Organization

Varna Summer

Śpiewak

Antoaneta Marinova

Old woman

Dyrygent

Stefan Boyadzhiev

Przygotowanie chóru

Tsvetan Krumov

Christo Christov

Tenor

Alexander Baranov

Tamino

Sopran

Galina Velikova

Druga Dama

Kontralt

Boyka Vassileva

Trzecia Dama

Georgi Sultanov

Baryton

Ivo Yordanov

Papageno

Irina Zhekova

Pamina

Mariana Bulikanu

Królowa Nocy

Eugeniy Stanimirov

Sarastro

Lilia Ilieva

Papagena

Hristo Ganevski

Monostatos

Lyudmil Petrov

Mówca

Lev Karavan

Pierwszy kapłan

Martin Kirov

Drugi kapłan

Spoken

Evgeni Dimov

Trzeci kapłan

Maria Pavlova

Pierwsza Dama

Rozalia Zhelyazkova

Silvia Angelova

Plamen Raykov

Pierwszy zbrojny

Lachezar Alexandrov

Drugi zbrojny

Głos dziecięcy

Vesselina Andreeva

Pierwszy chłopiec

Maria Gyongi

Drugi chłopiec

Kalina Zhekova

Trzeci chłopiec

Reżyseria

Antonio Zamfir

Kostiumy

Asya Stoimenova

Scenografia

Hristo Hristov

State Opera Varna

Others

Choir of the Varna State Opera

Orchestra

Orchestra of the Varna State Opera

niemiecki

Die Zauberflöte -  (Czarodziejski flet)

Warna

Bułgaria

Summer Theatre

Opera Theatre

Die Zauberflöte Mozart

Public

Private

Czarodziejski flet

bułgarski

angielski

Approved

The premiere meeting with WA Mozart's opera "The Magic Flute", which has not been staged in Varna for 32 years, is dedicated to the 230th anniversary of the great composer's death. The reading of the conductor Hristo Hristov and the director Antonio Zamfir from the Opera Craiova in Romania impresses with the large-scale directorial design, costumes and scenography of Asya Stoimenova, attractively developed with the multimedia of Lora Runevska from Elektrick.me. The premiere is realized with the assistance of the Culture Fund at the Municipality of Varna.

 

Mozart built his latest opera, The Magic Flute, as Singspiel, spoken dialogues with singing, based on the plot of the fairy-tale poem Lulu, or The Magic Flute from Wieland's book Jinistan. Inspired by the philosophy of the Enlightenment and the belief in the human mind, The Magic Flute is also saturated with Masonic symbolism - Mozart and the librettist Schikaneder were Freemasons. History recreates the path that humanity has taken in search of knowledge - from chaos, through superstition, to reason, with the ultimate goal of becoming "Earth - in the kingdom of heaven, and mortals - in the likeness of God." It is no coincidence that this couplet is repeated in the finale of both actions. The premiere at the Freihaus Theater near Vienna on September 30, 1991, under the baton of Mozart himself, was an unprecedented success. A year later, the 100th play was staged, but Mozart did not live to see it.

 

The "magic flute" touches on the problem of man's inner freedom. Freedom is an eternal theme because it is the first thing that all biological beings, humans, birds, animals, long for. "Freedom is a supreme value that one must deserve and use well," said conductor Hristo Hristov.

"In The Magic Flute we find many of the ideas of the Enlightenment with that constant struggle between good and evil, between day and night, between sun and moon, between light and darkness. The light - I really like how this word sounds in Bulgarian, there is a lot of music in it. The light that wins. As for the Masonic symbols in the plot, they have long been revealed, but for me the Masonic symbols are more important in Mozart's music. Like the triton - a chord that contains an interval of three whole tones or "March of the Priests" in the second act, as well as elsewhere in the opera. However, I do not think that you need to recognize the Masonic symbols in order to understand the meaning and humanistic implications of The Magic Flute. The same symbols exist in the Christian religion, such as the Holy Trinity, "said director Antonio Zamfir.

English

Udział w spektaklu (Obsada & realizacja )

Obsada

Załoga

Ensemble

Współproducent