Saving the Magic Flute

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Wolfgang Amadeus Mozart's 'Singspiel' Die Zauberflöte, which premiered in 1790, is not only part of the core of a musical-theatrical 'canon' that has been reproduced again and again. It also refers to a colonial legacy that has been largely bypassed and little reflected upon to date, which is particularly evident in the dramaturgical architecture of the gender relations to be seen on stage.
The discussion lecture attempts to stimulate a dialogue between the work, history and political topicality, drawing on the preliminary results of 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 1790 premiered 'Singspiel' The Magic Flute not only belongs to the core of a constantly reproduced music-theatrical 'canon'. It also refers to a largely unaddressed and hitherto little-reflected colonial heritage, which is particularly evident in the dramaturgical architecture of the gender relations seen on stage.
The Discussion Lecture attempts to stimulate a dialogue between the work, history and political topicality, drawing on the preliminary results of the seminar "Decolonizing Music Aesthetics" (Dekanat 12 / Studium generale).

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

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About the lecture series
Gender dialogs in music. Regional characteristics and global perspectives

This year's lecture series, which the HfMT's Gender Equality Department organizes every winter semester, will be dedicated to a musicological topic: The connection between Music History Global and Gender Studies. All over the world, social norms of how the sexes treat each other are portrayed in music. They are questioned and negotiated, manifested, playfully converted, angrily accused or imaginatively conjured up. It is not uncommon for norms to be integrated into rituals and cultic practices through, with and in music and thus preserved for centuries, even in places where other forms of coexistence have long since developed in everyday life. But even the concert hall offers sufficient points of reference. At the same time, music can develop an enormous emancipatory force in asymmetrical power relations or provide places of retreat and thus have a unifying and binding effect. This is especially true where women, regardless of the respective role patterns, become actors and can thus actively shape their environment, at least in the imaginary space of art.
The lecture series explores this topic using specific examples and looking at several continents and societies. The aim is to emphasize the unifying factor, the universitas in the diversitas, the dialogue.

Concept and direction: Gender Equality/Musicology
Tuesdays, 18:00-19:30, Mendelssohn Hall

Eintritt frei