Organization

Conductor

Yi-Chen Lin

Singer

Soprano

Rainelle Krause

The Queen of the Night

Tenor

Andrei Danilov

Tamino

Mané Galoyan

Pamina

Aleksandra Olczyk

Aigul Khismatullina

Bass

Patrick Guetti

Sarastro

Georgina Fürstenberg (Melville)

Papagena

Markus Brück

Speaker

Stephen Bronk

Antonia Kim

First lady

Ya-Chung Huang

First armored man

Joel Allison

Second armored man

Matthew Newlin

Sebastian Kohlhepp

Baritone

Simon Pauly

Papageno

Elena Tsallagova

Lexi Hutton

Andrew Dickinson

Monostastos

Seth Carico

Jörg Schörner

Second priest

Arianna Manganello

Second lady

Contralto

Davia Bouley

Third lady

Andrew Harris

Byung Gil Kim

First priest

Gideon Poppe

Attilio Glaser

Philipp Jekal

Valeriia Savinskaia

Tobias Kehrer

Meechot Marrero

Burkhard Ulrich

Noel Bouley

Padraic Rowan

Flurina Stucki

Karis Tucker

Gina Perregrino

Clemens Bieber

Stage director

Günter Krämer

Dominic Limburg

Costume designer

Andreas Reinhardt

Set designer

Chorus master

Thomas Richter

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Others

Choir of the Deutsche Oper Berlin

German

Die Zauberflöte -  (The Magic Flute)

Berlin

Germany

Die Zauberflöte Mozart

Public

Private

The Magic Flute

English

Approved

Die Zauberflöte Mozart3

Prince Tamino is threatened by a wild dragon. At the last minute, three mysterious women, emissaries of the Queen of the Night, save him. When the bird catcher Papageno shows up and boasts about the exploit, they punish him. They present the prince with a picture of Pamina, the queen's daughter, who is being held captive by the ruler of the sun temple, Sarastro. Tamino falls in love with her. Then the queen herself appears and orders him to save Pamina together with Papageno. A magic flute is supposed to protect him from danger, the reluctant Papageno receives a magic chime. Led by three boys, the two make their way to Sarastro's castle. While Tamino is rejected twice by the castle guards and the third time is told that Sarastro is not the cruel despot, Papageno finds Pamina and tries to flee with her. Although he can keep her guard Monostatos at bay with the help of the chimes, the appearance of Sarastro negates all efforts. Papageno, Pamina and Tamino must remain in Sarastro's temple. They are asked to undergo life-threatening trials. First they have to learn to keep silent, a difficult task, especially for Papageno. When an old woman comes along, he can't take it anymore and asks her her name. With a clap of thunder she disappears again. Papageno comforts himself with food and drink, which is miraculously served to both of them, only Tamino remains silent and plays his flute. Pamina comes and is in despair because Tamino no longer speaks to her. Her mother had previously tried in vain to persuade her to kill Sarastro. When she wants to end her life, the three boys snatch the dagger from her and lead her to Tamino. Protected by the flute, both pass through fire and water, and have thus passed all tests. Meanwhile, in his loneliness, Papageno wishes the old woman would come back and promises to marry her “as long as nothing better is found”. Then she suddenly turns into a pretty young girl, but the time has not yet come for her to be snatched from him again. Out of despair he wants to take his own life, but the three boys remind him of the glockenspiel. Its sound summons Papagena and they both dream of a happy future. The other couple is also happy: Tamino and Pamina are accepted into the community of initiates and glorify the ideals of nature, wisdom, reason. Only the Queen of the Night meets a bad end: When she tries to enter the temple with her entourage, she is devoured by the powers of darkness.

Mozart's MAGIC FLUTE, the most-performed opera in the German-speaking world, the multi-layered masterpiece in the unusual mixture of Viennese folk theater and Masonic mystery, fairy tales and myths, still puzzles us today: did Mozart and his lyricist Schikaneder switch fronts in the middle of the work between the Queen of the Night and Sarastro? Isn't distrust indicated towards the all too healed world of priests and their ideology, which divides the world into good and bad? Are there not even traces of a distance between text and music, as some Mozart specialists suspect? Nevertheless, it is precisely the music that elevates the contradictions of the plot to the level of the world. She does not denounce her characters, but gives their conflicts an existential dimension.

Performance credits (Cast & Crew )

Cast

Crew

Ensemble