Mikhail Glinka wrote a set of piano variations on the glockenspiel theme from the finale to act 1 ("Das klinget so herrlich, das klinget so schön").Johann Baptist Cramer wrote a set of piano variations on Papageno's aria Ein Mädchen oder Weibchen wünscht Papageno sich.Josepha Barbara Auernhammer, a former student of Mozart, wrote a set of variations for piano on Papageno's aria "Der Vogelfänger bin ich ja".Daniel Steibelt wrote piano variations on "Bei Männern".Johann Nepomuk Hummel arranged the overture for piano.Christian Gottlob Neefe, one of Beethoven's teachers, wrote a set of piano variations on the March of the Priests.Production run for 130 subsequent performances till 1827. Les Mystères d'Isis, French adaptation of the opera by Ludwig Wenzel Lachnith, represented for the first time in Paris in 1801.His twelve variations in F major on "Ein Mädchen oder Weibchen" (1796) is catalogued as Op. 66 and his seven variations in E-flat major on "Bei Männern" (1801) is catalogued as WoO 46. Beethoven wrote sets of variations for violoncello and piano for two numbers from the opera.The music is adapted from the episode in the act 1 finale in which Monostatos and his slaves, enchanted by the music from Papageno's magic bells, dance off the stage, leaving Papageno and Pamina in freedom. "Away with Melancholy" was a popular duet first published in London in the early 1790s, and reprinted in America from 1797 on.The second was sponsored by Emanuel Schikaneder himself, the opera, Das Labyrinth oder Der Kampf mit den Elementen (The Labyrinth or The Struggle with the Elements), a Singspiel in two acts composed in 1798 by Peter von Winter to a German libretto by Schikaneder.Īdaptations of Mozart's music by other composers The first is a fragment by Johann Wolfgang von Goethe, which was intended to be set to music by Paul Wranitzky. There are two sequels named The Magic Flute Part Two. It has been an important part of the operatic repertory ever since, and has inspired a great number of sequels, adaptations, novels, films, artwork, and musical compositions. The Magic Flute, an opera by Wolfgang Amadeus Mozart with libretto by Emanuel Schikaneder, was composed in 1791 and premiered to great success. Nothing about “The Blind Side” pleased me more than its opening shot: grainy footage from a 1985 “Monday Night Football” game in which Lawrence Taylor sacked Joe Theismann, fractured his leg and ended his 11-year career.A production of The Magic Flute at Texas A&M University–Commerce in 2015 “From the snap of the ball to the snap of the first bone is closer to four seconds than to five,” Lewis writes in his opening sentence and in those five-closer-to-four seconds Lewis sets the scene, pulls back, writes about fear as a factor in the NFL, writes about the fear that Lawrence Taylor created and the fearlessness with which Joe Theismann played, and then circles back to the incident: I was pleased because that’s how Michael Lewis’ book begins. Theismann has played in 163 straight games, a record for the Washington Redskins. He’s led his team to two Super Bowls, and won one. He’s certain he still has a few good years left in him. It’s the most famous injury in football history because the reverse-angle instant replay shows the bottom half of Theismann’s leg, between his knee and ankle, bending and snapping beneath Taylor’s weight, exposing the bone. The player who blocks the Lawrence Taylors of the world, by the way, is the offensive left tackle. He’s the guy who protects the quarterback’s blind side. FLUTE DE MASTODONTE FREEĪnd since free agency came to the NFL in the early 1990s, the second-highest-paid position in the NFL, after quarterback, is not running back nor wide receiver nor even middle linebacker (Lawrence Taylor’s position), but offensive left tackle. You pay most for the most-important position. You pay second-most for insurance for the most-important position. Great offensive left tackles are highly paid because they require a set of physical characteristics that almost contradict each other. These guys have to be bigger than big and quicker than quick, and, let’s face it, the bigger-than-big usually aren’t quicker-than-quick.Īnd all of this leads to the story of Michael Oher-the story we came to see.
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