Admin

Organization

Singer

Bass

Christof Fischesser

Sarastro

Rafał Siwek

Tenor

Joel Prieto

Tamino

Norman Reinhardt

Soprano

Ana Durlovski

The Queen of the Night

Kathryn Lewek

Sophie Bevan

Pamina

Sylvia Schwartz

Baritone

Joan Martín-Royo

Papageno

Gabriel Bermúdez

Ruth Rosique

Papagena

Elena Copons

First lady

Gemma Coma-Alabert

Second lady

Mikeldi Atxalandabaso

Monostastos

Conductor

Ivor Bolton

Stage director

Barrie Kosky

Suzanne Andrade

Costume designer

Esther Bialas

Set designer

Airam Hernández

First priest

David Sánchez

Second priest

Contralto

Nadine Weissmann

Third lady

Lighting designer

Diego Leetz

Chorus master

Andrés Máspero

Dramaturge

Ulrich Lenz

Speaker

Teatro Real de Madrid

Die Zauberflöte -  (The Magic Flute)

Madrid

Spain

Teatro Real

Public

The Magic Flute

Spanish

English

Approved

Elena García, from the Characterization department of the Teatro Real, reveals the keys to the characterization process in this production of The Magic Flute, where all the characters move to a world inspired by the silent movies of the 1920s. Follow us on Facebook: https://www.facebook.com/teatrorealma... Follow us on twitter: https://twitter.com/Teatro_Real

The magic flute: the characterization of the silent film | Teatro Real 200 years 15/16

“The sun's rays hunt the night, destroying the powers of impostors”: this is how Mozart's most mysterious opera ends, premiered on September 30, 1791 in Vienna, just a few months before his death. The dual character of the work, in which Beethoven saw the summit that brought together all the forms of singing, from the fugue to the lied - not in vain did he reconcile cultured music with the singspiel, comedy and drama–, contains a message that summarizes all the ideals of the Enlightenment. Opera about common love and sublime love, wonderful story, popular comedy, philosophical fable, confrontation between Good and Evil embodied by light and darkness..., the mosaic created by the Salzburg musician fits together such disparate pieces with brilliant mastery. . The unusual staging by Australian director Barrie Kosky is an attempt to re-code the work with the language of the beginnings of cinema, in a tribute to Buster Keaton and his generation. Kosky returns to The Magic Flute its character as a popular, fun and at the same time stimulating show.

“Los rayos de sol cazan a la noche, desbaratando los poderes de los impostores”: así termina la ópera más misteriosa de Mozart, estrenada el 30 de septiembre de 1791 en Viena, tan sólo unos meses antes de su muerte. El carácter dual de la obra, en la que Beethoven veía la cima que reunía todas las formas del canto, desde la fuga al lied –no en vano concilia la música culta con el singspiel, la comedia y el drama–, encierra un mensaje que resume todos los ideales de la Ilustración. Ópera sobre el amor común y el amor sublime, cuento maravilloso, comedia popular, fábula filosófica, confrontación entre el Bien y el Mal encarnados por la luz y las tinieblas…, el mosaico que crea el músico de Salzburgo encaja piezas tan dispares con genial maestría. La insólita puesta en escena del director australiano Barrie Kosky supone un intento de volver a codificar la obra con el lenguaje de los inicios del cine, en un homenaje a Buster Keaton y su generación. Kosky devuelve a La flauta mágica su carácter de espectáculo popular, divertido y al mismo tiempo estimulante.

español

The Magic Flute by Mozart, From (2016/2016), Directed by Barrie Kosky, Suzanne Andrade,, Conductor Ivor Bolton, Teatro Real, Madrid, Spain

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