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The Magic Flute | Page 3 of 34

The Magic Flute

Papageno with his feathered friends in Opera Australia’s production of The Magic Flute. Sydney Summer Season 2012. Photo by Branco Gaica.


Music by

Wolfgang Amadeus Mozart


Libretto by

Emanuel Schikaneder

First Performed

30 September 1791

Theater auf der Wieden, Vienna


The Magic Flute – Background

In September of 1780 a new theatrical manager arrived in Salzburg by the name of Emanuel Schikaneder. He and Mozart had become close friends in Salzburg, Mozart and his sister Nannerl frequently attending theatrical performances there. It is therefore no surprise that almost a decade later the two men would renew their friendship when Schikaneder’s troupe became the resident company in Vienna’s Theater auf der Wieden in 1789.

Mozart was a friend to a number of actor/singers in the troupe and had, on a number of occasions, been asked to write music for Schikaneder’s company. One notable example was his contribution to the collaborative opera Der Stein der Weisen (The Philosopher’s Stone) written in 1790. Mozart was also impressed by his friend’s credentials as a dramatist, composer, singer, actor and impresario.

Sometime in 1790 or 1791, Schikaneder approached Mozart to compose an opera for his theatre, probably to help him overcome some financial difficulties. Mozart was, by this time, in considerable financial difficulty himself so he was in no position to reject the commission, although he was mindful to warn Schikaneder that the singspiel might prove a flop as he had never before attempted to compose a “magic opera”.

Although we are uncertain as to when work on The Magic Flute began, we are certain that by July of 1791 Mozart had completed work on the first of the opera’s two acts. Work on the second act was to be complicated by Mozart’s acceptance of commissions for Requiem K.626 and for the opera seria La clemenza di Tito K.621 (The Clemency of Titus). However, by 29 September 1791 the opera was complete.

http://en.wikipedia.org/wiki/Emanuel_Schikaneder

http://en.wikipedia.org/wiki/Theater_auf_der_Wieden

http://en.wikipedia.org/wiki/Theater_auf_der_Wieden

http://en.wikipedia.org/wiki/Der_Stein_der_Weisen

http://en.wikipedia.org/wiki/Singspiel


The First Performances

On 30 September 1791 Mozart himself conducted the first performance of Die Zauberflöte K.620 (The Magic Flute) in the Theater auf der Wieden. Schikaneder, the opera’s librettist and Mozart’s friend, sang the role of Papageno. Schikaneder was in no way a renowned vocalist so Mozart molded the Papageno music to suit his limited vocal abilities making the melodies simple and of a limited range. On the contrary, Josepha Hofer, who sang the role of the Queen of the Night, was renowned in Vienna for the dexterity and range of her voice. For this character Mozart wrote two of the most famous and challenging arias in the history of opera.

The opera was a tremendous success and by 6 November had already been performed twenty-four times! In a letter to his wife in Baden Mozart wrote:

It is obvious that the success of the opera had lifted the ailing composer’s spirits. In November 1792, The Magic Flute received its 100th performance, a milestone not witnessed by its composer who had died on 5 December 1791, only nine weeks after its premiere.

“Dearest, most beloved little Wife!

I have at this very moment returned from the opera which

was as full as ever. As usual the duet “Mann und Weib” and

Papageno’s glockenspiel in Act I had to be repeated and also

the trio of the boys in Act II. But what always gives me the

most pleasure is the silent approval. You can see how this

opera is becoming more and more popular...”

Vienna, 7-8 October 1791Mozart’s Letters. An Illustrated Selection. p.237

Translated by Emily Anderson. Barrie and Jenkins Limited. London.

http://en.wikipedia.org/wiki/Josepha_Hofer


Principal Characters


Taminoan Egyptian Prince

Tenor


The Three Ladiesattendants to The Queen Of The Nighttwo Sopranos and a Mezzo-Soprano


Papagenoa Bird-Catcher

Baritone


The Queen Of The NightPamina’s Mother

Soprano


Paminathe daughter of the Queen of the Night

Soprano


Monostatosa moor in the service of Sarastro

Tenor


The Three Spiritssent to watch over Tamino and Papageno

two Sopranos and a Mezzo-Soprano


SarastroHigh Priest of Isis and Osiris

Bass


PapagenaPapageno’s wife to be

Soprano


Synopsis

Monostatos and his servants dance to Papageno’s magic bells in Opera Australia’s production of The Magic Flute.

Sydney Summer Season 2012. Photo by Branco Gaica.


Act 1 Scene 1Setting: A Rocky Place by a temple

Prince Tamino, an Egyptian Prince, calls on the gods for protection as a huge serpent pursues him. Exhausted, he faints just as three ladies, servants of the Queen of the Night, enter and slay the serpent with their spears.

The ladies are overcome with Tamino’s handsome appearance and argue over who shall remain to guard the Prince while the others report to the Queen. Untrusting of each other, they all decide to leave.

Tamino regains consciousness and is mystified by the sight of the dead serpent. He hears someone approaching and conceals himself.

Papageno, a bird-catcher, arrives on the scene and, dressed like a bird, sings of his job and how he would love to use his net to catch girls so that he could marry the one he likes best. Tamino introduces himself to Papageno who explains that he catches birds for the “star flaming Queen”, and that, in return, the three ladies in service to the Queen of the Night provide him with food and wine. When Tamino asks Papageno if it is he who has rescued him by killing the serpent, Papageno is at first terrified. But once assured that the creature is indeed dead Papageno boastfully claims credit for slaying it with his bare hands.

The three ladies re-appear and chastise Papageno for telling lies and punish him by placing a lock on his lips so he can tell no more. Instead of wine he is given water and instead of bread he is given a stone.

The three ladies discover the unconscious Tamino. Opera Australia's The Magic Flute.


Papageno claims that he killed the serpent. Opera Australia’s The Magic Flute.


http://www.youtube.com/watch?v=61eIRl8BQFY

http://www.youtube.com/watch?v=8lBXTWSKBIA


Before they depart the three ladies present Tamino with a gift from their Queen: a locket, which contains a miniature portrait of the Queen of the Night’s daughter, Pamina. Gazing at the portrait Tamino instantly falls in love with Pamina and sings that one day she will be his for all eternity.

The three ladies re-appear to announce the arrival of the Queen of the Night. She tells Tamino that her daughter has been abducted by an evil enemy and that, if he is able to rescue Pamina, she will allow him to claim her as his bride.

The three ladies unlock Papageno’s mouth and he promises never to lie again. Tamino is given a magic flute to protect him from evil whilst Papageno, who has been commanded by the Queen of the Night to accompany Tamino, is given a peal of magic bells. They are also told that three gentle spirits will guide and protect them. Reassured Tamino and Papageno set off on their quest.

Act 1 Scene 2Setting: A room in Sarastro’s palace

The scene changes to a room in Sarastro’s palace. Pamina, who has attempted to escape, has been recaptured by Monostatos. Papageno enters and he and Monostatos catch sight of one another simultaneously. Thinking that each is the devil they run off in opposite directions. Papageno re-enters and informs Pamina that he is a messenger from her mother the Queen and that a prince, who is in love with her, will shortly arrive to rescue her. Papageno laments that he has no one to love him and Pamina consoles him saying that, sooner or later, everyone finds somebody to love them. Together they set off to find prince Tamino.

Tamino sings of his love for Pamina in Act 1 of Opera Australia's The Magic Flute.


Papageno and Pamina in Act 1 of Opera Australia’s The Magic Flute.



Act 1 Scene 3Setting: The entrance to the Temple

Three gentle spirits have led Tamino to a temple where they encourage him to be silent, patient and persevering. Alone, he approaches each of the three entrance doors to the temple. On the third attempt a priest emerges and, after questioning Tamino, informs him that it is the Queen, not Sarastro who is evil. Distant voices tell Tamino that Pamina is safe and, taking out his magic flute, he charms the wild animals into submission. However, he becomes disconsolate at his separation from Pamina and it is only the sound of Papageno’s distant pipes that lift his spirits. Excited he rushes off to find him.

On their way to Tamino, Pamina and Papageno are momentarily captured by Monostatos who orders his slaves to bind them in chains. Papageno, remembering his magic bells, begins to play. The slaves begin to dance uncontrollably and are unable to fulfill their duty.

A sudden fanfare announces the arrival of the high priest Sarastro. Pamina confesses to him that she had attempted to escape but only because of the uninvited attentions of Monostatos. Sarastro explains that he is aware that she loves Tamino but he fears that misfortune would befall her if he were to let her return to her mother, the Queen of the Night. A man must lead her on the path to wisdom.

Monostatos enters with Tamino whom he has captured. Tamino and Pamina rush into each other’s arms but they are separated. Sarastro orders that Monostatos be whipped and instructs that Tamino and Papageno should be prepared for initiation into the brotherhood of the temple.

Three spirits in Opera Australia's The Magic Flute. Sydney Summer Season 2012. Photo by Branco Gaica.

Tamino plays his magic flute in Act 1 of Opera Australia’s The Magic Flute.



Pamina and Papageno are captured in Opera Australia’s production of The Magic Flute.Taryn Fiebig as Pamina, Andrew Jones as Papageno. Melbourne Autumn Season 2012. Photo by Jeff Busby.


Act 2 Scene 1Setting: A grove of palms near the Temple

The priests of the temple of Isis and Osiris are assembled. Prince Tamino, who is waiting at the northern gate of the Temple, seeks wisdom and wishes to emerge from “darkness” into “light”. Sarastro explains to the priests that the gods have chosen Tamino and Pamina for each other but that Tamino must undergo several trials to prove his worthiness. It is decided that Papageno should accompany him. Sarastro and the priests pray to the gods that Tamino and Pamina may be granted strength and courage.

Act 2 Scene 2Setting: A porch of the Temple

Two priests warn Tamino and Papageno that their faith and fortitude is to be tested. When questioned by the priests Tamino is resolute however Papageno only wants food and drink. Papageno is told that if he is able to endure the trial with Tamino happiness will be his in the form of a feathered wife named Papagena. In the first of the trials Pamina and Papagena will appear but neither Tamino nor Papageno must speak.

The priests exit and the three ladies enter determined to convince Tamino and Papageno that they should abandon their trial. They inform Papageno that Tamino will be his undoing and Papageno becomes fearful. Tamino warns him to stop chattering and reminds him of their oath. Offstage voices announce that the presence of the three ladies in the temple has been discovered, and unsuccessful in their quest, they hurriedly depart.

Sarastro and the priests in Act 1 of Opera Australia's The Magic Flute.


Papageno and the Three Ladies in Opera Australia’s The Magic Flute.



Act 2 Scene 3Setting: A Garden

Monostatos discovers Pamina asleep in the garden. He attempts to steal a kiss while she is asleep but is interrupted by the sound of thunder and the arrival of the Queen of the Night. Ordered to leave by the Queen he conceals himself nearby.

Pamina awakens and informs her mother that Tamino has joined the initiates of the temple. The Queen exclaims that her daughter is now lost to her forever. Their only hope is for Pamina to kill Sarastro. Before leaving The Queen of the Night gives a dagger to Pamina and tells her that she will have nothing more to do with her if she fails to carry out the deed.

Pamina exclaims that she cannot kill Sarastro. Monostatos, who has heard everything, emerges from his hiding place and seizes the dagger from Pamina. He tells her that there is only one way for her to save herself – submit to him. Pamina says that she would prefer death and is saved by the sudden appearance of Sarastro. He reproaches Monostatos for his evil thoughts and dismisses him. As Pamina pleads for her mother, Sarastro assures her that only love, not vengeance, is within the hearts of those in the temple.

Monostatos and the sleeping Pamina in Opera Australia’s production of The Magic Flute.

Kanen Breen as Monostatos, Taryn Fiebig as Pamina.Melbourne Autumn Season 2012. Photo by Jeff Busby.

Papageno claims that he killed the serpent. Opera Australia’s The Magic Flute.

Sydney Summer Season 2012.Photo by Branco Gaica.


Opera Australia’s production of The Magic Flute. Taryn Fiebig as Pamina, Kanen Breen as Monostatos and Lorina Gore as the Queen of the Night.

Melbourne Autumn Season 2012. Photos by Jeff Busby.


Act 2 Scene 4Setting: A Hall in the Temple

Two priests lead Tamino and Papageno to a hall in the temple where they are to remain silent. Almost immediately, Papageno begins to chatter away with an old woman who has brought him water to drink. Papageno is greatly amused when she tells him that she is just eighteen years old. He is less amused when she tells him that her sweetheart goes by the name of Papageno! Just as she is about to reveal her name she disappears in a loud clap of thunder.

The three spirits arrive with food and wine. Sarastro has ordered that Tamino be given the magic flute and that Papageno receive his magic bells. Papageno begins to eat while Tamino plays on the flute. Attracted by the magic tones, Pamina enters. When Tamino motions her away and will not speak to her Pamina becomes distraught believing Tamino no longer loves her. She sings to him of her pain but he refuses to respond. Heartbroken, she leaves. Tamino and Papageno continue their quest.

Act 2 Scene 5Setting: In the Temple

Sarastro and the priests give thanks to Isis and Osiris. Tamino, Papageno and Pamina are led in. Tamino is told that two more perilous trials await him. Fearing that she may never see her love again Pamina is told to farewell Tamino. All leave.

Papageno and the old lady in Opera Australia’s production of The Magic Flute.


Sarastro, High priest of Isis and Osiris in Opera Australia’s The Magic Flute.



Act 2 Scene 6Setting: A Hall

Papageno enters and is told by a priest that he will never experience the joys of the brotherhood. Papageno says that his greatest joy would be a cup of wine, which he receives. As he drinks, Papageno ponders his lonely existence and plays on his magic bells. The old woman suddenly re-appears and threatens him with an everlasting diet of bread and water unless he swears eternal constancy to her. Reluctantly, he does so and immediately the old woman is transformed into a beautiful, feathery Papagena. Papageno is deemed not yet worthy of her and the priest immediately separates them.


The three spirits sing of the approaching light of morning, which will banish superstition and darkness. They observe Pamina who enters, intending to kill herself with the dagger her mother gave her to kill Sarastro. The spirits stop her and explain that Tamino, who is even now facing death for her sake, still loves her. A joyous Pamina leaves with the spirits to be re-united with Tamino.

Act 2 Scene 8Setting: A rocky place

Two men in armour are preparing a fearless Tamino to undergo the trials of fire and water. Pamina calls for him to wait so that she may undergo the trials with him. Swearing never to part, and to the tones of a magic flute, they are tested and emerge victorious.

Pamina and Tamino prepare to undergo the trials of fire and water in Act 2 of Opera Australia’s production of The Magic Flute.Sydney Summer Season 2012. Photo by Branco Gaica



Papageno, overcome with grief at the loss of Papagena, enters carrying a rope with a noose, intending to hang himself on a nearby tree. Again the three spirits intervene, telling him to use the magical power of his bells. As he plays Papagena magically appears. Re-united they sing joyously of the many Papagenos and Papagenas they intend to raise.

Act 2 Scene 10Setting: Before the Temple

Monostatos leads the Queen of the Night and her forces to the temple. The queen has promised him her daughter if he can show them how to gain entrance. Suddenly, a loud crash of thunder is heard and the Queen and her followers disappear into the depths of eternal darkness. The temple doors open and the stage is bathed in light. Tamino, Pamina, Sarastro, the three spirits and the priests all enter and sing a triumphant hymn of thanksgiving to Isis and Osiris.

END OF OPERA

Tamino and Pamina triumph in Act 2 of Opera Australia’s The Magic Flute.


Papageno has his Papagena at last in Act 2 of Opera Australia’s The Magic Flute

Andrew Jones as Papageno. Kiandra Howarth as Papagena.Melbourne Autumn Season 2012. Photo by Jeff Busby.


Papageno with his feathered friends in Opera Australia’s production of The Magic Flute. Sydney Summer Season 2012. Photo by Branco Gaica.

Listening Guide


Listening Guide

Excerpt Synopsis Some Musical Features Class Discussion

The overture of an opera is usually played before the curtain goes up. It sets the mood for what is to come and gives the orchestra a chance to show off their talents. Mozart wrote the overture for The Magic Flute in a single day.

• Three chords played three times• Contrast between major and minor keys• Contrast between slow and fast sections

Overture

Instrumental

Tamino, pursued by a serpent falls unconscious. Three ladies, servants to the Queen of the Night, kill the serpent and argue over who shall stay with the handsome Prince.

• Key changes• Tempo changes• Changes in texture• Changes in tone colour

Zu Hülfe, Zu HülfeOh help me, Oh help me

Bars 1 - 40Tamino

Papageno enters and sings of his job as a birdcatcher. He wishes he could catch himself a girlfriend.

• Key of G major• Simple melody and harmonic structure• Use of panpipe motif• Three verses each the same, stophic form

Der Vogelfanger bin ich jaI am the birdcatcher, yes!

Papageno

• What do you think is the significance of the three chords?• Does the overture succeed in establishing a mood? How does it make you feel?• What instruments can you hear?• How many sections does the overture have? Can you map them?

• How has Mozart used the music to suggest fear and a pursuit?• How has Mozart used the music to suggest that the serpent is coming nearer?• How has Mozart created energy in the music?

• How has Mozart used the music to suggest Papageno’s simple, carefree nature?• How many times do you hear the panpipe motif?

http://www.youtube.com/watch?v=gK6i9tZucYc

http://www.youtube.com/watch?v=HuOEdkJdU0Y

http://www.youtube.com/watch?v=EOzerPWI_Ao

http://www.youtube.com/watch?v=EOzerPWI_Ao



The three ladies give Tamino a locket which contains a picture of Pamina. Despite never having met her he falls instantly in love – as if under a spell.

• Key of E flat major• Larghetto• The introduction hints at the opening chords of the overture• Written for the tenor voice• Upward leaps in the vocal line

Dies Bildnis ist bezaubernd schönThis portait is magically beautiful

Tamino

The Queen of the Night asks Tamino to rescue her kidnapped daughter.

• Key changes from B flat major to G minor and back to B flat major• Tempo changes• Written for a coloratura soprano• Rapid and vocally difficult scale passges

O zittre nicht, mein lieber sohnBe not afraid my dear boy

The Queen of the Night

Papageno has had his lips padlocked for telling lies. The three ladies give Tamino a magic flute to take with him on his quest. Papageno, who has been ordered to accompany him, is given magic bells. Three spirits will guide and advise them.

• Key changes from B flat major to F major with hints of G minor.• A quintet for two sopranos, mezzosoprano, tenor and baritone.• Beautiful use of the vocal and instrumental forces • Changes of texture and tempo

Hm,Hm,Hm, Hm, Hm, HmHm,Hm,Hm, Hm, Hm, Hm

Papageno, Tamino and the Three Ladies

• How has Mozart used the music to suggest love at first sight?• What is the range (distance between the lowest and highest note) of the melody?

• Why does Mozart change the opening key of B flat major to G minor?• Why does the tempo change?• Why do you think Mozart chose this voice type for the character of the Queen?• How does the music portray the Queen of the Night’s anger?

• Why does Mozart change key in his music?• How does the music suit each character?

Listening Guide

http://www.youtube.com/watch?v=j42Mvn1uwkc



http://www.youtube.com/watch?v=s42gakaNJXA


http://www.youtube.com/watch?v=Zo1rjapa0ic&list=PLDD55CF4280272412

http://www.youtube.com/watch?v=Zo1rjapa0ic&list=PLDD55CF4280272412



Pamina is being held captive and has attracted the unwanted attentions of Monostatos, a moorish servant to Sarastro. When Papageno enters he and Monostatos frighten each other away.

• Key of G major• Very fast tempo – Allegro molto.• Written as a trio for tenor, soprano and baritone voice types

Du feines Täubchen, nur hereinMy pretty maid I hold thee fast

Monostatos, Pamina and Papageno

Papageno tells Pamina that a prince, who is deeply in love with her, is on the way to rescue her. Papageno tells Pamina that he has never known love. Together they sing in praise of the “highest emotion”.

• Key of E flat major• The juxtaposition of solo and duet passages• Pamina’s ornamentation of her vocal line in the second verse• A duet for Soprano and baritone voice types

Bei Männern, welche liebe fühlenMen who known the feeling of love

Pamina and Papageno

Sarastro and the priests offer a prayer that Tamino and Pamina will receive strength and courage for their ordeals.

• Key of F major• Tempo is very slow - Adagio• Smooth vocal line• Verse one and two have different melodies• Aria written for the bass voice type

O Isis und Osiris schenketO Isis and Osiris hear us!

Sarastro

• What is the mood at the opening of the trio?• How does the mood change when Papageno enters?• How has Mozart use the music to create comical terror when Papageno and Monostatos first see each other?

• What do we learn about Sarastro and the priests in this aria?• How has Mozart used the music to suggest Sarastro’s great wisdom?• Describe the change of tone colour when the priests respond at the end of each verse?

• How does this duet contrast with the Monostatos, Pamina and Papageno trio?• What does this duet tell you about Papageno and Pamina?

Listening Guide

http://www.youtube.com/watch?v=6DHpK8ZPEFw



http://www.youtube.com/watch?v=wCrSIuj-giA

http://www.youtube.com/watch?v=wCrSIuj-giA

http://www.youtube.com/watch?v=oeP0NOPAIys&list=PL4B6F5C8162C78892

http://www.youtube.com/watch?v=oeP0NOPAIys&list=PL4B6F5C8162C78892



The Queen of the Night, on hearing that Tamino seeks initiation into Sarastro’s brotherhood, is consumed with rage. She gives Pamina a dagger and tells her to kill Sarastro. Pamina will cease to be her daughter if she fails.

• Begins in the Key of D minor. Modulates to F major and returns to D minor• Very fast tempo – Allegro assai• The “erratic” melody is made up of short phrases, each amplifying the Queen’s rage• Bell like coloratura passages containing high F, two octaves above middle C!

Der Hölle Rache kocht in meinem HerzenThe vengeance of hell boils in my heart

The Queen of the Night

Sarastro is aware of the plot to kill him. He tells Pamina that, within the temple, there is only love. Revenge has no place there.

• Key of E major• Slow, deliberate tempo - Larghetto• Smooth, sustained vocal line making frequent use of stepwise movement and movement within the scale

In diesen heil’gen HalleWithin these holy portals

Sarastro

The spirits bring Tamino and Papageno food and wine as wellas the magic flute and bells. After words of encouragment to Tamino they remind Papageno of his oath to remain silent.

• Key of A major• A fairly brisk tempo – Allegretto.• A very simple harmonic structure most chords I and V7• The use of trills and demisemiquavers ad an air of flippancy and innocence to the trio• Trio for two sopranos and a mezzosoprano

Seid uns zum zweit-enmal willkommen This is the second time we greet you

The Three Spirits

• How has Mozart used the music to portray rage?

• How does the music of Sarastro’s aria about love and forgiveness compare with the music of Queen’s revenge aria, Der Hölle Rache?

• How has Mozart used music to make the spirits sound angelic and innocent?

Listening Guide




http://www.youtube.com/watch?v=WkxTeKdHVG0

http://www.youtube.com/watch?v=WkxTeKdHVG0

http://www.youtube.com/watch?v=xEu5190Y53o

http://www.youtube.com/watch?v=xEu5190Y53o



Pamina and Tamino have been reunited but, because of his vow of silence, he is unable to respond to her. Pamina interprets this as a rejection of her love for him and is heartbroken.

• Begins in the Key of G minor, modulates to B flat major and returns to G minor• Long sustained phrases• Decorative passages on important words in the text• Chordal accompaniment

Ach, ich fuhl’s es ist entschwundenAh! ‘tis gone, ‘tis gone forever

Pamina

Papageno sings of his wish for a partner with whom he could share his food and drink.

• Key of F major• A moderately slow tempo – Andante• Verse and Chorus form• Verse in 2/4. Chorus in 6/8• Chorus begins in C major• Chorus tempo is fast – Alegro• Use of bells (celeste) in introduction to each verse

Ein Mädchen oder WeibchenA sweetheart or a little wife

Papageno

Papageno finally meets his match: the beautiful, feathery, Papagena. They sing of their plans to have lots of little Papagenos and Papagenas.

• Key of G major• Frequent tempo changes and pauses• The use of melodic repetition• The use of statement and response• Duet for soprano and baritone voice types

Pa-pa-pa Pa-pa-paPa-pa-pa Pa-pa-pa

Papageno and Papagena

• How has Mozart used music to create Pamina’s despair? Describe the accompaniment.• Listen to the last four bars of the aria. What was Mozart trying to describe?

• How does this aria compare with Papageno’s other music in The Magic Flute?• What is different about the introduction to each verse?• In this aria the verse is slower than the chorus. Read the lyrics. Why do you think Mozart did this?

• How has Mozart used rhythm to suggest that both Papageno and Papagena are speechless at the sight of each other?• How is the music “birdlike”?• Do you think they will live happily ever after?

Listening Guide

http://www.youtube.com/watch?v=53RwokMkgqk

http://www.youtube.com/watch?v=53RwokMkgqk

http://www.youtube.com/watch?v=ExnOKlnlodY

http://www.youtube.com/watch?v=ExnOKlnlodY

http://www.youtube.com/watch?v=GdlwS7H2_BU&list=PL314D05FAA9C27359

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