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): Full Orchestra Conductor Score & Parts

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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): Full Orchestra Conductor Score & Parts

By Wolfgang Amadeus Mozart

Item: 36-A360002

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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): Full Orchestra Conductor Score & Parts 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.
UPC: 735816398934
SKU: 36-A360002
Instrumentation: Light Opera, Orchestra Accompaniment

More about this title

About the Composer: Wolfgang Amadeus Mozart

Wolfgang Amadeus Mozart (1756–1791) composed across every major genre of his era and remains one of the most frequently performed composers in concert halls and opera houses worldwide. His facility with melody, harmonic sophistication, and dramatic timing made him a master of both instrumental and vocal music, and his operas in particular showcase his gift for characterization through music and his ability to balance ensemble writing with solo brilliance.

Why we love this

This excerpt captures one of Mozart's most immediately delightful moments: the stuttering, bird-like duet between Papageno and Papagena is a masterclass in comic vocal writing and orchestral charm. The combination of the quartet with the child-spirits and the famous bells passage makes this a showcase for singers, orchestra, and conductor alike, offering the kind of theatrical magic that reminds audiences why Die Zauberflöte endures as a repertoire staple.

What to expect

The music radiates warmth and comic humanity as Papageno's despair transforms into joy, punctuated by the ethereal voices of the child-spirits and the magical shimmer of the Glockenspiel. The famous duet that follows captures pure delight and wonder through Mozart's witty orchestration and the peculiar charm of the couple's bird-like vocalization, creating a moment of theatrical magic that feels both intimate and grandly operatic.

Who it's for

This is essential repertoire for conductors and singers preparing a full operatic production or concert performance of Die Zauberflöte, as well as orchestras looking to program a substantial, crowd-pleasing excerpt from the opera. Opera directors and music theater programs will find this excerpt particularly effective as a finale or featured moment in a larger concert or gala performance.

How to get the most out of it

  • Coordinate the conductor and orchestra with the singers on the Glockenspiel solo that summons Papagena; clarity and rhythmic precision here drives the dramatic moment.
  • Shape the quartet section with attention to the dialogue between Papageno and the three child-spirits, allowing their contrasting vocal lines to emerge without sacrificing ensemble balance.
  • Approach the Pa-Pa-Pa-Papageno duet with rhythmic flexibility and comic timing; the stutter effect depends on ensemble precision but must sound spontaneous and playful rather than mechanical.
  • Balance the vocal soloists against the full orchestra without burying the text; Mozart's orchestration is transparent enough to support clarity if the conductor sculpts the ensemble dynamics carefully.

How to use it

Program this as a substantial finale excerpt in a concert celebrating Mozart's operatic genius, or use it as the centerpiece of a music theater or opera gala. The combination of comedy, spectacle, and memorable melody makes it a natural showstopper that audiences recognize and love, whether presented in full operatic staging or in concert dress.

Skills your students will build

  • Conducting ensemble balance and transparency in large-scale operatic orchestration
  • Shaping comic timing and dramatic intention through tempo and phrasing
  • Coordinating singers with orchestral soloists (Glockenspiel) in a theatrical context
  • Managing dynamic contrast and textural clarity across a full operatic ensemble
  • Interpreting Mozart's harmonic language and stylistic conventions in performance

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