Organization

Singer

Tenor

Tansel Akzeybek

Tamino

Baritone

Tom Erik Lie

Papageno

Bass

Tijl Faveyts

Sarastro

Speaker

Contralto

Caren van Oijen

Third lady

Soprano

Nadja Mchantaf

Pamina

Conductor

Erina Yashima

Costume designer

Esther Bialas

Alexander Köpeczi

Ivan Turšić

Monostastos

Deniz Uzun

Stage director

Suzanne Andrade

Barrie Kosky

Video designer

Paul Barrit

Conception

Set designer

Dramaturge

Ulrich Lenz

Chorus master

David Cavelius

Lighting designer

Diego Leetz

Gloria Rehm

The Queen of the Night

Josefine Mindus

Papagena

Mirka Wagner

First lady

Maria Fiselier

Second lady

Johannes Dunz

First armored man

Penny Sofroniadou

Caspar Singh

Hubert Zapiór

Carsten Sabrowski

Second armored man

Susan Zarrabi

Alina Wunderlin

Christoph Späth

Ferhat Baday

Deutsche Oper am Rhein

Komische Oper Berlin

Others

Chor der Komischen Oper Berlin

Orchestra

Orchester der Komischen Oper Berlin

saksa

Die Zauberflöte -  (The Magic Flute)

Berlin

Germany

Komische Oper

Public

Private

The Magic Flute

Approved

Die Zauberflöte Mozart

The Magic Flute marked 1927’s first opera, first large scale production and first time tackling a pre existing work – Mozart’s Magic Flute.  Co-conceived by ...

And not only in Berlin: over 450,000 people around the world have seen this critically and commercially acclaimed production by the British theatre group »1927« and Barrie Kosky, with its »deliciously absurd blend of silent movie and cartoon« [Berliner Morgenpost]. After performances in Los Angeles, Madrid, Helsinki, Paris, Peking, Tokyo, Adelaide, Auckland, New York and many other cities around the world, this season it can also be enjoyed in Houston and Montreal – and in its home city Berlin, of course! »A dazzling live-action cartoon far too adorable to offend.« [Los Angeles Times]

The Magic Flute appears to give rise to more questions and mysteries rather than provide answers. At the end the immense fantasy of this magical opera defies all logic and reason. Its secret lies in deeper layers of fundamental human experiences for which the fairytale appears simply to be the most adequate form of expression and only music finds the appropriate language. It is with good reason that the "eponymous hero" of the opera is an instrument, or quite simply: music.

English

Etenduse krediiti (Näitlejad ja meeskond )

Osades

Meeskond

Ansambel

Kaasprodutsent