Name: Die Zauberflöte
Start: 2023-04-21T00:00:00.000Z
End: 2023-04-22T00:00:00.000Z
Location: Teatro Politeama Garibaldi

Organization

Conductor

Gérard Korsten

Set designer

Fulvio di Piazza

Singer

Tenor

Airam Hernández

Tamino

Soprano

Maria Sardaryan

The Queen of the Night

Baritone

Giovanni Romeo

Papageno

Evgeniya Vukkert

Papagena

Bass

George Andguladze

Sarastro

Costume designer

Ester Martin

Lighting designer

Stefano Gorreri

Vittoria Magnarello

Pamina

Orchestra

Orchestra Sinfonica Siciliana

Die Zauberflöte -  (The Magic Flute)

Palermo

Italy

Teatro Politeama Garibaldi

Die Zauberflöte Mozart

Public

The Magic Flute

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Bass-baritone

Countertenor

Mezzo-soprano

Alto

Child vocalist

Continuo

Silent

Spoken

Wolfgang Amadeus Mozart
Salisburgo 1756 – Vienna 1791
Il flauto magico Die Zauberflöte (Il flauto magico), singspiel in due atti KV 620 su libretto di Emanuel Schikaneder

Highlights (in forma semiscenica con costumi e videoproiezioni)

 

Genesi

Un’ombra di mistero avvolge ancora la genesi dell’ultimo capolavoro teatrale di Wolfgang Amadeus Mozart, Die Zauberflöte, ma è certo che questo Singspiel, completato il 28 settembre 1791 e rappresentato due giorni dopo a Vienna al Theater auf der Wieden, il cui direttore e impresario, in quel periodo, era Emanuel Schikaneder, autore del libretto, ebbe un successo crescente che diede al suo autore forse l’ultima gioia in un anno particolarmente travagliato che si sarebbe concluso con la sua morte pochi mesi dopo. Eppure il 30 settembre 1791, alla sua prima rappresentazione, il pubblico fu piuttosto tiepido nei confronti di Die Zauberflöte, formalmente un Singispiel, genere musicale tedesco simile all’Opéra-comique francese e caratterizzato dall’alternanza di parti recitate e parti cantate. A tale proposito si narra che quella sera Mozart, deluso dell’accoglienza fredda del pubblico, si precipitò alla fine del primo atto pallido e sconvolto sulla scena dove fu consolato dallo stesso Schikaneder, ma, alla fine del secondo atto, il pubblico mutò opinione chiamando alla ribalta il Salisburghese che, dopo essersi nascosto, fu convinto a fatica a ritornare sulla scena. Dalla seconda rappresentazione in poi Il flauto magico, che, chiamato dallo stesso compositore Deutsche Oper, avrebbe posto le basi dell’opera nazionale tedesca, incontrò un successo via via crescente testimoniato da quanto scrisse alla moglie, che si trovava a Baden, lo stesso Mozart dopo una delle tante riprese dell’opera il 7 ottobre:

 

“Vengo or ora dall’opera; c’era il pieno come al solito. Il duetto «Mann und Weib» ecc. e il pezzo dei campanelli nel primo atto sono stati, come sempre, bissati e così anche il terzetto dei fanciulli nel secondo. Ciò che però più di tutto mi fa piacere è l’applauso silenzioso; si vede ogni giorno di più come quest’opera sale”.

 

Non si conoscono con precisione le fonti di questa fiaba e nemmeno quale sia stato il contributo di Mozart alla stesura del libretto, il cui soggetto fu tratto da Schikaneder, molto probabilmente, dalla Lulu oder die Zauberflöte (Lulu ovvero il flauto magico) del parroco scrittore August Jakob Liebeskind. Da questa fiaba, inserita nella raccolta Dschinnistan oder Auserlesene Feen und Gesistermärchen (Jinnistan ovvero Raccolta di fiabe di fate e di spiriti) edita da Cristoph Martin Wieland tra il 1786 e il 1789, Schikaneder e Mozart, entrambi massoni, trassero un’opera piena di simboli massonici, nella quale, in un immaginario Egitto, il principe Tamino, guidato dal saggio Sarastro, dopo aver superato una serie di prove, riesce a liberare l’amata principessa Pamina dal potere della Regina della Notte.

italiano

Wolfgang Amadeus Mozart
Salzburg 1756 – Vienna 1791
The Magic Flute Die Zauberflöte (The Magic Flute), singspiel in two acts KV 620 with libretto by Emanuel Schikaneder

Highlights (in semi-scenic form with costumes and video projections)

 

Genesis

A shadow of mystery still surrounds the genesis of Wolfgang Amadeus Mozart's last theatrical masterpiece, Die Zauberflöte , but it is certain that this Singspiel , completed on 28 September 1791 and performed two days later in Vienna at the Theater auf der Wieden, whose director and impresario, at that time, was Emanuel Schikaneder, author of the libretto, had growing success that gave its author perhaps the last joy in a particularly troubled year that would end with his death a few months later. Yet on 30 September 1791, at its first performance, the audience was rather lukewarm to Die Zauberflöte , formally a Singispiel , a German musical genre similar to the Opéra-comiqueFrench and characterized by the alternation of recited parts and sung parts. In this regard it is said that that evening Mozart, disappointed by the cold reception of the public, rushed at the end of the first act pale and upset on the stage where he was consoled by Schikaneder himself, but, at the end of the second act, the public changed their mind calling the Salzburger came to the fore who, after hiding, was persuaded with difficulty to return to the scene. From the second performance onwards The Magic Flute , which, called by the composer himself Deutsche Oper, would lay the foundations of the German national opera, met with gradually increasing success witnessed by what Mozart himself wrote to his wife, who was in Baden, after one of the many revivals of the opera on 7 October:

 

“I have just come from the opera; it was full as usual. The duet «Mann und Weib» etc. and the piece of the bells in the first act were, as always, repeated and so was the trio of children in the second. But what pleases me most of all is the silent applause ; we see more and more every day how this work rises”.

 

The sources of this fairy tale are not known precisely, nor what Mozart's contribution was to the drafting of the libretto, the subject of which was taken from Schikaneder, most likely, from the Lulu oder die Zauberflöte ( Lulu or the magic flute ) of the parish priest August Jakob Liebeskind. From this fairy tale, inserted in the collection Dschinnistan oder Auserlesene Feen und Gesistermärchen ( Jinnistan or Collection of tales of fairies and spirits) published by Cristoph Martin Wieland between 1786 and 1789, Schikaneder and Mozart, both Freemasons, drew a work full of Masonic symbols, in which, in an imaginary Egypt, Prince Tamino, guided by the wise Sarastro, after having overcome series of tests, he manages to free his beloved princess Pamina from the power of the Queen of the Night.

English

The Magic Flute by Mozart, hAo 21 Aibr 2023, Ó (2023/2023), Seoltóir Gérard Korsten, Teatro Politeama Garibaldi, Palermo, Italy

Creidmheasanna feidhmíochta (Foireann & Criú )

Caitheadh

Criú

Ensemble

Clár, Eolas & Achoimre

Grianghraif

Tuilleadh léitheoireachta

Dátaí & Ionaid Feidhmíochta

Ionaid