The Magic Flute

Adиle Ashby, a library consultant, is the former editor of Canadian Materials for Schools and Libraries.

The Magic Flute opens in a kingdom of constant summer. Its only
discordant note is the Queen of the Night, who wants to be Queen of Day
and Night. On a hunt is Prince Tamino, whom the queen wants in her
power. She “saves” him from a dragon she herself has sent, and then,
for payment, sends him off to rescue her daughter, Pamina, from the
wizard Sarastro. She gives him a magic flute that will protect him and
transform sadness into merrymaking and love. Her ladies send the
reluctant Papageno, the birdcatcher, with him, having given him magic
silver bells. From here the plot becomes increasingly convoluted in a
story that draws extensively from fairy tales. Unlike the latter,
however, The Magic Flute is so full of incident that it is rather hard
to follow without the dramatic presentation and the music to accompany
it. The illustrations, watercolors by a Montreal artist and storyteller,
are in the High Renaissance style. A question does arrive, however,
about the intended audience for the book; it is not likely to appeal to
children who have no familiarity with the opera, though it may well
enchant that special child who does.