Organization

Bregenzer Festspiele

Singer

Bass

Albert Pesendorfer

Sarastro

Alfred Reiter

Tenor

Norman Reinhardt

Tamino

Maximilian Schmitt

Rainer Trost

Eike Wilm Schulte

Speaker

Wilfried Staber

Soprano

Laura Claycomb

The Queen of the Night

Ana Durlovski

Kathryn Lewek

Anja-Nina Bahrmann

Pamina

Bernarda Bobro

Gisela Stille

Magdalena Anna Hofmann

First lady

Arpiné Rahdjian

Verena Gunz

Second lady

Sabrina Kögel

Contralto

Bernadett Fodor

Third lady

Katrin Wundsam

Child vocalist

Laila Salome Fischer

First spirit

Hanna Herfurtner

Eva Dworschak

Second spirit

Veronika Vetter

Dymfna Meijts

Third spirit

Viola Zimmermann

Baritone

Paul Armin Edelmann

Papageno

Klaus Kuttler

Daniel Schmutzhard

Denise Beck

Papagena

Susanne Grosssteiner

Alexander Kaimbacher

Monostastos

Martin Koch

Conductor

Patrick Summers

Hartmut Keil

Stage director

David Pountney

Set designer

Johan Engels

Costume designer

Marie-Jeanne Lecca

Lighting designer

Fabrice Kebour

Sound designer

Wolfgang Fritz

Choreographer

Ran Arthur Braun

Chorus master

Lukáš Vasilek

First armored man

Second armored man

Others

Philharmonischer Chor Prag

Orchestra

Vienna Symphony Orchestra

Gearmáinis

Die Zauberflöte -  (The Magic Flute)

Bregenz

Austria

Seebühne

The Bregenz Festival has developed into an internationally renowned musical event. A popular musical theater work is performed on the lake stage with around 7,000 seats, while an opera rarity is regularly on the program in the Festspielhaus. The festival became known far beyond the borders of classical music as the setting for the James Bond film "Quantum of Solace".
This summer and next, the Bregenz Festival is showing Wolfgang Amadeus Mozart's "Magic Flute", one of the world's most popular operas, which premiered in 1791 as a play on the lake. Festival director David Pountney is directing, the stage design is by Johan Engels, and the costumes and puppets were designed by Marie-Jeanne Lecca. The trio last caused a great international sensation on Lake Constance in 2010 with the opera in the Festspielhaus "The Passenger" by Mieczyslaw Weinberg (in our program on July 23).

David Pountney writes about the production:
"The Magic Flute" conveys an enlightened, humanistic ideal of being human: in the end, a normal man and a normal woman are responsible for the future of society, while the power apparatus of queens and priests proves to be superfluous. There is a passage where Sarastro's priests wonder if Tamino will be able to pass all the exams, since he is a prince. Sarastro replies, "More than that - he's human!" At the end of the opera, Tamino and Pamina are no longer seen as prince and princess, but actually only as a man and a woman: for me that is the conclusion of this piece. "The Magic Flute" is imbued with the ideas of the Enlightenment, a movement

But if the "Magic Flute" were only about such things, this opera would probably have been forgotten long ago. Mozart, however, manages a balancing act that we otherwise only know from Shakespeare: "The Magic Flute" is also a wonderfully told fairy tale! She is charming and entertaining, enchanting and funny, romantic and witty - and yet carries a great philosophical message.



"Fantasy spectacle of superlatives" (Kurier)

"New answers to the eternal questions of the Magic Flute" (Tagesspiegel)

"A magic flute as colorful as it is clever" (Die Welt)

"A spectacle of the high school" (NZZ)

Die Zauberflöte Mozart

Public

The Magic Flute

Approved

Grianghraif