Die Zauberflote is a Singspiel in two acts by Wolfgang Amadeus Mozart in 1791. The last of Mozart's operas to be staged in his lifetime, Die ZauberflÃƒÂ¶te (The Magic Flute) makes considerable use of masonic ritual and ideas. These are clear from the beginning of the overture, with its solemn ritual chords and use of ceremonial trombones. The opera that follows is of remarkable variety, mixing the comic and the heroic, the first found in Papageno, with his first entry, Der VogelfÃƒÂ¤nger bin ich ja (I am the bird-catcher) and his mixture of cowardice and peasant common sense, a stock character in contemporary German comedy. The heroic is represented by Tamino, in love at first sight with the portrait of Pamina in his Dies Bildnis ist bezaubernd schÃƒÂ¶n (This picture is enchantingly beautiful). The Queen of the Night establishes her full coloratura power in her first appearance, O zittre nicht (O tremble not) and her vitriolic later Der HÃƒÂ¶lle Rache (Hell's vengeance). This is in contrast to the obverse character, Sarastro, with his calm and wise magnanimity, shown in its profundity in O Isis und Osiris (O Isis and Osiris) and In diesen heil'gen Hallen (In these sacred halls). Pamina's duet with Papageno on the happiness of love, Bei MÃƒÂ¤nnern welche Liebe fÃƒÂ¼hlen (Those who feel love), won immediate popularity with audiences. Her own anguish is expressed in Ach, ich fÃƒÂ¼hl's (Ah, I feel it has vanished), when greeted by TaminoÃ¢â‚¬â„¢s silence. There is much else that must be familiar in a score of prodigal invention.