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

Organization

Direzione d'orchestra

Christopher Stark

Regia

Toria Banks

Cantante

Tenore

James Butler

Tamino

Matthew Howard

Baritono

Jolyon Loy

Papageno

Rusnė Tušlaitė

Soprano

Emily Bradley

Regina della Notte

Fleur de Bray

Tara Mansfield

Pamina

Rebekah Smith

Prima dama

Thalie Knights

Seconda dama

Contralto

Stephanie Wake-Edwards

Terza dama

Basso

Ben Rowarth

Sarastro

Michael Lafferty-Smith

Oratore

Voce bianca

Margaret Ravalde

Primo fanciullo

Rebecca Leggett

Terzo fanciullo

Lars Fischer

Monostatos

James Hutchings

Matthew Thistleton

Secondo sacerdote

Ross Hobson

Secondo armigero

Robert Davs

Primo armigero

Caroline Kennedy

Papagena

Phillippa Scammell

Die Zauberflöte -  (Il flauto magico)

Londra

Regno Unito

Jacksons Lane Theatre

Die Zauberflöte Mozart

Private

Public

Il flauto magico

Approvato

Accordionist

Strumento

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianista

Recorder Player

Saxophonist

Suonatore di flauto

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinista

Violino Piccolo Player

Violista

Altro

Ballando

Chorus Director

Composizione

Coreografia

Coro

Costumi

Direzione del coro

Docente di canto

Drammaturgia

Emittente radiotelevisiva

Extra

Illustrator

Insegnante

Libretto

Luci

Maestro ripassatore

Orchestra

Orchestra Operations

Parrucco

Photographer

Poet

Produzione esecutiva

Recitazione

Scenografia

Stage Manager

Suono

Traduzione

Trucco

Video

Wig & Makeup Designer

Writer

Writing and performance

Controtenore

Basso-baritono

Mezzosoprano

Alto

Continuo

Mimi

Narrazione

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

Il flauto magico by Mozart, dom 13 nov 2016, Da (2016/2016), Diretto da Toria Banks,, Direttore d'orchestra Christopher Stark, Jacksons Lane Theatre, Londra, Regno Unito

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