night The traitorous Monostatos appears with the Queen of the Night and her three ladies. They plot to destroy the temple ("" / Just quiet, quiet) and the Queen confirms that she has promised her daughter Pamina to Monostatos. But before the conspirators can enter the temple, they are magically cast out into eternal night. There is then a scene change without interrupting the music, leading into scene 10. Scene 10: The Temple of the Sun Sarastro announces the sun's triumph over the night, and hails the dawn of a new era of wisdom and brotherhood. Animals appear again and dance in the sun. Some musical numbers Act 1 "Der Vogelfänger bin ich ja" (The birdcatcher am I) – Papageno, scene 1 "Dies Bildnis ist bezaubernd schön" (This image is enchantingly beautiful) – Tamino, scene 1 "O zittre nicht, mein lieber Sohn" (Oh, tremble not, my beloved son) – The Queen of the Night, scene 1 "Bei Männern, welche Liebe fühlen" (In men, who feel love) – Pamina and Papageno (duet), scene 2 "Wie stark ist nicht dein Zauberton" (How strong is thy magic tone) – Tamino, finale Act 2 "O Isis und Osiris" (O Isis and Osiris) – Sarastro, scene 1 "Alles fühlt der Liebe Freuden" (All feel the joys of love) – Monostatos, scene 3 "Der Hölle Rache kocht in meinem Herzen" (Hell's vengeance boils in my heart) – The Queen of the Night, scene 3 "In diesen heil'gen Hallen" (Within these sacred halls) – Sarastro, scene 3 "Ach, ich fühl's, es ist verschwunden" (Ah, I feel it, it is vanished) – Pamina, scene 4 "Ein Mädchen oder Weibchen" (A girl or a woman) – Papageno, scene 5 "Pa–, pa–, pa–" – Papageno and Papagena, scene 10 Recordings The first known recording of The Magic Flutes overture was issued around 1903, by the Victor Talking Machine Company and played by the Victor Grand Concert Band. The first complete recording of The Magic Flute was of a live performance at the 1937 Salzburg Festival, with Arturo Toscanini conducting the Vienna Philharmonic and Vienna State Opera, though the recording was not officially issued until many years later. The first studio recording of the work, with Sir Thomas Beecham conducting the Berlin Philharmonic, was completed in 1938. Both of these historic recordings have been reissued on LP and compact disc. Since then there have been many recordings, in both audio and