The opening stage direction (likely Schikaneder’s) specifies „eine felsige Gegend, hie und da mit Bäumen überwachsen“ — a rocky place, sparsely overgrown with trees. Very Wagnerian, it signals a nearly sterile environment from which the characters’ growth will emerge.

Into this terrain steps Tamino, seeking Pamina. He has never met her, but carries her picture around with him.

We get to meet some curious figures: Three Ladies; Papageno, who makes a trade of catching birds; and much later, Spirit-Guides.

Along the way more curious things unfold: The Queen of the Night makes an early and extravagant claim that someone called Sarastro is evil...the opera will seek to persuade us otherwise. Sarastro imposes “trials” on Tamino and Pamina to gain “wisdom” — supposedly necessary for their love to be fulfilled. They succeed! Puzzlingly, Papageno finds love without passing a single trial.

The Queen is defeated; Sarastro’s light prevails; love triumphs. Tamino and Pamina live happily ever after.