"The star of this production is Russian baritone Rodion Pogossov, who lit up the stage whenever he appeared. As the Evil Witch, a.k.a. The Queen of the Night, Canadian soprano Aline Kutan set off vocal fireworks in both of her big arias. Her henchwomen, the Three Ladies, were spiritedly sung by Betty Waynne Allison, Wallis Giunta and Lauren Segal."

John Terauds "The Toronto Star" Jan 30 2011

Indeed, Mozart's eventful life and fortunes – the subject of much debate amongst scholars and researchers – and the sheer amount of compositions he left behind have given the classical composer something of a legendary status. Today, he is more popular than ever, often ranked alongside Beethoven and Bach as one of the three top composers of all time.


Mozart's final play, the Magic Flute, is certainly one of Mozart's most Masonic. Many historians and critics have tried to break down the symbolism of this play as a metaphor for the enlightenment movement. Even by their own admission, these interpretations are incomplete. For anyone familiar with the mystery religion, however, the meaning is clear. If you read into the deeper symbolism and how it relates to Masonic philosophy, a darker story emerges. To be sure, the Magic Flute is an allegory referencing the accomplishment of the soul by the initiate of the mysteries, and the crowning of Lucifer as king over the wild superstitions of the human mind.


The influence of Mozart on the composers that followed cannot be emphasized too strongly. He was idolized by such late nineteenth century composers as Richard Wagner and Peter Tchaikovsky; and his music came to influence the neo-classical compositions of Igor Stravinsky and Sergei Prokofiev in the twentieth century.