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Die Zauberflöte, K. 620., (en: The Magic Flute) is an opera in two acts composed by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. This opera is in the form of a Singspiel, a popular form which included both singing and spoken dialogue. It premiered in Vienna on September 30, 1791.

The premiere was at an out-of-town but not obscure theater. Schikaneder himself played Papageno, while the Queen was played by Mozart's sister-in-law Josepha Hofer. The opera was not an immediate success, but slowly, thanks to Schikaneder' s business acumen, it gained popularity. By November 1792, Schikaneder announced the opera's 100th performance. Unfortunately, Mozart did not have the pleasure of attending this milestone, having died on December 5, 1791. Today, it remains one of the most-performed works in the repertoire. In fact, Opera America claims that Die Zauberflöte is the tenth most performed opera in North America.

The opera is often noted for its Masonic elements, which are rife and often elaborate. Both Schikaneder and Mozart were Masons and lodge brothers. In the political climate of the times, Freemasonry was considered a dangerous organization. Many of the opera's ideas and motifs also echo those of Enlightenment philosophy: It is an analogy to the zeitgeist of enlightened absolutism. The Queen of the Night represents irrational-diabolic obscurantism, whereas her antagonist Sarastro symbolises the reasonable sovereign who rules with paternalistic wisdom and enlightened insight. In the end he prevails over the darkness ("The sun's rays drive away the night, destroy the evil power of the dissembler" ). But the darkness is by no means frightening and abhorrent, but beautiful, mysterious and fascinating. As an awesome seductress the Queen of the Night is a dangerous power who can only be overcome by knowledge.

Many of the melodies are highly familiar, and include the Papageno/Papagena duet and the coloratura aria, "Der Hölle Rache kocht in meinem Herzen" ("The vengeance of Hell boils in my heart"), often referred to as the "Queen of the Night" aria, which reaches a high F6 (in Scientific pitch notation).

A notable feature of the music is the way in which Mozart was able to write for a range of skill-sets in the singers. Compare, for example, the vocal lines for Monostatos (which are easy, "obvious&am p;quot; lines to sing for a modest voice; are also often stated first in strings so the singer can find his pitch; and which are doubled as he sings, to give him the tune – anyone who has sung a karaoke arrangement of a well-known song will know the kind of process) with those of Pamina or the Queen of the Night (which give few such clues for the singer and demand decent operatic ability). Yet, in ensembles, Mozart manages to combine voices of virtuosos with those of what are essentially comic actors, and create a satisfying result. The F6 which the Queen of the Night must reach in both her arias is beyond the range of many first-rate sopranos. At the low end, Sarastro must sing an F at several points; it requires a good bass to hit the note impressively, but the note does not go below the range of the choral basses.