Saving the Magic Flute

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Wolfgang Amadeus Mozart’s “Singspiel” *The Magic Flute*, which premiered in 1790, is not only part of the core repertoire of a musical-theatrical “canon” that is constantly being reinterpreted. It also points to a largely unresolved and, until now, little-reflected-upon colonial legacy, which is particularly evident in the dramaturgical architecture of the gender relations depicted on stage.
This discussion lecture aims to stimulate a dialogue between the work, history, and current political issues, drawing on preliminary findings from the seminar “Decolonizing Music Aesthetics” (Dean’s Office 12 / Studium Generale)

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Saving the Magic Flute – Gender, Capital, Territory

Wolfgang Amadeus Mozart’s “Singspiel” *The Magic Flute*, which premiered in 1790, not only belongs to the core of a constantly reproduced musical-theatrical “canon.” It also points to a largely unaddressed and hitherto little-reflected colonial legacy, which is particularly evident in the dramaturgical structure of the gender relations depicted on stage.
This discussion lecture aims to foster a dialogue between the work, history, and current political issues, drawing on preliminary findings from the seminar “Decolonizing Music Aesthetics” (Dean’s Office 12 / Studium Generale).

Participants:
Sophia Cadisco
Anna-Sophie Hutter
Dr. Benjamin Sprick
Lucas Zach

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About the Lecture Series
Gender Dialogues in Music: Regional Manifestations and Global Perspectives

The lecture series, organized by the HfMT’s Office for Gender Equality during the winter semesters, will be dedicated this year to a musicological topic: the connection between global music history and gender studies. Around the world, social norms governing how genders interact are represented in music. They are questioned and negotiated, manifested, playfully reimagined, fiercely condemned, or imaginatively evoked. It is not uncommon for norms to be integrated into rituals and cultural practices through, with, and within music, and in this way preserved over centuries—even where other forms of social interaction have long since taken root in everyday life. But the concert hall itself offers ample points of connection. At the same time, music—especially in asymmetrical power relationships—can develop an enormous emancipatory power or provide safe havens, thereby fostering connection and creating a sense of commitment. This is especially true where women, regardless of prevailing role patterns, become active participants and can thus actively shape their environment—at least within the imaginary space of art.
This lecture series explores this topic using concrete examples and with a focus on multiple continents and societies. The focus will be on what unites us—the “universitas in diversitas” and dialogue.

Concept and Direction: Gender Equality/Musicology
Tuesdays, 6:00–7:30 p.m., Mendelssohn Hall

Eintritt frei