The Magic Flute (Die Zauberfloete), K. 620, No. 21: Act II, Scene 8, Finale: Aria, Quartet (Papagena! Papagena! Papagena!), Duet (Pa-Pa-Pa-Papageno!) (excerpt) Cover Image

The Magic Flute (Die Zauberfloete), K. 620, No. 21: Act II, Scene 8, Finale: Aria, Quartet (Papagena! Papagena! Papagena!), Duet (Pa-Pa-Pa-Papageno!) (excerpt): Light Opera, Full Orchestra Accompaniment Conductor Score

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The Magic Flute (Die Zauberfloete), K. 620, No. 21: Act II, Scene 8, Finale: Aria, Quartet (Papagena! Papagena! Papagena!), Duet (Pa-Pa-Pa-Papageno!) (excerpt) Cover Image
The Magic Flute (Die Zauberfloete), K. 620, No. 21: Act II, Scene 8, Finale: Aria, Quartet (Papagena! Papagena! Papagena!), Duet (Pa-Pa-Pa-Papageno!) (excerpt): Light Opera, Full Orchestra Accompaniment Conductor Score

The Magic Flute (Die Zauberfloete), K. 620, No. 21: Act II, Scene 8, Finale: Aria, Quartet (Papagena! Papagena! Papagena!), Duet (Pa-Pa-Pa-Papageno!) (excerpt): Light Opera, Full Orchestra Accompaniment Conductor Score

By Wolfgang Amadeus Mozart

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The Magic Flute (Die Zauberfloete), K. 620, No. 21: Act II, Scene 8, Finale: Aria, Quartet (Papagena! Papagena! Papagena!), Duet (Pa-Pa-Pa-Papageno!) (excerpt): Full Orchestra Conductor Score & Parts

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Wolfgang Amadeus Mozart's (1756-1791) singspiel Die Zauberflöte (The Magic Flute), K. 620, was written in 1791 and premiered on September 30th of that same year at the Freihaus-Theater auf der Wieden, the theater run by Emanuel Schikaneder, who wrote the original libretto. An allegorical tale, Schikaneder's plot was influenced by Mozart's interest in Freemasonry, and involves the main character's (Prince Tamino) initiation into that philosophy as he, in attempting to rescue the Queen of the Night's daughter Pamina from the priest Sarastro, instead comes to admire Sarastro's ideals and joins his community instead along with Pamina. This excerpt is from near the end of the opera, scene 8 of Act II. It begins with Tamino's ally Papageno, having lost his love Papagena, deciding to hang himself in despair until three child-spirits intervene, resulting in a quartet. The spirits encourage Papageno to play his bells to summon Papagena, and she appears, resulting in a duet where the couple stutter astonished bird-like sounds to each other before planning their future together. After the Queen of the Night aria, this duet likely remains the best-known part of Mozart's last opera. Instrumentation: 2.2.0.2: 2.0.0.0: Perc(1): Str (4-4-3-3-3 in set): Soli SSSST (choral parts not included in set).

The Magic Flute (Die Zauberfloete), K. 620, No. 21: Act II, Scene 8, Finale: Aria, Quartet (Papagena! Papagena! Papagena!), Duet (Pa-Pa-Pa-Papageno!) (excerpt): Light Opera, Full Orchestra Accompaniment Conductor Score isn't in MakeMusic Cloud just yet...but it could be. Let us know you'd like to see it, and you'll help shape what comes next. In the meantime, start a free trial and dive into thousands of interactive titles your students can play along with today.

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Additional Details
Series: Kalmus Opera Library
Publisher: Keiser Productions, Inc.
ISBN10: 1-63-887811-0
ISBN13: 978-1-63-887811-7
UPC: 735816398330
SKU: 36-A360001
Instrumentation: Light Opera, Orchestra Accompaniment

More about this title

About the Composer: Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756-1791) composed The Magic Flute during the final year of his life, creating one of the most performed operas in the standard repertoire. His mastery of vocal writing, orchestration, and dramatic pacing is on full display in this singspiel, which blends German folk elements with Italian operatic sophistication and explores themes central to Enlightenment ideals.

Mozart's ability to write memorable melodies across all voice types and his skill in orchestrating for maximum clarity and color made him an essential model for composers who followed. For conductors and music educators, The Magic Flute remains a touchstone for understanding how to balance ensemble coherence with the needs of soloists, and how to use the orchestra to enhance rather than overshadow the stage action.

Why we love this

This excerpt captures two of Mozart's most infectious and recognizable moments: the famous papageno duet with its rapid, playful text repetitions and avian character work, and the preceding quartet that sets up Papageno's redemption. The musical writing is transparently orchestrated and vocally grateful, making it an ideal scene for conductors who want to explore ensemble singing without overwhelming complexity.

What to expect

The Papageno duet bursts with joy and theatrical invention: rapid, staccato exchanges between the two lovers create a sense of playful discovery as they realize who the other is. The preceding quartet carries deeper emotional weight, with the child-spirits' compassion gradually pulling Papageno back from despair, and the orchestration becomes both delicate and warmly supportive.

Who it's for

This conductor score serves opera companies, university opera programs, and advanced community theaters mounting a full production of The Magic Flute or programming this finale independently. It is equally valuable for conductors studying Mozart's orchestration and dramatic pacing, and for singers preparing this repertoire in auditions and recitals.

How to get the most out of it

  • Balance the singers' rapid articulation in the Pa-Pa-Pa-Papageno duet by keeping the orchestra lean and rhythmically precise; Mozart's orchestration already supports clarity here, so resist the urge to thicken the texture.
  • Work the singers on the character humor of the duet first, then layer in the conductor's role in maintaining rhythmic precision through the stuttered exchanges.
  • Shape the quartet section with sensitivity to the shift in dramatic mood: the child-spirits' intervention should feel genuinely protective, not comedic.
  • Ensure the glockenspiel (bells) cue in the libretto is audible without dominating; this moment signals Papagena's entrance and must land with clarity.

How to use it

Program this finale as a complete scene to showcase Mozart's gift for mixing comedy and pathos, or use the quartet and duet separately in concert settings where you want to highlight standout vocal moments from the standard repertoire. It works particularly well as an encore or light interlude in a mixed concert, and serves as an excellent teaching example of how Mozart uses orchestral color and vocal humor in tandem.

Skills your students will build

  • Conducting rapid ensemble passages with clear articulation and rhythmic precision
  • Balancing soloists with orchestral accompaniment in a transparent orchestration
  • Managing dramatic tone shifts within a single scene (from despair to comedy to tenderness)
  • Shaping character work and theatrical intent through musical conducting
  • Reading and interpreting Mozart's orchestral doubling and voice-leading across a full score

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