Or, in rhyming colloquial English:
I’m Papageno, that’s my name,
And catching birds, well, that’s my game!
Nathan Gunn as Papageno, clutching his magic bells
And he more or less literally animates the Mozart / Schikaneder (think: Sullivan / Gilbert, Rodgers / Hammerstein, McCartney / Lennon) opera Die Zauberflöte (The Magic Flute) — since he’s on the scene and in the action during most of the opera’s duration; and since he brings common, earthy, fallible, playful, humane depth to the work. The other characters are mostly otherworldly beings of one sort or another, or the presumed central human characters Tamino and Pamina (“a prince on a quest” and “a princess in distress”, according to the screen characterizations in the 2006 abridged video version of the fabulous 2004 Julie Taymor production at the Metropolitan Opera Company), who are earnest but rather cardboard idealizations of humanity (though they are humanized as much as possible in the Taymor production’s performances).
Zauberflöte is a fairy-tale opera with a familiar schematic story line, in which someone achieves a much-sought goal (love; entrance into the adult world; admission to some desirable association, band, or circle; whatever) by enduring probative tests, trials, or ordeals. T&P do that, but kids nevertheless seem to think — as I do — that the opera is about Papageno, who brought T&P together in the first place and then gets dragged along with them, serving as an unwilling hero in their ordeals but in the end failing to undergo the trials of fire and water (instead he gets his mate, Papagena). I doubt that any child seeing the video identifies with either T or P; but Papageno is a great kid, one of them: silly, error-prone, adorable, sometimes scared shitless, a sturdy friend, and a hell of a lot of fun.
It also has two prominent subtexts, which work together to support the theme of brotherhood that runs through the opera: Freemasonry and the Enlightenment ideal of the brotherhood of all humanity. Many people will experience a performance of the opera without appreciating either element of its late-18th-century European intellectual and political context, and children will surely not get any of this (they will instead have their own understanding of what’s going on, and that’s fine; after all, there can be 17 ways of looking at a blackbird), but it’s especially relevant to the Taymor production because that production is richly overloaded with symbolism for both subtexts — which children will experience as the ways and forms of a strange but delightful imaginary world (imaginary worlds being a central element of childhood experience).
I write this after having watched the video again, twice, and of course seeing lots of things I hadn’t seen before, thereby complicating my intentions of reporting a lamentable memory lapse on my part. But I’ll press on.
