Admin

Organization

Singer

Bass

Matthias Goerne

Sarastro

Tenor

Mauro Peter

Tamino

Soprano

Albina Schagimuratova

The Queen of the Night

Christiane Karg

Pamina

Ilse Eerens

First lady

Paula Murrihy

Second lady

Contralto

Geneviève King

Third lady

Baritone

Adam Plachetka

Papageno

Maria Nazarova

Papagena

Michael Porter

Monostastos

Tareq Nazmi

Speaker

Simon Bode

Second priest

Conductor

Constantinos Carydis

Stage director

Lydia Steier

Set designer

Katharina Schlipf

Costume designer

Ursula Kudrna

Lighting designer

Olaf Freese

Dramaturge

Ina Karr

Chorus master

Ernst Raffelsberger

First armored man

Salzburger Festspiele

Video designer

Fett Film

First priest

Second armored man

Birgit Linauer

Old Papagena

Klaus Maria Brandauer

Großvater

Others

Konzertvereinigung Wiener Staatsopernchor

Orchestra

Wiener Philharmoniker

Wiener Sängerknaben

saksa

Die Zauberflöte -  (The Magic Flute)

Salzburg

Austria

Großes Festspielhaus

Magic opera, Singspiel, machine comedy, Masonic rite with Egyptian mysteries, heroic-comic opera? The Magic Flute is heard so much, performed, talked about, questioned and questioned as often as hardly any other work in the history of opera. Rarely has the mysteriousness and diversity of a work been invoked in such a mantric manner. And just as seldom has a work been so unchallengedly successful despite these discussions - and that has been the case for over 200 years.

In the second half of the 18th century, Singspiele in a fairytale atmosphere were en vogue on the Viennese suburban stages. The Magic Flute also follows this tradition: the spirited start to the plot with a spectacular chase of a prince and a monster, a love story that begins with the task of rescuing a kidnapped princess, and in which the Queen of the Night and Sarastro have two antagonists seem to be struggling for good and evil in the world, “funny characters” like Papageno, who stumbles through all trials like a Rousseauian natural being and in the process not only conquered his place in the structure of this opera, but also in the hearts of the audience . And last but not least, the magic flute, a magical instrument as the "title figure", which plays fate together with the equally wondrous carillon. The multi-talented artist and enterprising impresario Emanuel Schikaneder, whose Theater auf der Wieden was known for its impressive transformation and machine magic, was inspired when working on the libretto by Christoph Martin Wieland's fairy tale collection Dschinnistan. The fascination of the time for ancient mysteries is also reflected in Mozart's work. Their initiation rituals, in which tests and the confrontation with death were integral parts, inspired the Freemasons for their initiation ceremonies. They were well known to Mozart, himself a member of a lodge. whose Theater auf der Wieden was known for its impressive transformation and machine magic, was inspired when working on the libretto by Christoph Martin Wieland's collection of fairy tales Dschinnistan. The fascination of the time for ancient mysteries is also reflected in Mozart's work. Their initiation rituals, in which tests and the confrontation with death were integral parts, inspired the Freemasons for their initiation ceremonies. They were well known to Mozart, himself a member of a lodge. whose Theater auf der Wieden was known for its impressive transformation and machine magic, was inspired when working on the libretto by Christoph Martin Wieland's collection of fairy tales Dschinnistan. The fascination of the time for ancient mysteries is also reflected in Mozart's work. Their initiation rituals, in which tests and the confrontation with death were integral parts, inspired the Freemasons for their initiation ceremonies. They were well known to Mozart, himself a member of a lodge. not least inspired the Freemasons for their initiation ceremonies. They were well known to Mozart, himself a member of a lodge. not least inspired the Freemasons for their initiation ceremonies. They were well known to Mozart, himself a member of a lodge.
Whether the text only follows a conditionally logical dramaturgy through the inflow of heterogeneous sources of material or whether Mozart and Schikaneder created their own coherent dramaturgy through the combination of fairy tale elements, mystery plays and enlightening thoughts remains to be seen. Depending on the perspective, the perspective on this dazzling opera changes. Because who proclaims the “wisdom teachings” in this work, which can be read as fairy tale virtues as well as Masonic maxims? It is three enigmatic ladies who in the first act of Tamino demand "courage and steadfastness", "bravery" and "love and brotherhood". Pamina and Papageno talk about "friendship". Sarastro, on the other hand, claims the same concepts, which are by no means new, for himself and his philosophy. three boys whose affiliation with the Queen of the Night or with Sarastro remains unclear, Tamino give Tamino their youthful wisdom to take with them. It is her advice that he wishes to "carry forever in his heart." After their appearance, Mozart rapidly expands the tonal cosmos in the finale of the first act - as if he wanted to unsettle the innocent view of the fairytale world, with its clear contrast of good and evil, by contrasting it with an increasingly complex world. Now all figures are put to the test, finally even the humanistic ideal of the Enlightenment itself. After their appearance, Mozart rapidly expands the tonal cosmos in the finale of the first act - as if he wanted to unsettle the innocent view of the fairytale world, with its clear contrast of good and evil, by contrasting it with an increasingly complex world. Now all figures are put to the test, finally even the humanistic ideal of the Enlightenment itself. After their appearance, Mozart rapidly expands the tonal cosmos in the finale of the first act - as if he wanted to unsettle the innocent view of the fairytale world, with its clear contrast of good and evil, by contrasting it with an increasingly complex world. Now all figures are put to the test, finally even the humanistic ideal of the Enlightenment itself.
In the end, love wins in The Magic Flute – and the riddle. Its narrative power is found precisely in the exuberant and in the imagination with which the two authors have equipped their "German opera". It is precisely the superimposition of what appears to be fairytale-like with what is supposedly enlightened by reason that leaves us in limbo - like the three boys who, as childishly ignorant and fairytale-like knowing, guide the protagonists through the fate. They contrast the dichotomy of good and evil with the power of judgment of the heart and thus provide another key to solving the riddle of the Magic Flute.

Fotod