THE MAGIC FLUTE. An Alchemical Allegory M. F. M. Van Den Berk, E. J. Brill, Leiden and Boston, 2004. Hardback, xxi and 650 pages plus illustrations, 199 Euros. ISBN 90-04-13099-3. Published together with three compact discs of a live performance of The Magic Flute by The New Opera Academy. Telephone: 00 31 71 535 3500.

A pernicious myth has evolved in academic circles that Freemason Mozart wrote The Magic Flute primarily for the money and that any esoteric references contained within it are incidental to the music and the its commercial opportunities. Dr. van den Berk, in this remarkable work, reveals that this could not be further from the truth.
    Austria of the 1780’s was open to Freemasonry and even more esoteric speculation and investigation. Many masonic lodges, for example, were actively pursuing such studies as Kabbalah, Rosicrucian and Hermetic studies including Alchemy. Most lodges reportedly maintained their own alchemical laboratories and the pursuit of spiritual alchemy was unstinting: for example, a text has survived describing the laboratory of Lodge Crowned Hope. Mozart was fully immersed in this milieu and his opera, first performed in 1791, expressed its mystical initiatory vision.
    Dr. van den Berk concluded, after many years of research, that The Magic Flute was ‘an alchemical allegory’ with the role of Hermes - guide of souls - played by the ‘foolish’ Papageno who is described in early stage directions as clad in feathers - echoing Hermes’ winged sandals and cap - and playing a seven piped syrinx, an instrument created by Hermes. Berk explains that his book is ‘an initiation into Initiation’, for initiation is what Mozart’s opera is all about: Tamino is initiated into the mysteries of Isis; Papageno is his guide.
    Dr. van den Berk has produced a remarkable work which cleverly bridges the gap between the academic and the lay reader’s differing demands by pursuing his own journey of discovery in which his fascination and passion for the subject carries the historical and philosophical information. Yet, enjoyable as this journey is, Berk does not allow his passion to diminish the academic rigour which he brings to such a complex investigation. The perspective Berk’s book reveals is both important and fascinating: The Magic Flute emerges as a perfectly formed crystal of wisdom precipitated by subtlety and skill from the alchemical crucible of the epoch.
    All those who are interested in the Hermetic vision which lies behind so much of our modern world in general, and our masonic world in particular, should read this book. And, to ensure the Work is truly completed, the book comes together with three CDs of a special performance of the opera by The New Opera Academy
    Michael Baigent