Organization

Festival d'Aix en Provence

Director(a) orquestal

Nathalie Stutzmann

Director(a) de escena

Simon McBurney

Coreógrafo(a)

Escenógrafo(a)

Michael Levine

Diseñador(a) de vestuario/Figurinista

Nicky Gillibrand

Diseñador(a) de iluminación

Jean Kalman

Diseñador(a) de video

Finn Ross

Diseñador(a) de sonido

Gareth Fry

Cantante

Soprano

Erin Morley

Pamina

Kathryn Lewek

La Reina de la Noche

Tenor

Lawrence Brownlee

Tamino

Barítono

Thomas Oliemans

Papageno

Bajo

Stephen Milling

Sarastro

Brenton Ryan

Monóstatos

Ashley Emerson

Papagena

Richard Bernstein

Primer sacerdote

Errin Duane Brooks

Segundo sacerdote

Primer hombre armado

Segundo hombre armado

Alexandria Shiner

Primera dama

Olivia Vote

Segunda dama

Contralto

Tamara Mumford

Tercera dama

Gareth Morrell

Megan Esther Grey

Harold Wilson

Orador

De Nationale Opera

English National Opera

The Metropolitan Opera

Others

Metropolitan Opera Choir

Orchestra

Metropolitan Opera Orchestra

alemán

Die Zauberflöte -  (La Flauta Mágica)

Nueva York

Estados Unidos

Metropolitan Opera House

Die Zauberflöte Mozart

Public

Private

La Flauta Mágica

inglés

español

Válido

Die Zauberflote at the Metropolitan Opera

One of opera’s most beloved works receives its first new Met staging in 19 years—a daring vision by renowned English director Simon McBurney that The Wall Street Journal declared “the best production I’ve ever witnessed of Mozart’s opera.” Nathalie Stutzmann conducts the Met Orchestra, with the pit raised to make the musicians visible to the audience and allow interaction with the cast. In his Met-debut staging, McBurney lets loose a volley of theatrical flourishes, incorporating projections, sound effects, and acrobatics to match the spectacle and drama of Mozart’s fable. The brilliant cast includes soprano Erin Morley as Pamina, tenor Lawrence Brownlee as Tamino, baritone Thomas Oliemans in his Met debut as Papageno, soprano Kathryn Lewek as the Queen of the Night, and bass Stephen Milling as Sarastro.

World premiere: Freihaus-Theater auf der Wieden, Vienna, 1791. Die Zauberflöte—a sublime fairy tale that moves freely between earthy comedy and noble mysticism—was written for a theater located just outside Vienna with the clear intention of appealing to audiences from all walks of life. The story is told in a singspiel (“song-play”) format characterized by separate musical numbers connected by dialogue and stage activity, an excellent structure for navigating the diverse moods, ranging from solemn to lighthearted, of the story and score. The composer and the librettist were both Freemasons—the fraternal order whose membership is held together by shared moral and metaphysical ideals—and Masonic imagery is used throughout the work. The story, however, is as universal as any fairy tale.

Creators
Wolfgang Amadeus Mozart (1756–91) was the son of a Salzburg court musician who exhibited him as a musical prodigy throughout Europe. His achievements in opera, in terms of beauty, vocal challenge, and dramatic insight, remain unsurpassed. He died three months after the premiere of Die Zauberflöte, his last produced work for the stage. The remarkable Emanuel Schikaneder (1751–1812) was an actor, singer, theater manager, a friend of Mozart who wrote the opera’s libretto, staged the work, and sang the role of Papageno in the initial run.

Setting
The libretto specifies Egypt as the location of the action. Egypt was traditionally regarded as the legendary birthplace of the Masonic fraternity, whose symbols and rituals populate this opera. Some productions include Egyptian motifs as an exotic nod to this idea, but many more opt for a more generalized mythic ambience to convey the otherworldliness that the score and overall tone of the work call for.

Music
Die Zauberflöte was written with an eye toward a popular audience, but the varied tone of the work requires singers who can specialize in several different musical genres. The comic and earthy are represented by the baritone, Papageno, while true love in its noblest forms is conveyed by the tenor, Tamino, and the soprano, Pamina. The bass, Sarastro, expresses the solemn and the transcendental. The use of the chorus is spare but hauntingly beautiful, and fireworks are provided by the coloratura Queen of the Night

English

La Flauta Mágica by Mozart, De (2023/2023), Dirigido por Simon McBurney,, Director Nathalie Stutzmann, Gareth Morrell, Metropolitan Opera House, Nueva York, Estados Unidos

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