
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ˙˙˙ ™™ œœ œ
™
Pno. mf
? ∑ œ œ
œ œ
{
18
œ œ™ œ #œ œ œ. œ. œ œ œ œnœ œ œ œ œ œ œ œ#œ œ œ œ nœ ™ œ œ œnœ œ œ œœœœœœœœœ
& œ™ œ œ ‰ œ œ œ
J
œ™ œ œ œ œœœ œ œ œ œ œ œ œœ œœœ ™™ œœj œœœ œœ œœœ œœ
? œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ ™
Pno.
œ
J
° Ó
œ nœ ™ œ ˙
œ™ œ œ œ œ #œ œ œ œ œ œ #œ œ
25
œ
22
¢& Œ œ œ œ
‹
{
Tam.
My ma - gic flute can speak for me my me - ssage
‰ œœj œœ œœ ‰ œœj œœ œœ ˙ ™
˙ œ
œ Œ œ™ œœœ œ œ œœ
& ˙ œ œ œ œ œ œ œ ˙˙™™ œœ œ œ̇œ # œœ
œ .
? ˙˙ œ. œ œ.
Pno.
œ œ œ.
œ Œ œ Œ œ Œ Œ Œ
° œ™ œ œ ‰ œ œ #œ œ œ œ œ œ œnœ œ œ œ œ œ #œ œ nœ œ œ #œ œ œ œ œ
26
¢ œ
{
& J œ œ
‹ ca - rry the sound of mu - sic
Tam.
J
o - ver land and sea o Pa - mi na I hope that you can
™ œj œ
& œ™ œ œ
nœ Œ ‰ œj œ œ ‰ œj œ œ ˙˙ ™™ œœ œ œœ œœ œœ #œœ œœ œ œ œœ
œœ œœ œœ œœ œœ œœ ˙™
œ˙ œ œ œ œ œ œœ œ
Pno.
™
? œ. œ œ
Œ œ Œ œ Œ Œ Œ œ
œ. œ.
° ˙ œ œ
30
& nœ Œ ∑ Ó Œ
‹ hear
Tam.
me O Pa -
j
Young voices
j
¢&
∑ œ ‰ ‰ œ œ œ œ ‰ Œ
{
Y.V.
œ œ œ œ œ œ
œ
œ™
when you hear the sound there's ma - gic all a - round
œfij œ œ œ œ œ œ œ œ œ œ œ œJ œ œ œ œ
& ˙
œ œ nœ
œ ‰ œ œ œ œœ œ œ œ Œ
. . . . . .
Pno.
œ .œ œœ. œœ œœ. œœ œœ. œœ œœ. œœ. œœ œœ. œœ œœ. œœ œœ.
? ˙˙ œ Œ œ.
° œ #œ œ œ #œ œ œ nœ œ ™
33
& œ œ Œ ∑
‹ mi - na I hope that you can hear
Tam.
J
my song
j
¢&
∑ ∑ ‰ ‰ œ
{
œ œ
œ œ œ œ
Y.V.
œœ
play your ma - gic tune you'll
fij œ œ œœ œ œœ œfij
‰ #œj œœ œœ œœ œœ œœ J ‰ ‰
nœ
& #w œ
w
w
. œ. œœ. œ. œœ. œœ. œœ. œœ.
œ œ
Pno.
? w œ œ œ Œ œ
w œ. œ. œ.
° Œ
26
œ œ™
œ #œ œ œ #œ œ œ nœ U
œ œ ‰ œ nœ
36
& Œ ‰ œJ œ
‹
Tam.
J J
O my Pa - mi - na I hope that you can hear me My
j
¢& œ œ œ œ œ ‰ Œ ∑ ∑
{
Y.V.
œ œ
be to - ge - ther soon
œ œ J ‰ Ó U j U
& œ #w #˙˙ œ ‰ Œ
w
w ˙ œ
.œ œœ. œ. œœ. œ. œœ. œ. U
? œ. œ
œ œ œ œj U
Pno.
w ˙ ‰ Œ
w ˙ œ
° #œ œ œ œ œ œ œ nœ œ œ œ œ
39
¢& œ œ #œ œ œ nœ œ œ œ œ #œ œ œ
‹ ma - gic
Tam.
{
flute can speak for me my me - - ssage
˙˙ ™™
j j œ œ
& ‰ œœ œœ œœ ‰ œœ œœ œ œœ œœ œœ #œœ œœ
˙™
œœ œœ
œ œ œ œ œ œ
œ œ œ œ œ œœ œœœ
˙™
œ
Pno.
? œ Œ Œ œ Œ Œ œ
œ
° œ ™ œ bœ œ bœ œ œ œ
42
œ œ œ œ œ
¢& Œ Œ Œ
{
‹
Tam.
but my Pa - mi - na my Pa - mi - na's so far a -
& Ó Œ œœ Œ
bœœ
Œ
œœ
Œ œœ bœœ œœ
p
Pno.
? Ó b˙ ˙ ˙
œ̇ Œ œ̇ Œ bœ Œ œ Œ œ Œ
° œ bœ œ bœ œ
45
œ œ œ
¢&
Œ œ œ œ Œ Ó
‹ way
Tam.
{
my Pa - mi - na's so far a - way
b˙˙ bœœ
& œ bœœ ˙ b˙œ̇ œ œ œœ
œ
œ Œ Ó
œ œ
b œœ
? b˙ œ
Pno.
bœ œ Œ Œ œ Œ Ó
bœ Œ bœ Œ œ œ
œ
27
9. Papageno's spell
(Papageno + Monastatos + Young voices)
Monastatos and his helpers chase Papageno and Pamina but Papageno
plays his magic chimes and puts them into a trance
°? # ## ∑ 4
Allegro
Œ œœ œ Œ Œ œœ œ Œ Œ œ œ œ œ œ œ
Papageno
¢ # 4 ∑ Ó
{
Papageno
. œ. œ. œ.
I've a plan I've a plan no - thing ven - tured no - thing
#### œ. 4 œœ œ. œ œ œ
œ œ œ œ œ
œ#œœ œœ Œ Œ œœ œœ œœ Œ Œ œœ œ œ œœ œœ œœ
& œ 4 œ œ. œ.
. œ œ œ œ
? ## # œ 4 œœ œ œ. œ .œ œ œ œ œ
Piano f p
#
œ. 4 œ. œ œ œ œ œ Œ Œ Œ Œ Œ œ œ œ œ
. œ. œ.
°? # ## ˙ œ™ œ™ œ™
7
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
¢ #
Pap. J œ Œ J œ Œ J
{
gained I will ring my ma - gic chimes I will put them in a trance watch them do a li - ttle
. . œ. œ. œ. œ. . . œ. œ. œ. œ. œ. œ. . . œ. œ.
#### œœ œ œ. œ œ. œ. œ. œ. œ. . œ œ . œ œ
& œ Œ œ Œ œ Œ
. . . . . .
? #### œ Œ œ œ. œ œ. œ. œ. œ. œ. œ Œ œ œ. œ œ. œ. œ. œ. œ. œ Œ œ œ. œ œ. œ. œ. œ. œ.
Pno.
°? # ##
13
Pap. # œ Œ Ó ∑ ∑ ∑ ∑
œ™ Œ œ™
dance
#### Ó j j
Young voices
¢& œ œ œ œ œ œ Œ Ó
Y.V.
œ œ œ œ œ œ
{
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. “”
Pa - pa - ge - no ring that bell Pa - pa - ge - no cast your spell!
#### œ. Œ œ. œ. œ. œ. .œ Œ œ.
œ. Œ Œ œ œ
&
. . œ. œ. œ. œ. œ. œ. œ.
? #### œ Œ œ œ. œ œ. œ. œ. œ. œ. œ.
Pno. mp
. œ Œ œ. Œ Ó &
{
:“; 28
#
## # œ œ œ œ œ œ œ œ œ œ œ œ œ œ
18
& œ œ œ œ œ œ œ
Pno.
#### œ Œ Ó œœ Œ Ó œœ Œ Ó œœ œœ œœ Œ
& œœ œœ œœ œ œ œ
{
:“;
# # œ œ
œ œ
22
&##œ œ œ œ œ œ œ œ œ œ
œ
œ œ
œ
Pno.
#### œ
& œœ Œ Ó œœ Œ Ó œœ Œ œœœ Œ
œ œ
Monastatos (optional line
° #### Ó
could also be young voices)
25
& Œ œœ œ œ Œ œ œ œ Œ œœ œ œ Œ œ ˙ Œ œœ ˙
‹
Mon.
œ œ
Oh won - drous en - chant - ment Oh what a de - light la la la la la
Optional line
Pap.
? #### Ó Œ œœ œ œ Œ œ œ œ Œ œœ œ œ Œ œ ˙ Œ œœ ˙ œ œ
#### Ó
Y.V.
¢ & Œ œœ œ œ Œ œ œ œ Œ œœ œ œ Œ œ ˙ Œ œœ ˙ œ œ
{
:“;
#### œ œ œ œ œ œ œ œ œ œ œ
& œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œœ œœ
## œœ œœ œœ œœœ œœœ œœœ œ
Œ œœ Œ Ó
Pno.
& # # œ œœœ œœœ Œ ? œ Œ Ó œœ Œ Ó œœ Œ Ó
° ####
31
j
& œ™ œ œ œ j Œ œœ Œ œ œ Œ œ œ™ œj œ™ œj
‹
Mon.
˙ œ™ œ ˙ œ œ œ
? #### œ ™ œJ œ œ œ™ œ™ œ œ™ œ
la la la I'll dance through the night my feet can't stop mo - ving it's such a pre - tty
˙ œ ˙ Œ œœ œ œ Œ œ œ œ Œ œ
Pap.
J J J
la la la they'll dance through the night their feet can't stop mo - ving it's such a pre - tty
####
Y.V.
¢& œ™ œJ œ œ ˙ œ™
j
œ ˙ Œ œœ œ œ Œ œ œ œ Œ œ œ™ œj œ™ œJ
{
:“;
la la la I'll dance through the night my feet can't stop mo - ving it's such a pre - tty
## # œ œ œ œ
# œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ
& œ œ œ œ œ œ œ œ
œ œ œ
œœœ
? #### œœ Œ Ó œœ Œ œœ Œ œ œœœ œœœ Œ œœ Œ Ó œœ Œ Ó œœ Œ
Pno.
œ œ œ œ œ œ Œ
° #### j
37
œ™ œJ œ œ
29
& Œ œœ ˙ œ œ ˙ œ™ œ ˙ Œ œœ
‹
Mon.
˙
˙ œ œ œ ™ œJ œ œ ˙ œ™
song la la la la la la la la I'll dance all night long my
Pap.
? #### ˙ Œ œœ œ ˙
J Œ œœ
####
song la la la la la la la la they'll dance all night long their
j
¢& œ™ œJ œ œ
Y.V. ˙ Œ œœ ˙ œ œ ˙ œ™ œ ˙ Œ œœ
{
:“;
song la la la la la la la la I'll dance all night long my
#### œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œœ œ œ
& œ œ œ œ œ œ œ œ
œœ œœ œœ
? #### œœ œœ Œ Ó œœ Œ œœ Œ œ œ
œ œœ œœ Œ
Pno.
Œ œ Œ Ó œœ œ œ
° ####
42
& Œ Œ œ j j Œ œœ
œ™ œ œ™
‹
Mon.
œ œ œ œ œ œ ˙
œ™ œ œ™ Œ œœ
feet can't stop mo - ving it's such a pre - tty song la la
? #### œ œ Œ œ œ œ Œ œ œ ˙
Pap.
J J
#### j
Y.V.
¢ & œ œ Œ œ œ œ Œ œ œ™ œ œ™ œ ˙
J
Œ œœ
{
:“;
#### œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œœ œ œ
& œ œ œ œ œ œ œœ
œœœ œœ œœ œœ
Pno.
#
? ## # œœ Œ Ó œ
œœ Œ Ó œ
œ Œ Œ Œ
œ œ
° #### ˙ j
46
& œ œ œ™ œ œ œ ˙ œ™ œ ˙ Ó
J
‹
Mon.
œ™ œ œ œ œ™
la la la la la la I'll dance all night long
Pap.
? #### ˙ œ œ J ˙ œ ˙
J Ó
la la la la la la they'll dance all night long
#### j
Y.V.
¢ & ˙ œ œ œ™ œ œ œ
J ˙ œ™ œ ˙ Ó
{
:“;
la la la la la la I'll dance all night long
## # œ œ œ œ œ
# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
& œ œ œ œ
? #### œœœ Œ Ó œœ Œ Ó œœ Œ œœ Œ œœœ œœœ
Pno.
œœ œ œ œ Œ
30
10. Long live Sarastro!

(Pamina + Tamino + Papageno + Young voices)
{
the priests sing a song of praise to Sarastro
Allegro
4
& b4 j ‰ ‰
3
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Piano f
? 4
b4 j ‰ Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
°
3 Pamina
&b œ œ œ™ œ œ
Pam. œ™ œ œ œ™ œ œ
Long live Sa - ras - tro our guide and our mas - ter
Tamino
&b œ œ™ œ œ œ™ œ œ œ™ œ œ œ
‹ Long
Tam.
œ™ œ™
live Sa - ras - tro our guide and our mas - ter
?b œ œ œ œ œ œ œ œ
Papageno
Pap.
œ™
¢& b œ
Young voices
œ œ™ œ œ
œ œ œ™ œ
{
Y.V. œ™ œ
œœ ™™™ œ ™™
œ ™™
œœ œœ œœ
&b œ
œ œ
œ œœœ
œ œ
œœ
œ œ œœ ™ œ œ œ
œ
œ œ œ œ
œ™ œ™
Pno.
?b œ œ œ œ™ œ œ œ
œ œ™ œ œ œ™ œ œ™ œ œ œ™ œ
œ™
œ
œ œ
° bÓ
31
5
& Œ ‰ œj œ œ™ œ œ œ™ œ œ œ™ œ œ Ó Œ ‰ j
œ œ
Pam.
his wis - dom will save us from a - ny di - sas - ter we
&b Ó Œ ‰ œJ œ œ™ œ œ œ™ œ œ œ™ œ œ œ Ó Œ ‰ œJ
‹
Tam.
œ™ œ œ œ™ œ œ œ™ œ œ œ
Pap.
?b Ó Œ ‰ œJ œ ∑
his wis - dom will save us from a - ny di - sas - ter
¢& b Ó Œ ‰ œj œ œ™ œ œ œ™ œ œ œ™ œ œ Ó Œ ‰ j
œ œ
Y.V.
{
œ Ÿœ™ œ œ œ ™ œ Ÿœ™ œ œ œ ™ œ
& b œœ œœ ™™™ œœ œœ œ ™ œœ œœ œœ ‰ ™ œœ œœ œœ œœ ™™™ œœ œœ
œ œ œ œ œ™ œ œ œ œ œ œœ œ œ
? œ œ™ œ œ œ™ œœ œœ œœ ™™ œœ œœ œœ ™™ œœ œ œ œ œ™ œ œ Œ
Pno.
œ œ™ œ œ
œ œ œ Œ
œ ™ œ œ œ™
bœ œ œ œ
°
9
Pam. &b œ œ œ œ œ œ œ œ œ œ™ œ œ ‰ œj œ œ œ œ œ œ œ œ
œ™ œ œ
bow our heads and bend our knee Sa - ras - tro all hail! we bow our heads and bend our knee Sa -
œ œ
&b œ œ œ œ œ œ
œ œ œ ‰ œJ œ œ œ œ œ œ
‹ bow our heads and bend our knee Sa
Tam.
- ras - tro all hail! we bow our heads and bend our knee Sa -
œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ
Pap.
?b Œ ‰ J Œ Œ ‰ J
we bend our knee Sa - ras - tro all hail! we bend our knee Sa -
¢& b œ œ œ œ œ œ œ œ
Y.V. œ œ™ œ œ ‰ œj œ œ œ œ œ œ œ œ
{
bow our heads and bend our knee Sa - ras - tro all hail! we bow our heads and bend our knee Sa -
& b œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ ™™ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Pno. p cresc. mf
?b œ œ œ œ œ œ Œ œ œ œ œ
œ
° bœ
32
12
Pam. & œ™ œ œ ‰ j
œ œ œ™ œ œ œ™ œ œ œ™ œ œ ‰ j
œ œ œ™ œ œ œ™ œ
œ œ™ œ œ
ras - tro all hail! To him we will lift up our hearts with joy To him we will lift up our
&b ‰ œJ œ œ™ œ œ œ™ œ œ œ œ ‰ œJ œ œ™ œ œ œ™ œ
‹ ras - tro all hail! To
Tam.
? b œ œ ™ œ œ ‰ œj œ œ™ œ œ œ™ œ œ œ œ œ™ œ œ œ™ œ
him we will lift up our hearts with joy To him we will lift up our
Pap.
œ ‰ œj
ras - tro all hail! to him we will lift up our hearts with joy To him we will lift up our
¢& b œ œ™ œ œ ‰ œj œ œ™ œ œ œ™ œ œ œ™ œ œ œ œ™ œ œ œ™ œ
‰ j
{
œ
Y.V.
ras - tro all hail! To him we will lift up our hearts with joy To him we will lift up our
& b œœ œœ ™™ œœ œœ j ≈ œ œ œ œœ ™™™ œœ œœ œœ ™™™ œœ œœ œœ ™™ œœ œœ ‰™ œœ ™™™ œœ œœ œœ ™™™ œœ

3 3
œ œ œ œ œœ œ œ œ œ œ œ œ
œ œ œ œœ œ œ
œ™ œ œ œ™ œ œ œ™ œ œ™ œ œ œ™ œ
Pno.
f
?b œ œ
œ œ
œ
œ œ œ œ ™ œ œ œ ™ œ œ œ ™ œ œ™ œ œ™ œ œ œ™ œ œ œ™ œ
œ œ
° b ‰ œj œ™ œ œ ‰ œj œ™ œ œ
16
Pam. & œ œ™ œ œ œ œ Œ
hearts with joy Sa - ras - tro all hail! Sa - ras - tro all hail!
&b œ œ œ ‰ œJ œ œ™ œ œ ‰ œJ œ œ™ œ œ Œ
‹ hearts with
Tam.
œ™ œ œ œ™ œ
joy Sa - ras - tro all hail! Sa - ras - tro all hail!
œ œ
Pap.
?b œ œ œ ‰ œJ ‰ œJ œ Œ
Y.V.
¢& b œ œ™ œ œ ‰ œj œ œ™ œ œ ‰ œj œ œ™ œ œ Œ
{
& b œœœ œœ ™™ œœ œ ‰ œœœœ œ œœ

œ
œœ
œ ‰ œœœœ œ œœ
œ
œœ
œ ‰ ™ œR
œ
œ ™ œ œ™ œ œ™ œ ™ œ œ™ œ œ™ œ ™ œ œ™ œ œ™ œ
Pno.
?b œ œ œ œ œ
œ œ™ œ œ™ œ œ™ œ
{
Ÿ œ ™ œ œ™
Ÿ œ ™œ œ œ ™ œ Ÿœ™ œ œ œ ™ œ œ™Ÿ
œ œ™ œ œ œ
19
b œ™ œ œ œ œ ‰ œ
& œ
œœ œœ œœ R œœ œœ œœ Œ
œ
Pno.
œ
? b œœ ™
œœ ™ œœ œ
œ ™
œœœ ™™ œœœ œ
œ ™
œœ ™ œœ œ
œ ™
œœœ ™™ œœœ
œ œ œ œ™ œ œ™ œ œ œ œ œ œ Œ
33
11. My joy forever vanished

Tamino and Papageno learn that in fact it is the Queen of the Night that is evil.
They decide to undergo initiation into Sarastro's temple. When Pamina misinterprets
Andante Tamino's vow of silence for coldness, she is heartbroken.
&b 8 Œ™ œ œ œfij œj ‰ œj œ œ™œ

b6 œ œ œ œ œ ‰ œ™ œ œœœœ j j
œfi #œ ‰ œ œ
{
j
Pamina
Ah, my joy for - e ver va - nished, hope is gone for - e - ver -
b6 j j j j j‰
j j j j ‰ j œj ‰ j j‰ j j‰ j
& b 8 œœ ‰ œœ œœ ‰ œœ œœœœ œœœ ‰ #œœœ
œœ œ œœ œ œ #œœ œ œœ œ œœ
œ œ œ œ n œœ œ b œœ œ œ œ œ
j j j œj œj ‰
œj œj ‰ œj œj ‰ œj œj ‰ œj
Piano p
? b6 œ ‰ œ œ ‰ j œ œ œ
b8œ œ œ œ œ
œ œ œ œ œ œ œ ‰ œ œ ‰ œœ
œ œ J J J
œ œ
‰ Œ™ Œ™
œ œ
5
b #œ œJ ‰ œJ #œ œ œ
Pam. & b œ ‰ J
J
{
more hope is gone for - e - ver - more my heart
œ™ œ # œj œj bœ œœ ™ œ œœj
b œ™ œ #œ œ œ œ #œ œ œ nœ œ bœœ œ œ ‰ j
& b #œœœ ‰ ‰ J J ‰ J J ‰ J J ‰ J J ‰ J J J œ‰œ
J
Pno.
b œœ œœ
? bb œj ‰ & j j j
œœ ‰ œœ #œœj ‰ œœj
j
œœ ‰ œœj #œœj ‰ nœœj œj ‰ œj œœj ‰ nœœJ J ‰ œ
?
œ
#œœ œ œ œ œ #n œœ œœ n œ J
œ
nœ nœ œ œ™bœ œ ™
9
b œœ j œ œ œbœ œ ‰ œ œ œ œ#œnœ
Pam. &b œ œ œ œ œ ‰ œ J
{
longs for my Ta - mi - no how I long to see his face hope is
b j ‰ j j ‰ j j ‰ œj œj ‰ bœj œj ‰ œj j j j
b
& œœ œœ œœ œœœ œœ œœ œœ œ œœ œœ
bœœœ ‰ œœ
bœ œœ ‰ œj œœœ ‰ nœœœ
œ J œ œœ J
j j
? bb œœ ‰ œj œj ‰ œj œ ‰ œ œj ‰ œj œj ‰ œj œ ‰ œj œ ‰ œœ
Pno.
j j j
nœ ‰ œ
J œ œ œ œ œ œ œ œ œ nœ œ œ œ œJ J
œ œ. œ. œ. œ. œ
œ œœ œœœ œœœ œœ œ œ œœbœœœ œ œ ‰ Œ ™
13
b œ nœ b œ œ œœ œ œ œœœœœœœœ nœ œ
& b œ nœ
{
Pam.
gone for e - ver more for e - ver -more
b œœœ ‰ œœ ‰ œj œ œ œ œœ ™™ Œ ™
œœœ œœ œ œœ œœ ‰ œœ œœ œœ
œ œ œ™
b
& J œJ J ‰ œ œ™œ
J J J J J
? bb œj ‰ j ?œ ™ œ™ ™
œ™ Œ
Pno.
œ &œ œ nœ œj ‰ œ
j
œ
j ‰ œ
j j
œ ‰ ‰
œ œ
34
12. If I could find someone to love
(Papageno + Young voices)
{
Having failed his initiation tests, Papageno decide to give up on
entering Sarastro's order. But he still pines for a wife.
“” œœ ™™ œ œ ™ œ œ. œ. œœ. œœ ™™ œœ œœ ™™ œœ œœ
Andante
œœœ. œœœ. œœ.

b œ. 2 œœœ. œœ.
œ œ œ œ œ™ œ ‰ œJ.
& J 4
Piano p
j j j j j
&b ∑ 42 œœœ ‰ œœœ ‰ œœœ ‰ œœœ œœ ‰ œœœ ‰ œ Œ
{
œ œ œ
:“;. œ œ œ œ ™ œ œ™
6 œœ œœ. œœ. œœ. œœ
œœ ≈ œ œ œ. œ.
& œ
b œ œ œ œ™ œ œ™ œ
∏∏∏∏∏∏∏
J
Pno.
j j j j j
& b œœœ ‰ œœ ‰ œœ ‰ Œ œœ ‰ œœ
œ
‰
œ œ œ
°? Œ ‰ œj œ™ œ œ™ œ œ œ œ œ™ œ œ™ œ
9
œ œ
verse 1 - Papageno
œ œ œ
Pap. b
If I could find some - one to love how ha - ppy I would
verse 2 - Young voices
¢& b Œ ‰ j œ™ œ œ™ œ œ œ œ œ™ œ œ™ œ
{
œ œ œ œ œ
œ
Y.V.
:“;
œ. œ. œ. œ. œ. œ. œ. œ ™ œ œ ™ œ œ. œ. œ. œ. œ™ œ œ™ œ
If Pa - pa - ge - no had a wife how ha - ppy he would
& b œ œ œ
Pno.
j œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
J ‰ œœJ ‰
& b œœ ‰ ‰? œ
Œ J ‰ J ‰
°? œ œ œ œ™ nœ œ œ œ bœ œ œ
‰ œj œ™ œ œ™ œ
13
œ œ œ
Pap. b
be the sun would shine so bright - ly when she smiled at
Y.V.
¢& b œ
‰ œj œ œ œ œ œ œœ œœ œ œ œ™ œ œ™ œ
{
“” œ™
be the sun would shine so bright - ly as far as you can
. œ. n œ œ œ œ b œ œ œ.
œ œ œ œ œ œ œ. œ œ. œ. œ. œ™ œ œ™ œ
&b
j ‰? œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
Pno.
? b œœ & œ
œœ œœœ J ‰ œJ ‰ œ œJ ‰ J ‰
Œ
°? œ œ™
35
17
œ œœœœ œ œœœœœœœœ œ Œ
Pap. b ‰ œJ ‰ œJ 6
8
me how ha - ppy I would be how ha - ppy I would be
Y.V.
¢& b œ ‰ œj œ™ œ œœœœ œ ‰ œj œœœœœœœœ œ Œ 6
8
{
“” œ œ œœ ™™ œœ œœ œœ œœ œ œ “œ” œ œ œ œ ”
œœ œ œœ œœ œœ œœ œœ œœ œ U “œœ.
see how ha - ppy he would be how ha - ppy he would be
œ œœœ œœ œ 6
&b œ œ œ ‰ J 8
œ œœ œ œ œ œ œ œœ œ œœ
? b œœ &œ ?œ œœ ?œ œœ U
Pno.
œ œ &œ œ œ ‰ &J
6
œ œœœ J œ œœœ J 8
{
:“;
œœ™™
œœ. œœ. œ œœ. .
œœ œœ œœ œœ. œœ œ n œœ
22
b 6 œœ œœ œ ‰ J œœ nœ
& 8 J
Pno.
6œ œœ œœ œœ œœ œœœ œœœ œœœ œœ. œœ n œœ
& b 8 œJ ‰ J J ‰ J J ‰ J J ‰ ‰ nœ ‰ ‰
J
°? ™ œ œ œ œ œ œ œ™
œ
J ‰ œJ œ œ œ œ œ nœ
25
Pap. b Œ ‰ ‰ J œ
the plea - sures of life have no mea - ning when I am con - sumed by this
b Œ™
œ œ œ œ œ œ™
‰ ‰ œj œ œ ‰ œj œ
Oh won't some - one else there please help me
Y.V.
¢& J œ œ œ œ nœ
{
:“; œ œ œ
œœ œœ œœ œœ œœ œœ™™
Oh won't some - one out there please help us we need a young wife to im -
œœ
nœœœ œœœ œœœ. . . œ .
b œ ‰ œœ œœ œ ‰ œœ œœ œ œ. œœ œ .
nœ
& J J J J
‰ œœ
Pno.
& b J ‰ ‰ ? œ ‰ œ ‰ œ œ œ œ ‰ ‰ œ ‰
J
°? œ ™ œ™ œ
possibly unison from here in second verse
j j œ J ‰ œJ œ œ œ œ œ œ
29
Pap. b œ ‰ œ œ œ œ œ œ
œ™ œ ‰ œj œ œ œ œ œ œ
fee - ling un - less i can find me a wife I'll ne - ver be ha - ppy in
¢& b œ™ œ
j ‰ j
œ œ œ œ œ œ
œ
J
{
Y.V.
™ œ™
press us un - less we can find him a wife he'll ne - ver be ha - ppy in
j œ œ œ œœ œ œ. œ œ œ.
& b œœ ™ œ ‰ œ œ œ œ œ œ œ™ œ ‰ œJ œ œ œ œ
œ J J
? b nœœ œœ œœ œœ ‰ œJ œœ™™
Pno. œ nœ bœ œ œ œ j j
œœ ‰ œ œ ‰ ‰ œ ‰ ‰
J J J
°? œ U™ œ U
36
œ œ œœ
‰ ‰ ‰ œJ œ ‰ ‰ ‰ œJ œ ‰ ‰ ‰ œJ œ J ‰ œJ œ œ œ œ
33
Pap. b
life with - out her my life has no mea - ning un - less I can find me a
U U
‰ ‰ ‰ œj œ œ ‰ ‰ ‰ œj œ œ ‰ ‰ ‰ œj œ™ œJ ‰ œj œ œ œ œ œ œ
Y.V.
¢& b œ
{
“œ” œ ” ”
œœ œ “œœ œœ œ œœ œœ œ “œœ œœ œ œœ U
œœ ™™ œœ U œœ
life with - out her his life has no mea - ning un - less we can find him a
œ ‰ œ œ œ œœ œœ œœ œœ œœ œœ œœ
&b œ J J J J J ‰ J
J ‰ œ œ œ œb œ
œ ‰ & œj œ œ ?œ œ ‰ & œj œ œ ?œ œ ‰ & œj œ œ ?œ U œ™ ‰ U ˙™
Pno.
?b ‰ œJ
J œ. œ. œ. J œ œ
œ. . . J œ œ
œ. . .
U
°? œ™ œ œ
œ œ œ œ œ œ œ œ Œ™ ‰ œ œ œ
œ œ
38
Pap. b ‰
™ Œ™
wife then I'll ne - ver be ha - ppy in life ne - ver ha - ppy in
U
Y.V.
¢ & œ
b œ œ œ œ œ
œ œ œ œ œ ‰ ‰ œ œ œ œ œ
{
œœ™™ “”
wife then he'll ne ver be ha - ppy in life ne - ver ha - ppy in
U œ œ œ œ œ œ . . . .
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ.
&b
œ™
U œ™
Œ™
œ nœ bœ œ
? b œ™
Pno.
œ œ bœ ‰ ?œ™
‰ œ ‰ &œ œ
œ œ œ œ œ œœœ
°? œ
Œ™ œ ‰ ‰ Œ™ ™™
œ œ
‰ œ œ œ
42
Pap. b ‰ J
life ne - ver ha - ppy in life
Œ™ œ ‰ ‰ Œ™
™™
some - one find me a wife!
j
¢& b œ
Y.V. ‰ ‰ œ œ œ œ œ
{
“œ” œ
life we must find him a wife!
.
œ œ œ œ œ œœ œœ. œœ. œœ. œœ œœ.
&b
œ œ œ j
œœ œœ œœ ‰ ‰ ™™
œ œ œ
œ œ œ œj ‰ ‰ ™™
Pno.
?b œ œ œ ?‰ œ œ œ
œ œ œ
&œ
œ œ œœœ œ œ œ
37
13. Tamino mine!
(Pamina + Tamino + Young voices)
Allegretto Tamino and Pamina are reunited and face their trials together
° b œ 3˙ œœœœ œ œ œ ™ œJ œ Œ Œ
Pamina & 4 Œ Œ ∑
œ™ œ œ œ œ œ œ
Ta - mi no mine! Joy - ous my fate!
∑ 43
¢& b
∑ ∑ ∑ Ó œ
‹
Tamino
{
Pa - mi - na
&b ∑ 43 ˙˙™™ œœ Œ Œ œœ n˙˙

œ œ Œ Œ ˙˙ œœ
˙ œ
Piano
&b ∑ 43 ˙™ œ Œ Œ œœ Œ Œ ˙˙
? œ
œ ˙ œ
°
œ™
7
œ œ
&b œ Œ Œ J œ Œ Œ ∑ ∑
‹ mine
Tam.
Joy - ous my fate
¢&
b ∑ ∑ ∑ ˙ œ ˙ œ
{
Y.V.
But there's still so
& b œœœ Œ Œ œœœ ˙œ̇ œ Œ Œ œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j
œj
Pno.
?b œ Œ Œ ˙ Œ Œ j ‰ œj ‰ ‰ œj ‰ œœ ‰ Œ
œ œ œ œ œ.
œ ˙ œ. œ. œ. .
œ
° b œ™ œ œ œ œ
‰ œJ
12
& ∑ Ó ‰ œJ J œ
‹
Tam.
be - hold the gates of te - rror my
¢& b œ œ œ œ Œ Œ ˙ œ ˙ œ
{
Y.V.
far to go Through the fire you
& b œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœ œœœœœœœœ œœœœ œœœœ œœœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
j œ. œj œj j ‰ œj
Pno.
? b œj ‰ œ ‰ ‰ ‰ œj ‰ Œ j j
œ. œJ œ œ ‰ œ ‰ œ
‰ œ œ
‰ Œ
œ. œ œ œ
° b
38
‰ œJ œ œ œ œ œ œ
16
∑ Œ Œ œ™ œ œ œ
Pam. & J
œ™
The power of the i - mmor - tals shall
œ œ
&b J œ œ Œ Œ ∑ ∑
‹ heart
Tam.
is full of fear
¢& b œ
Y.V. œ œ œ Œ Œ ∑ ∑
{
both must go
œœ œœ œœ œœ œœ œœ œœ nœ™
œ™ œœj œœ œ
& b bœœœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œ
œ œ œ œ œ œ œ œ œ J
j œ. j œ.
œ™
Pno.
? b œj ‰ bœ ‰ œ ‰ œ ‰ œ ‰ &œ j
˙™ ˙™
œ œœ œ œ œ œ œ œ œ œ
œ. b œ. J œ. J
° b j ‰ œ œ™
20
œ œ œ œ œ Œ Ó œ œ œ ˙ ‰ œJ
Pam. & œ™ J J
protect from dan - gers near for I am by your side and
Y.V.
¢& b ∑ ∑
˙ œ ˙ œ œ œ œ
{
through the fire you both must
j
& b œ™
˙ œ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ
œ. œ. œ. œœ œœ œœ œœ œœ œœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œ œ œ œ œ œ
œ œ œ œ œ œ
‰ Œ ? j ‰ œj ‰ œj ‰ j ‰ œ ‰ Œ
Pno.
j j œ.
œ™
& b ˙˙ œœ œ J œ. ‰ œ. ‰ J ‰
œ
° b œ™ œ œœ ˙ œ œ œœœœ
‰ œJ œ œ œ œ nœ œ
25
Pam. & J ‰ œJ n˙
love shall be our guide and though there's still so far to go there's one thing that you need to
¢& b œ
Œ œ œ œ œ œ Œ Œ ∑ ∑
{
Y.V.
go you both must go
& b œœ œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœ

œ
Œ Œ Œ nœœ
.
œœ
.
∑
œœœ œ œœ
œ. œ.
? b j ‰ œ.
Pno.
j
œ. J ‰ Œ j ‰ œj ‰ œ. ‰ Œ Œ Œ ∑
œ. . œ
° b
39
˙ œ œ œ œ n˙ œ œ
30
Pam. & ˙ ‰ œj ˙ œ œ
œ
know the ma - gic flute will light our way through
¢& b
∑ ∑ ∑ ∑ Ó œ
‹
Tam.
{
through
˙ œ œ œ œ n˙ œ
&b Œ œœœ œœœ
˙˙ œ nœœ œœ
œ
. . ˙
Pno.
nœ. œ. ˙ ˙˙ ™™ œ̇œ œœ
?b Œ Œ ∑ ˙™ Œ
° b˙ œ ˙ œ œ œ œ ˙
nœ ™
35
Pam. & œ œ Œ Œ
fire and flames sweet mu - sic play
nœ ™
œ ˙ œ œ œ œ ˙
b˙
¢&
œ œ Œ Œ
‹ fire
Tam.
{
and flames sweet mu - sic play
˙™™ nœœ ™™ ˙˙ ™™
œ ˙˙ œ œ œ œ ˙˙
˙™
˙ œ
&b ˙ œ™ œ
˙™
˙™
Pno. ˙
? ∑ ˙ ˙™
b œ
40
14. Pa pa pa pa pa pa...
Papageno tries to hang himself on a tree as he is so lovesick. The

three spirits save him and remind him to play his magic bells. When
he strikes the chimes....Papagena appears.
Allegretto
° #C
optional Papagena part
Papagena & ∑ ∑ Ó œ Œ Ó œ Œ œ Œ Ó
œ Œ œ Œ œ Œ Ó œ Œ
Papageno pa pa pa
Papageno
? #C Ó Ó ∑ Ó
#C
Young voices
¢&
Pa pa pa pa
∑ ∑ Ó œ Œ Ó œ Œ œ Œ Ó
{
Young Voices
œ. Ÿœ™ œ œ œ. œ. Ÿœ ™ .
œœ œ œ.
pa pa pa
#C
Ó Œ œ. Œ Œ Œ œ. Œ Œ Œ
&
Piano
.
œ œ. œ. œ.
mp . . .
œ. œ œ œ
. .
.œ œ œ. œ œ. . œ. . . .
œ. œ œ œ
? #C œ. œ
° #
6
Pam. & ∑ Ó œ Œ œ Œ œ Œ œ Œ Ó ∑
œ
?# œ Œ
pa pa pa pa
Pap. Œ œ Œ Ó ∑ Œ œ œ œ œ œ œ œ
pa pa pa pa pa pa pa pa pa pa
#
¢&
{
∑ Ó œ Œ Œ œ Œ œ Œ Ó ∑
Y.V.
œ
. œ. œ ™ œ.
pa pa pa pa
#œ Œ .œ œ œ œ œ. œ. œ. Ÿ
œ. Œ œ™ œœ
& Œ Œ Œ Œ Œ Œ
3
. . . . . . . . .
œ. .œ œ œ. œ œœ œ œ œ œ. œ œ œ
Pno.
? # œ œ. œ. œ. .
œ. œ œ.
.
° #Œ
11 41
œ œ œ œ œ œ œ œ Œ Ó Œ œ œ œ œ
Pam. &
œ
?# œ
pa pa pa pa pa pa pa pa pa pa pa pa
Œ Ó ∑ Œ œ œ œ œ Œ Ó
Pap.
#Œ
pa pa pa pa pa pa
¢ & œ œ œ œ œ œ œ œ Œ Ó Œ œ œ œ œ
{
Y.V.
Ÿœ ™ . œ. œ.
pa pa pa pa pa pa pa pa pa pa pa pa
. œ. œœ œ œ.
#œ œ.
& Œ Œ Œ Œ Œ Œ Œ
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
? # œ. œ.
Pno.
œ. œ. œ.
° #
15
Pam. & œ Œ Ó ‰ œJ œ œ œ œ œ œ œ œ Ó
œ œ œ œ œ œ œ ˙ œ œ
pa Pa pa pa pa pa pa pa - ge - no!
Pap.
?# ‰ J œ œ Ó Œ
#
pa pa pa pa pa pa pa - ge - na! I'll be
‰ œj œ œ œ œ œ œ
¢& œ
Œ Ó œ œ Ó
{
Y.V.
œ™ œ.
pa Pa pa pa pa pa pa pa - ge - nas!
# œ. œ œ œ œ. œ.
& Œ Œ Œ œ œ ˙
œ œ ˙
œ. œ.
3 mf
œ. œ. œ.
Pno.
?# œ œ. œ. œ œ œ œ
. œ œ œ œ
° #
18
∑ Œ ˙ œ œ œ œ œ œ œ œ Ó
Pam. &
now we'll walk through life to - ge - ther
?# œ œ œ œ œ œ œ œ œ œ
Pap. Ó ∑ Ó
by your side for e - ver such a
#
¢&
∑ Œ ˙ œ œ œ œ œ œ œ œ Ó
{
Y.V.
you can walk through life to - ge - ther
# ˙˙ œœ œœ œœ œœ œœ œœ Œ œœ œœ œœ œœ
& œ œ œ œ œ œœ
œ œ œ œ œ
Pno.
?# œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó
° #
22
œœœœ œ œ œ œ œ œ œ œ œ œ
42
Pam. & ∑ Ó œ œ œ œ
?# œ œ œ œ œ œ Ó œ œ œ œ œ œ œ
Pa - pa ge - no let's get ma - rried oh let's get ma - rried yes let's get
Pap. ∑ Œ œ
hea - vy heart I've ca - rried yes let's get ma - rried yes let's get
#
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
¢&
Y.V. ∑ Ó œœ œœ œœ œœ
{
Pa - pa ge - nas should get ma - rried they should get ma - rried they should get
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ
# œ œ œœœœ
& œœ Œ œœ Œ œœ Œ Œ Œ
œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
?# œ Œ œ Œ
Pno.
œ Œ Ó œ Œ Œ œ œ œ œ
° # œ œ œ œ œ
27
œ œ #˙ œ™
Pam. & œ œ Ó Ó Ó Ó J
œ œ œ #œ ™ œ œ œ
ma - rried! we were lost we were lost but now our
Pap.
?# œ Ó Ó œ œ ˙ Ó Ó J
# j
Y.V.
¢ & œ
œ
Ó Ó œœ œœ ˙˙ Ó Ó œœ œœ œ™
œ™ œœ œœ œœ
J
{
# ˙˙˙ Ó Ó œœ œœ #˙˙ Ó Ó œœ. œœ. #˙˙˙ œœ. œœ.

& œ œ ˙ œ œ
œ œ œ œ ˙ œ. œ. œ. œ.
? # œœœ ˙
Pno.
œ ˙ œ œ ˙
° #œ œ œ œ œ œ œ œ œ œ
32
œ œ œ œ œ Œ Ó
Pam. &
œ œ œ œ #œ œ œ œ #œ œ
hearts are full of joy but now our hearts are full of joy!
?# œ œ #œ œ œ
Pap. Œ Ó
#œ
¢ & œ œœ œœ œœ œœ œœ œœ œ œœ œ œœ œœ œœ œœ Œ Ó
Y.V.
œ
{
# œœ. œ. #œœ. œœ. œœ. #œœ.
œœ. œœ. œœ. œœ œœ #œœ œœ œœœ. ˙

& œ œ œ œ Ó
˙
œ. œ. œ. œ. œ. œ. œ. œ.
? # œ. œ.
Pno.
œ œ œ œ ˙ Ó
œ œ œ. œ. œ œ
˙
43
15. Raise your voices

(Tutti)
Andante
Monastatos and the Queen of the Night are defeated. Tamino and Pamina
° bb c
survive their trials and Papageno has found love. Everyone joins together to praise
the power of love and wisdom
œ™ œ œ œ œ™ œ œ Œ
Papagena/
& b ∑ ∑ J J
Pamina
b œ™ œ œ œ œ™ œ œ Œ
Raise your voi - ces, hear us sing
& b bc ∑ ∑ J J
‹
Tamino
œ™ œ œ œ œ™ œ œ
? bb c ∑ ∑ J J Œ
Papageno b
œ™
bc j
¢& b b œ™
∑ ∑ œ œ œ j Œ
Young Voices
œ œ
{
b c œœ œœ ™™ œœ œœ œœ ™™ œœ œ
˙ œœ ™™ œœj œœ Œ
& b œ œ ™ œ œ œ™ œ œœ œ ™ œ œ œ™ œ œ
b ˙˙ œ œ
œœ œœ
œœ ™™ œœ œœ œœ
œ
œ œ™ œ œ
œ
œ œ™ œ œ œ
Piano
? bb c œ Œ
f
œ ˙ œ œ
b
œ
œ Œ
œ œ œ™ œ œ œ ˙ œ œ œ™ œ œ œ
° bb
5
œ™ œ œ œ œ™ œ œ œ œ œ
Pam. & b ∑ J J œ œ
œ™ œ™
Love has con - quered e - very - thing we raise our hearts in
b œ œ œ œ œ
&b b ∑ J J Œ ∑
‹
Tam.
Love has con - quered e - very - thing
? bb œ™ œ œ œ œ™ œ œ œ
∑ J J œ œ œ œ
Pap. b
Love has con - quered e - very - thing we raise our hearts in
b j
¢& b b ∑ œ™ œ œ j Œ ∑
Y.V. œ œ™ œ œ
{
œœœ ™™™ œœ ™™
Love has con - quered e - very - thing
œ™
b œœœ œœœ œœœ ˙˙˙ œœ œœ œœ œœ œ œ œ
œ œ
&b b Œ œ œ œ ˙ œ œ œ™ œJ œ
œ™ œ œ œ ˙ œ œ ˙
œ™ œ œ
Pno.
? bb œ ˙ œ Œ ∑
b œ ˙ œ œ œ
œ
° bb w
9
44
Pam. & b w œ Œ Ó
joy
b ˙ œ œ œ œ œ œ
&b b Ó Œ Ó
‹
Tam.
we raise our hearts in joy
? bb w Œ Ó
Pap. b w œ
joy
b
¢& b b Ó
Y.V. ˙ œ œ œ œ œ œ Œ Ó
{
we raise our hearts in joy
b Ÿ
&b b ˙ ˙˙˙ w˙˙ œœ
œ™
œœ œœ œœ œ ˙ œ œ
œ
œ™
Pno.
?b Ó ˙ ˙ ˙
bb œ œ œ œ
˙ ˙ ˙ œ™ œ œ œ
° bb ™ ˙
& b ™
12
Pam. Ó ˙ Ó
& b b ™™ ˙
Love love
b Ó ˙ Ó
‹
Tam.
? bb ™™ ˙
Love love
˙
Pap. b Ó Ó
bb ™™ ˙
Love Love
¢ & b Ó ˙ Ó
{
Y.V.
Love love
œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ
& b b ™™
b œ œ œ œ nœ œ œ œ œ œ œ
œœ
œ
œœ œœ œœ œœ œœ œœ œ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
? bb ™™
Pno.
œ œ œ œ œ œ œ
b œ œ
œ œ
° bb œ
œ™
14
œ œ œ
45
œ œ Œ ˙ Ó
Pam. & b J
œ™
true love con - quers e - very - thing Love
b œ œ œ œ
&b b œ
œ Œ ˙ Ó
J
‹ true
Tam.
love con - quers e - very - thing Love
? bb œ œ œ œ
œ™ œ œ Œ ˙ Ó
Pap. b J
bbb œ j
¢ & œ œ œ œ™ œ œ Œ ˙ Ó
{
Y.V.
b ˙œœ™™™ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ
& b b œ̇˙ ˙ œœ œœœ œœ œœ Œ
œ
J
Pno. œœ œœ œœ œœ œœ œœ œ
?b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
° b ˙ ™™ ˙
17 1. 2.
Pam. &b b Œ œ œ ˙ œ œ Œ Ó Ó
love true love con - quers all all
b ˙
&b b Œ œ œ ˙ œ œ Œ Ó ™™ ˙ Ó
‹ love
Tam.
true love con quers all all
™™ ˙
-
? bb ˙ nœ œ ˙
Œ œ œ Œ Ó Ó
Pap. b
™™
Love true love con - quers all
b ˙
¢& b b
Œ
œ Œ
œ œ ˙ œ Ó Ó
Y.V.
˙
{
love true love con - quers all all
œbœ œ œ œ œ œ œ œ
™™ ˙˙
b œœœœœ
1. Ÿ 2.
œ
& b b œœ œœœ ˙˙˙ œœ œœœ Ó
œœœ œœœ œœœ œœœ œœœ œnœœ œœœ
œ ˙ œ ™ œ œ ˙˙
™
œ œ œ œ œ œ bœ œœ ˙˙
™ ™
Pno.
? bb Ó
b œ œœœœœœœœ œ œœ œ
œ œ™ œ œ œ
SYNOPSIS CARDS
These summaries of the six sections of the story can be photocopied and cut-out for use with your group.
1. The story takes place in a mythical land between the sun and the
moon. In a forest, Prince Tamino is being attacked by a deadly serpent
but luckily three ladies appear and save him from certain death. The
three ladies work for the Queen of the Night and leave immediately to
tell her what has happened. With that, the bird-catcher, Papageno
appears and decides to take the credit for saving Tamino. The three
ladies return and give Tamino a portrait of the queen’s daughter,
Pamina, who they say has been kidnapped by the evil Sarastro (King of
the day). Tamino immediately falls in love with the girl’s picture. The
three ladies place a padlock on Papageno's mouth as a punishment for
lying to Tamino about killing the serpent. Tamino has no power to
help.
2. The queen, suddenly appears in a burst of thunder and tells Tamino

about the loss of her daughter and commands him to rescue her. The
ladies give a magic flute to Tamino and silver bells to Papageno and tell
them that these items will ensure their safety on their quest to save
Pamina. The three ladies inform Tamino and Papageno that they will
send three spirits to guide them on their quest.
Sarastro’s slave Monostatos is pursuing a terrified Pamina but is
frightened away by Papageno who tells Pamina that Tamino loves her
and is on his way to rescue her. When she sees his picture she also
falls in love. She and Papageno commiserate together about love
being so far away.
3. The three spirits lead Tamino to Sarastro's temple. Tamino pleads with
them to tell him whether Pamina will be saved but they simply tell him
to remain courageous and stay on the path.
Outside Sarastro's temple, Tamino hears the voices of the priests tell
him that it is the queen, not Sarastro who is evil and that Pamina is
alive. Hearing that Pamina is safe, Tamino charms the wild animals
with his flute, then rushes off to follow the sound of Papageno’s pipes.
4. Monastatos and his helpers chase Papageno and Pamina, but
Papageno plays his magic chimes and puts them into a trance.
Sarastro enters in great ceremony. He punishes Monostatos for his
behaviour towards Pamina and promises that he will eventually set her
free. The queen appears and gives her daughter a dagger and orders
her to murder Sarastro. Tamino and Papageno are told that the Queen
of the Night is evil and they decide to undergo initiation into Sarastro's
temple by taking a vow of silence. When Pamina misinterprets
Tamino's silence for coldness, she is heartbroken.
5. Papageno immediately breaks his vow of silence when he takes a glass

of water from a chatty old lady. When he asks her name, the old lady
vanishes. He has given up on entering the brotherhood and longs for a
wife instead.
Pamina and Tamino are reunited and decide to face the trials of water
and fire together, protected by the magic flute.
6. Papageno tries to hang himself on a tree as he is so lovesick. The three

spirits save him and remind him to play his magic bells. When he
strikes the chimes, Papagena appears and the two start making family
plans.
Monastatos and the Queen of the Night are defeated and banished.
Tamino and Pamina survive their trials and Papageno has found love.
Everyone joins together to praise the power of love and wisdom.
CHARACTER CARDS
This character information can be photocopied and cut-out for use with your group.
Papageno You are a bird-catcher. This is a rare profession; you catch the most
beautiful birds and sell them to people that live at the court of The
Queen of the Night. You get paid with tasty food. Usually you chatter
the whole day long; you like to tell stories. Usually they are about how
brave you are – which is not true! You are a little clumsy but can show
moments of wisdom and down to earth clarity. You have a sense of
humor, unlike most of the others who take themselves extremely
seriously. You dream of finding a lovely wife and having a cosy life.
The Queen of You are middle-aged and used to be the most powerful woman on earth;
the Night at your husband’s side you had everything. Your husband was rich and
you had power. But since your husband died everything is different;
horrible and beyond endurance. Your husband did not leave you his
wealth or reward you with unlimited power; he said important decisions
were too much for the female intellect. This deeply offended you. Your
husband gave all his power to Sarastro who has now abducted your
daughter! You are filled with sorrow and rage; you want revenge.
Sarastro You are middle-aged and are the most senior priest in the temple of
wisdom. You gained this position when Pamina's father gifted you the
Sevenfold Circle of the Sun on his deathbed. You wear the Sevenfold
Circle around your neck and are supposed to guard and use it as your
friend, as Pamina’s father did before you. You say that love should rule
in your world, though this does not count for your slaves! A while ago,
you stole Pamina from the Queen of the Night; the widow of your friend.
You tore her away and now Pamina is under your control. You did this
because you believe that it is better for her to be in your kingdom. You
want to keep Pamina to yourself, but as prince Tamino has fallen in love
with her you decide he must pass three impossible trials.
Pamina You are a young woman; people say that you are gentle and very
beautiful. Your father died several years ago and your mother (The
Queen of the Night) has been angry ever since, because your father left
the Sevenfold Circle of the Sun to Sarastro, rather than to her. You have
been abducted by Sarastro and your mother gives you a knife and tells
you to kill him. This is very confusing as Sarastro is good to you and you
are enjoying the luxury of his house. You fall in love with Tamino and
help him on the path to wisdom through a series of trials.
Tamino You are a young prince. You are noble and good but sometimes your
head is in the clouds. You love to go hunting with your bow and arrow
and have fought off many creatures. You meet three ladies who show
you a picture of Pamina and you immediately fall in love with her.
Pamina is The Queen of the Night’s daughter; she has been abducted
and you go on a quest to save her. You are given a flute which helps you
in your initiation process; it can charm animals and assists you through
the terrible trials of fire and water. You want the world to be a better
place.
Papagena You are a young woman who lives in Sarastro’s court. You often help
him test people by disguising yourself as an old woman; beautiful or ugly
- whatever is needed. You long for a husband who is happy and enjoys
life. You dream of having a family of your own with children that you can
jump around with and laugh a lot; you can already picture how your life
will be. Unfortunately, you can’t choose your husband yourself; Sarastro
will find one for you as he is in charge - women have no say.
A Spirit You always appear with two other spirits and are only seen in Sarastro’s
kingdom. You appear whenever someone needs your help. You don’t
know where you are coming from but know that you always come from
above – maybe from a better world. Your moto is ‘be firm, tolerant, and
discreet’.
Monostatos You are middle-aged and are Sarastro’s slave. You feel quite satisfied
with your work because you get to know a lot about what goes on in
Sarastro’s temple. You are privileged; normally only the Priests are
allowed to enter this area. But you do sometimes feel lonely. Sarastro
has asked you to guard the beautiful Pamina, daughter of The Queen of
the Night. You intend to force her to love you.
A Lady You are one of three servants of The Queen of the Night; the three of
you serve her and do anything she asks. In the kingdom of The Queen of
the Night you have the gift of supernatural powers, so you don’t fear any
sort of danger. You have a good life but sometimes you dream of
meeting a young man; it is not easy to find one because the three of you
are always together and all share the same dream.
WARMING UP YOUR GROUP
Opera is about communicating a story using your body and your voice. Therefore, it is important
to get our bodies and voices warmed up and ready to work. Detailed below are a few exercises
you could try:
THEATRE WARM UPS

Tap 8
Starting with the head and working your way down the body this exercise begins with 8 taps of
head followed by 8 taps of the shoulders, knees and toes. Repeat the steps above but tap 6 times,
then 4, 2 and ending with one tap of each body part. You can add a cheer or chant or dance to the
end.
Extensions
• You can work to get them speaking this at a faster rhythm.
• You can miss out numbers or substitute a number for a clap, stamp or other sound.
• Try saying it with different voices types/sound qualities (whispered or adding an emotion).
Shake it off
A variation of Tap 8 but using right arm, left arm, right leg, left leg. Start with 8 shakes of each in
order, and then decrease to 6 of each, 4 of each, 2 of each and end with 1 shake of each. Get the
group to strike a pose or chant something together at the end so we are excited about reaching
our goal.
Get the group to think about energy, clarity and balance so it looks as good as possible.
Extensions
• Instead of counting, I sometimes make this about magic or a bee being in the body. Make
the shake more elaborate and unbound and pass the shake from different parts of the
bodies (including noses, ears, tummies etc.). A silly and fun way to get us moving.
Clap and Shh

Around the circle, one by one, pass a clap around as quickly as you can. Every member of the
group should get to clap and you are not allowed to clap until the person next to you has passed it
to you.
Extensions
• Try getting faster – time the young people and see if you can set yourself a new record.
• Send a shh around the circle in the opposite direction. Make sure the direction indicated is
really clear.
• Pass the clap in one direction and the shh in the other simultaneously. See if both stories
come back to you (they will meet in the middle). Remind young people that it will get
slower here in order for it to work and try and remove all extra sounds other than the clap
or the shh.
• As above but get them to focus on an object in the middle of the circle (watch, keys) so
they can’t watch the sound moving around the space.
• As above but get them to do it with their eyes closed. They may need to take a small step
into the circle and closer together for this.
Hip Hop
• When I say hip, you say hop
• When I say hop, you say hip etc..
• Hip – Hop
• Attention (salute) – wobble wobble wobble (touch floor)
• Knight (roll hands) – fever (point in air)
• Roller (arch arms forward) – coaster (hands back as if screaming)
• Ginger bread house (hands above head in roof shape) – come in my pretties (witch voice
leaning forward)
• Crick (click hands low) – crack (jump and clap in air)
• Call the cops (old lady witnessing a robbery) – leg it (all run and change positions in circle)
• Last person to arrive back is the next person who stands in the middle of circle to lead the
call and response.
Knights and Castles

• You call out the following instructions, the cast walk around the space in between.
• Knights – 2 people, one makes a chair other sits on it with arm in air
• Joust – 3 people, two make the horse the other is the joust rider
• Castles – 5 people, four make a circle joining hands in air like the turrets of a castle, one
person is inside being the damsel in distress!
• Boats – 6 people, sit on floor with legs either side of each other rowing
VOCAL WARM UPS

People can get a little scared of vocal warm-ups, and nervous of rights and wrongs. But truly there
is nothing to worry about. They can and should be fun, and something both leader and group can
look forward to.
If you are to work over a number of sessions and weeks, then don’t think you must do something
different each time. The opposite, in fact; build a small repertoire of warm-ups which you and the
group undertake, in the same order, at the start of each session. This way, not only do you have
to ‘lead’ it less and less as the group become familiar with each exercise and what’s coming next,
but the whole thing takes on a somewhat ritualistic quality – focusing the group on the work
ahead. And for this reason, don’t think of these ‘warm-ups’ as something to do only before
performance or a particularly singing-related activity: they’re a good way to begin every session.
So, the three areas of warm-ups to always cover are: 1) physical – good posture, waking up the
facial muscles, controlled breathing; 2) warming up the voice gently; and 3) diction – a few
tongue-twisters to get the heart racing!
Physical
Standing well is a good way of ensuring the voice has the best chance of working. Feet slightly
apart, (shoulder-width, or one foot under each hip), and shoulders relaxed and down. Arms
hanging by the side; not crossed or in pockets. It’s important the chest is open and there is no
tension. Try palms facing forwards – it feels a little strange at first but it’s amazing how such a
simple adjustment opens the chest and makes a difference. Then take a few gentle but deep
breaths in through the nose (without tensing or raising shoulders!), and out through the mouth
(without collapsing the shoulders or slumping). Then give the face a rub – wake up the muscles.
Make big faces, then little scrunched up faces.
Warming-up the voice

Try drawing a pattern in the air with your finger, and giving that pattern a vocal sound. If the
pattern goes high or low, swoops quickly or slowly, then the sound does the same. Try this to a
hum first, and everyone can take a breath when they need it. Perhaps they write their name in
the air, or draw a picture. Next do it to an ‘aah’, then an ‘oo’ and finally an ‘ee’. Encourage big
outstretched-arm movements, so the voice goes from highest to lowest.
Go on a motorbike ride. Not literally! But hop on an imaginary motorbike and blow out through
your lips, making a buzzing (‘engine’) sound. Breathing when you need to, everyone can go on
their own (standing-still) pretend-journey, clutching handle bars, swerving right and left, speeding
up and slowing down.
Diction
This is all about ‘the teeth, the lips, the tip of the tongue’. In fact, that is a popular warm-up line
to say out loud, since it involves lots of facial shapes, consonants and vowels. Sing it on a note, or
up a scale, or simply say it. Everyone knows a few tongue-twisters to have a go at (e.g. Peter Piper
picked a peck of pickled peppers, or Red Lorry-Yellow Lorry etc.), but simple gobbledygook
phrases, spoken by the leader and echoed back by the group, work just as well.
E.g. Pipper-popper-pepper-popper-pipper-popper-poo (the group repeat), titter-totter-tetter-
totter-titter-totter-too, ninny-nonny-nenny-nonny-ninny-nonny-noo, Scooby-dooby-scooby-
dooby-scooby-dooby-doo, Yabba-dabber-yabba-dabba-yabba-dabba-doo… and so on. Once a few
have been learned, you can choose a different person to lead and the group will copy. It’s
important each word is pronounced clearly and precisely.
Songs
Complete your warm-up with a song (or two). There is no magic to what makes a good warm-up
song. Anything the group enjoy singing will work. Let It Go, Don’t stop believin’- it can be
anything. Ballads are better than rock numbers because they have longer, lyrical melody lines.
Try moving the starting pitch up for a second-time-through, to encourage use of a slightly higher
register (though never stray into pinched territory. The sound must always be open and free).
Tony Chestnut is a silly, ingenious song which is simple to learn, but really has value when actions
are introduced.
The actions are simply pointing at the body part you are singing about: Toe-knee Chest-nut (head)
nose eye love-him (heart)… that’s what (you decide!) toe-knee-nose.
STAGING A SCENE
If you’re not used to staging work with your group, this can feel intimidating but here is a
stagecraft exercise you can use to get the group following your instruction. The below exercise
provides a tool kit for you and the group you are working with to have a common language when
creating movement. Where possible, link it to the topic you are exploring (i.e. shouting ‘Queen of
the Night’ could make everyone cower in fear).
Stop and Go
Get your group to move around the room adhering to the following instructions. Add them in one
after the other and over time.
• Find a space (spread out evenly within the parameters of your working space)
• Go (walk around the room)
• Stop (stop)
While moving, encourage the group to keep filling the spaces.
• Change direction (individuals must walk in a different direction).
• Centre (make a group in the middle of the room – this shouldn’t be so tightly packed that
you can’t do any of the other instructions.)
• Clear the space (move to the edges of the room)
• Fold (slow motion collapse to the floor)
• Unfold (stand back up)
• Favourite place (point to a space in the room that you think is important. Stare at it like
under a spell)
• Look (turn and look at someone across the space. It’s quick and sharp and once you’ve
turned you have to hold it. If ‘look’ is said again, look somewhere new. You don’t have to
be making eye contact with the person you’re looking at. Extend how far you can lean to
look, use different levels etc.).
• Speeds (1-5) or (super slow- super speedy). Make sure everyone is walking at the same
speed. Accuracy is the most important.
o Speed 1 slow motion
o Speed 2 calm walk
o Speed 3 normal walking speed
o Speed 4 bit of a rush
o Speed 5 rush
If you’re worried about safety you can just ask one or two people to go at faster speeds.
Always remind them that stopping is important.
• Add levels - high (tall shape) or low (small shape).
Extensions
• Add spacing detail. Gas for far apart walking, liquid for walking close together and rock for
centre (touching this time). Links with sciences too. Add sounds effects for each (gas -
bubbling, water – hissing, etc.)
• Mood walks – think about how they would walk if they were feeling a certain way
(happy/sad). They can try this individually or you can pick unanimous speeds etc.
• Opposites – can play opposites with instructions go/stop/high/low etc.
• Character walk – thinking about characters we have you can add in details about them
(characteristics like moody, playful etc.). How would they walk using different speeds etc.?
o What action would they have?
o What might they say?
o Can get these characters to meet each other.
FURTHER READING
Die Zauberflöte (The Magic Flute): English National Opera Guide 3
Editor: Nicholas John
ISBN: 0714544078
https://www.amazon.co.uk/Die-Zauberfl%C3%B6te-Magic-Flute-National/dp/0714544078
Wikipedia – The Magic Flute

https://en.wikipedia.org/wiki/The_Magic_Flute
Opera novice : Mozart’s The Magic Flute – Daily Telegraph

https://www.telegraph.co.uk/culture/music/opera/10010235/The-opera-novice-Mozarts-The-
Magic-Flute.html
Encyclopedia Britannica – The Magic Flute

https://www.britannica.com/topic/The-Magic-Flute
RECORDINGS
The Magic Flute (recording in English)
Conductor: Sir Charles Mackerras
Label: Chandos – Opera in English
ASIN: B0007SK9MO
https://www.amazon.co.uk/Mozart-Magic-Flute-Rebecca-
Evans/dp/B0007SK9MO/ref=pd_cp_14_2?_encoding=UTF8&psc=1&refRID=2NXD4JRMB3GJANGE
NDXZ
Die Zauberflöte
Conductor: Michael Halász
Label: Naxos
ASIN: B0000260AD
https://www.amazon.co.uk/Mozart-Die-Zauberfl%C3%B6te-Magic-
Flute/dp/B0000260AD/ref=sr_1_1?s=music&ie=UTF8&qid=1520248511&sr=1-
1&keywords=zauberflote
Die Zauberflöte
Conductor: Sir Georg Solti
Label: Decca
ASIN: B0000041ZF
https://www.amazon.co.uk/Mozart-Die-Zauberfl%C3%B6te-Wolfgang-
Amadeus/dp/B0000041ZF/ref=sr_1_9?s=music&ie=UTF8&qid=1520248511&sr=1-
9&keywords=zauberflote

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Garsington Opera Learning and Participation

The Magic Flute

The Magic Flute (Die Zauberflöte)

Tamino, a prince Tenor

Audio tracks of the musical extracts can be found at www.garsingtonopera.org/learning.

No. Title Character Page

1 O help me! Tamino 1

Arrangements and translation: John Barber

1. O help me! (Tamino)

In a forest, Prince Tamino is being attacked by a deadly serpent.

It draws e - ver near it draws e - ver near O

me, save me, res - cue me De - fend me from this

te - - rror save me, save me res - - cue me!

b ˙ n˙˙ ˙˙ ˙˙ œœ œœ ™™™ œœnœœœ œœ ™™ œœ ˙˙

1b. O help me! (Young voices version)

In a forest, Prince Tamino is being attacked by a deadly serpent.

* 'us' could be replaced by 'him' if preferred.

2. The Bird Catcher's Song

Y.P. & œ œ œ œ œ œœœœœœœ œ œ œ œœ œ™ œœ

3. Oh wondrous beauty! (Tamino)

The three ladies return and show Tamino a picture of Pamina

fire is burn - ning in my soul a fire is burn - ing in my soul

The three ladies place a padlock on Papageno's mouth as a punishment

Oh Pa - pa - ge - no I can't hear you a wick - ed

I can do no - thing to re - lieve you you'd be - tter think of some - thing

I have no power to help at all I can do

- thing I have no power I have no power to help at all

? bb œ œ œ œ œ œœœ œœœ œ œ œ œ œœœ œœœ

The three ladies give Tamino a magic flute and Papageno

Young voices & b b2 ∑ ∑ œ Œ œ Œ œ œ Ó œ Œ œ Œ

Zau - ber - flö - ten! Flute of

Zau - ber - flö - ten! Flute of

- gic flute pro - tect us well

play your song and cast a spell

o wise ma - gi - cians tell us, pray

please can you help

b . œ. œ. œ. nœ. œ. œ. œ. œ. œ. nœ. œ. œ. œ. œ. œ. œ. œ. nœ. œ. œ. œ. œ. œ. œœ

5b. Three Spirits

6. My love is like a blooming flower

* you don't have to split these parts into groups but

bb œj ‰ œœ ‰ nœœj œ ‰ œœ œœ ™™ œœœ ™™™

7. Song of the spirits

The three spirits lead Tamino to Sarastro's temple. Tamino pleads

œœ œœœ ™™™ œ #œœ ™™ œœ œœ ™ œj œ

bonds shall I un - do?

heart stay on the path to pa - mi - na's heart

8. Tamino and the Priests

Outside Sarastro's temple, Tamino hear's the voices of the priests

‰ œj ‰ œj ‰ œœj ‰ œœj œœj ‰ œj ‰

& œj ‰ Œ # ˙˙˙ #œœ Œ

Oh won't you tell me then if my Pa - mi - na lives?

& Œ œ ‰ Ó Œ ‰ œœj ‰ œœj

My ma - gic flute can speak for me my me - ssage

but my Pa - mi - na my Pa - mi - na's so far a -

& # # œ œœœ œœœ Œ ? œ Œ Ó œœ Œ Ó œœ Œ Ó

10. Long live Sarastro!

his wis - dom will save us from a - ny di - sas - ter we

& b œœ œœ ™™ œœ œœ j ≈ œ œ œ œœ ™™™ œœ œœ œœ ™™™ œœ œœ œœ ™™ œœ œœ ‰™ œœ ™™™ œœ œœ œœ ™™™ œœ

& b œœœ œœ ™™ œœ œ ‰ œœœœ œ œœ