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With the belief that “No opera loses so much as Die Zauberflöte if one strips it of its drama and that means, above all, the spoken dialogue,” René Jacobs’ agenda in Die Zauberflöte is to rehabilitate the reputation of Schikaneder’s libretto. At the heart of his reassesment is the idea that Schikaneder and Mozart’s Masonic message is deeper and more carefully presented than we have thought. He suggests that seemingly silly or inconsistent aspects of the story are put there as intentional false paths as the audience, not only the prince and the bird catcher, undergoes its own trials of initiation. The opera’s symbolism and structure are explained in convincing detail in an essay in the booklet by the Egyptologist and Mozart researcher Jan Assman.