2010 – The Magic Flute
Mozart’s The Magic Flute: Interpretation by Heidi Klassen and Laria Jackson as read during the performance:
April 8, 9 and 10, 2010 @ 7pm, April 11, 2010 @ 3pm
The Unitarian Church of Vancouver - 949 West 49th Avenue
Mozart’s The Magic Flute: Interpretation by Heidi Klassen and Laria Jackson as read during the performance:
AWAKENING CONSCIOUSNESS
At this time in humanity’s awakening, our souls are impatientlyrushing past our bodies and personalities to find their highest connections, making for an exquisite meeting of our true
nature.
THE THREE SPIRITS represent our pristine knowledge and are asking us to be still and listen to these subtler nuances. When we tone from love’s purity within, fear, chaos and separation
disappear.
THE MAGIC FLUTE is the tone of Love that awakens and celebrates our sovereign natures. Once harmonized, each person’s true tone can again harmonize with Nature.
SARASTRO AND THE QUEEN OF THE NIGHT represent the struggle between the masculine and feminine that serves the awakening of humanity. Compelled by its own volition, Evolution uses the contradictory forces to transform itself. Thus there can be no ultimate judgment.
THE QUEEN OF THE NIGHT and her THREE LADIES represent the beautiful wild feminine Nature that has rejected the loving, protecting masculine within. The Queen allows the chaotic to rule even to the point of sacrificing her child, Pamina, to her war. She unconsciously understands that the imbalance must be righted and requires her feminine successor, Pamina, to ‘murder’ that which no longer serves humanity, and projects the masculine onto the savior, Tamino. With the momentum of evolution the Queen passes true knowledge through The Magic Flute and the Three Spirits to the NEW MAN and NEW WOMAN to build THE NEW EARTH through LOVE.
THE PRIESTHOOD longs to dissolve the contradictions but is stuck between expanding into integrated wisdom and hanging on to an overbalance of the Yang energy of REASON which creates
separation. Within their hallowed walls we find disparaging talk of women with men as victims, punishment, prejudice, slavery and threats to the safety of the divine feminine through the raping masculine.
MONOSTOTOS defines himself by the prejudice he experiences due to his black skin and his low position in life. This victimization cuts him off from his true feminine, creating in him an
enslavement to envy, opportunism, narcissism, and an entitlement to taking what his desire impels in him. Yet in acknowledging his heart’s desire, he is taking a step in evolution.
SARASTRO is awake enough to admit the wound of his time. He consciously prepares the divine feminine by holding presence for Pamina and allows the contradictions in his realm to bring her to her sovereignty. He guards her against the chaotic masculine threats in both the realm of the Queen and that to which his temple is still enslaved. Sarastro sees the divine feminine as the hope of humanity and seeks a worthy partner for Pamina to lead humanity forward.
PAMINA achieves sovereignty by releasing that which does not serve LOVE. She lets go of the past pain of her mother and through Tamino, tunes to the stillness of her masculine. She
becomes willing to die for the sake of Truth rather than succumb to the threats of the rape of her true nature and thus Pamina is able to lead from the LOVE she becomes.
TAMINO – Due to his fear of the feminine, represented by the
pursuing Serpent, Tamino lands in a realm of contradictions.
Through his trials to become ‘a balanced man’, he will be tempted to surrender his sovereignty to the authority of the Priesthood, act on a misplaced empathy to the Queen of the Night, engage in the ‘monkey mind’ chatter’ of the Three Ladies and Papageno, and lose presence with the despairing lover, Pamina. So while different symbols arise in him, he waits for the highest Love to emerge to which he can surrender. Tamino allows his evolving masculine Sarastro to guide him but listens foremost to his heart’s response to the feminine tones of Pamina.
TAMINO AND PAMINA lead from Love and fear dies, bringing ease to what appears difficult. While the old guard watches in hope of success, the Sovereign Masculine and Sovereign Feminine
bring wholeness to humanity. By playing the Flute, Tamino holds the masculine presence and willingly follows Pamina. The feminine Yin leads them through the transitions of Fire and Water, balancing the alchemy of Yang and Yin that brings in the NEW EARTH.
PAPAGENO and PAPAGENA have the impulse of humanity already intact within them through the bodies that house our natural sovereign souls. They are an ever present reminder that
nature is the expression of our humanity required by the Divine. Papageno finds his sovereignty by remaining true to himself as natural man but only by serving the Divine. He is commissioned to leave behind his unnatural task of trapping the feminine nature which stunts his sovereignty, travel with the evolving masculine Tamino, and make friends with the evolving feminine Pamina. Despite his apparent ‘failures’ in the realms of the Divine, Papageno too receives the blessings that belong to the natural man with true heart.
TAMINO, PAMINA, PAPAGENO and PAPAGENA represent true integration.
MOZART places these scenes in gardens of plants and flowers. While the FLUTE plays, the wild animals respond and show us that NATURE can bring us to WISDOM. When we follow the embodiment of LOVE that holds all the tones of our true selves, NATURE can return to its state of communion. It may be less of an evolution than a returning to balance.
All parts of us as individuals, of humanity, and all roles in THE MAGIC FLUTE have contributed brilliantly to AWAKENING.
It is with humility and awe that we acknowledge the power of evolution to transform us. We hold no permanent attachment to this interpretation. Imagine, from your perspective where we are heading.