Name: Die Zauberflöte
Start: 2016-11-11T00:00:00.000Z
End: 2016-11-20T00:00:00.000Z
Location: Jacksons Lane Theatre

Organization

Conductor

Christopher Stark

Stage director

Toria Banks

Tenor

James Butler

Tamino

Matthew Howard

Baritone

Jolyon Loy

Papageno

Rusnė Tušlaitė

Soprano

Emily Bradley

The Queen of the Night

Fleur de Bray

Tara Mansfield

Pamina

Rebekah Smith

First lady

Thalie Knights

Second lady

Contralto

Stephanie Wake-Edwards

Third lady

Bass

Ben Rowarth

Sarastro

Michael Lafferty-Smith

Speaker

Child vocalist

Margaret Ravalde

First spirit

Rebecca Leggett

Third spirit

Lars Fischer

Monostastos

James Hutchings

Matthew Thistleton

Second priest

Ross Hobson

Second armored man

Robert Davs

First armored man

Caroline Kennedy

Papagena

Phillippa Scammell

Die Zauberflöte -  (The Magic Flute)

London

United Kingdom

Jacksons Lane Theatre

Die Zauberflöte Mozart

Private

Public

The Magic Flute

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

Chorus master

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Illustrator

Extra

Singer

Bass-baritone

Countertenor

Mezzo-soprano

Spoken

Silent

Alto

Continuo

Premiered three months before the composer’s death, in his final opera Mozart brings to life the quest of Prince Tamino, and the bird-catcher Papageno, to rescue the Princess Pamina. Caught up in a struggle between her mother, the volatile Queen of the Night and the powerful High Priest, Sarastro, the adventure leads them to wisdom as well as love. The Magic Flute is an ideal demonstration of Mozart’s unsurpassed ability to blend layers that are seemingly contradictory into a profound whole. In this Singspiel, Mozart combines both spoken dialogue and sung drama to tell a story that, moving backwards and forward from popular and learned musical styles, ends up hovering between the sublime and the comic.

 

Toria Banks, the director of ‘The Magic Flute’ observes: “It’s an opera about Enlightenment, but it can be pretty baffling. I’ve loved spending as much time as possible with the score and the libretto, finding my way to the heart of it.

 

It’s easy to see it as staggeringly sexist, and therefore really not very enlightened at all.  In it, a man presides over a Temple of Wisdom, and the thing he seems to care most about is stopping women from getting inside. He also kidnaps a young woman and exposes her to repeated attempted sexual assault. If we are asked to see Sarastro as the great wise leader it is a real problem. I’m also not keen on saying, ‘it doesn’t matter, it’s just a story’, because that really diminishes an amazing piece of art. The answer is Mozart’s extraordinary heroine, Pamina, who is much wiser than her captor. It’s Pamina who decides to take the trials together with Tamino. She refuses to be the prize in a test of manliness, and insists on participating in life as an equal. Then she enters the Temple of Wisdom and throws open the doors for good.

 

It’s a comedy, and in Mozart’s work that doesn’t just mean that it’s funny, or that it has a happy ending, but that it expresses a generous, optimistic vision of humanity. It’s been a tonic in political hard times, to be honest. The story starts with the arrival, out of nowhere, of a hero from another realm, in our production he’s a sort of Saint George, who faints fighting the dragon. He wakes up in a sort of England, sort of now, where power and learning are kept for the few. In the end though, it’s not heroism, but grace and love which throw open the doors of the Temple to everyone. For me, it’s not about imposing a concept, but rather how the story resonates with us as a company, in a way I hope we can share with our audience. It’s uplifting to work on, particularly with brilliant collaborators, like Chris and Emma [Bailey, Linbury Prize winning designer], and a cast full of youth and energy.”

 

A theatre director for over a decade, since moving into professional opera Toria has been staff director for ETO (where she met then staff conductor, Chris Stark), and Revival Director for the acclaimed ROH production of Cavalli’s ‘L’Ormindo’ at the Sam Wanamaker Playhouse, at Shakespeare’s Globe. She has also directed new operas at the Grimeborn and Tête à Tête festivals. She taught acting at Arts Educational Schools for five years, and has been working with singers as Resident Director at Trinity Laban since 2009. This is the first time she’s worked with HGO.

Christopher Stark is the Conductor and co-Artistic Director of the RPS Award Winning Multi-Story Orchestra, based in a Peckham Car Park, with whom he made his debut at the BBC Proms in September. The Orchestra has appeared at the Aldeburgh and Brighton Festivals along with a yearly orchestral programme in Peckham. He has worked as Assistant Conductor for the BBC Proms, Glyndebourne Festival and Glyndebourne on Tour who awarded him the Lefever Award in 2014 for work on The Turn of the Screw, and for English Touring Opera. He studied at Trinity College, Cambridge.

English

The Magic Flute by Mozart, sun 13 nóv 2016, Frá (2016/2016), Leikstýrt af Toria Banks,, Hljómsveitarstjóri Christopher Stark, Jacksons Lane Theatre, London, United Kingdom

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Leikarar

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Ljósmyndir

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