Organization

Singer

Tenor

Jack Swanson

Tamino

Baritone

Michael Nagl

Papageno

Soprano

Christina Gansch

Pamina

Bass

David Leigh

Sarastro

Anita Giovanna Rosati

Papagena

Mark Omvlee

Monostastos

Christian Immler

Speaker

Susanna Hurrell

First lady

Ramya Roy

Second lady

Contralto

Gala El Hadidi

Third lady

Ill Ju Lee

First armored man

Benjamin Colin

Second armored man

Stage director

Anna Bernreitner

Conductor

Bas Wiegers

Lighting designer

Olaf Freese

Costume designer

Hannah Oellinger

Manfred Rainer

Set designer

Christina Poulitsi

The Queen of the Night

Opéra Orchestre National de Montpellier

Opéra national de Lorraine

Orchestra

Orchestre de l'Opéra national de Lorraine

Others

Choeur de l'Opéra national de Lorraine

vokiečių

Die Zauberflöte -  (The Magic Flute)

Nancy

France

Public

The Magic Flute

prancūzų

Approved

There are wonderful tales that are addressed to both children and adults: the first they learn to grow, the second they learn to live. This is the case with The Magic Flute , Mozart's testamentary opera, which he completed a few weeks before his death.

Having escaped the clutches of a giant serpent, Prince Tamino is presented with an enchanted flute by three ladies in the pay of the Queen of the Night. With his companion, the bird catcher Papageno, he sets out in search of Princess Pamina, prisoner of the High Priest Sarastro and his mysterious rites of passage. But appearances are deceptive and our adventurers of fortune will have to learn to distinguish right from wrong, shadow from light, sun from night.

How can we infuse the magic of opera into our daily lives? How to surprise spectators in the middle of their life? For Austrian director Anna Bernreitner, bringing down the walls is obvious: at the head of the artistic collective OPER RUND UM, she has put on shows in places as unusual as a pub, a swimming pool, a tropical greenhouse or a supermarket. In Mozart's fabulous initiatory opera, fear was his white rabbit : blue fears, childish fears, fears that leaders use to control peoples, fear of silence and death, fear of fire that must be tamed to become the author of his own story.

Heir to the Enlightenment, Mozart dreamed of composing a work that would appeal to scholars as well as carriers: like this flute capable of charming forest animals. From the electrifying opening to the falling of the curtain, his music runs after his goal: to make the Earth equal to Heaven and humans equal to the gods. A goal that she ends up touching: during the final chorus, the composer manages to create a musical utopia. So The Magic Flute crosses the night and, 230 years later, continues to illuminate our world.

English

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