The Swedish Royal Opera Presents:
The Magic Flute
A magical opera adventure
The Queen of the Night gives Tamino the task of freeing her daughter Pamina who have been abducted by Sarastro. If Tamino is successful he will win Pamina’s hand in marriage. He is accompanied by Papageno. A magic flute and an enchanted glockenspiel will help them. But nothing is quite as it seems. Are both Pamina’s mother and Sarastro evil? Or neither? Soon Tamino, Papageno and Pamina face some difficult tests…
Mozart’s beloved opera The Magic Flute is a fairy tale in which light, darkness, love and the power of music is in focus. This production, directed by Ole Anders Tandberg, played to packed halls in the autumn of 2012. Now it makes a welcome return!
“A lavish staging” “a given success” (DN)
“The stage machinery is booming with trap doors, light sensations and effects” (SvD)
“Forthright, witty and entertaining”
“Freshness and credibility”
“a funny performance”
MusicWolfgang Amadeus Mozart
Libretto Emanuel Schikaneder
Translation Ulf Peter Hallberg
Registration and set design Ole Anders Tandberg
Costumes Maria Geber
Light Ellen Ruge
Choreography Anna Koch
Artistic Director Catherine Aronsson
Thursday, December 26 15:00
Saturday, January 18 15:00
Tuesday, January 21 19:00
Tuesday, February 11 19:00
Thursday, February 13 12:00
Saturday, February 15 15:00
Wednesday, February 19 19:00
Wednesday, March 5 19:00
Friday, March 7 19:00
Tuesday, March 11 19:00
Wednesday, March 19 19:00
Friday, March 28 19:00
Queen of the Night Carolina Andersson
Sarastro Lennart Forsen
Papageno Carl Ackerfeldt
Papagena True Gibbs
*Monostatos Daniel Ralphsson
Speaker Mattias Olsson
Death Guard Jesper Taube
Conductor Lawrence Rene
Tamino has gone astray and suddenly assaulted by a snake. He faints, but is rescued by three ladies and meet at the awakening fowlers Papageno. Tamino thinks that Papageno is the one who saved him from the snake, which Papageno not deny.
The three ladies will return and show Tamino a portrait of a girl, Pamina, Night queen’s daughter. They tell us that Pamina has been abducted by Sarastro and Tamino gives the mission to find and free her. To help get him a magic flute to use when in danger. Papageno, his companion who was also given a tool to use in case of danger, a carillon.
Pamina flees from his captors, Monostatos, just when Papageno appears, who tells her that Tamino is going to help her.
Three boys have shown Tamino way to the Temple of Wisdom where he was informed that Pamina is alive. With the help of The Magic Flute, he calls on Papageno, but he can not keep up before Tamino has gone. Monostatos and his bodyguards take Papageno and Pamina to catch, but by the time the game succeed Papageno bewitch them.
Sarastro together Pamina and Tamino, after which he commands his brothers to lead them to conducting the house.
Along with the Brotherhood finds Sarastro Tamino is worthy of being initiated and Pamina shall be his. The first consideration is to remain silent, even if they were tempted by the siren calls of women and seduction attempts.
Monostatos seeking to impose itself Pamina, who at the last moment saved by the Queen of the Night.
When nightfall arrives Queen of the Night and giving her daughter a dagger and orders her to kill Sarastro. Pamina hear Tamino’s flute and find him so, but is met by his silence. She believes that his love for her is gone.
Papageno, who find it difficult to respect the trials, is happy if he gets a glass of wine and a girl. Pamina’s despair at Tamino’s silence and desires rather death, but hindered by the three boys who says that Tamino loves her. She reunited with Tamino and together, they undergo the final trial.
Meanwhile Papageno with their chimes and by means of the three boys found their Papagena.
Together with Night queen searches Monostatos prevent Tamino and Pamina compound, but without success. Tamino and Pamina hailed like the gods of Sarastro and his circle.
If the advent
The Magic Flute is Mozart’s last opera. He wrote a few months before he died. The assignment came from Emanuel Schikaneder who wanted an opera in German to his theater outside Vienna, the Theater auf der Wieden, a scene that attracted a large and broad audience. Schikaneder was theater director, singer, actor, writer and please return in a comic role in the theater that he created himself following the example of commedia dell’arte. This figure was a gardener and his name was Anton. He asked Mozart to create a role in a new opera that reminded him Anton, also, he wanted a piece that contained so many amazing scenes as possible so that the theater’s advanced stage machinery could be used.
The result was a work that is unlike anything else. It mixes high and low, comedy and seriousness, spoken dialogue, virtuosic koloraturarior and chorales. Mozart seems to have wanted to summarize everything he already achieved for the opera stage in a final musical drama will.
Opinions on this Mozart’s last opera diverge. Ingmar Bergman saw performances in the opera when he was little and longed all her life after getting set up. Wolfgang Hildesheimer, who wrote Mozart biography that became the basis for the film Amadeus, felt much better about Don Giovanni.
I saw Bergman’s films as a child and was immediately captivated. In all cases of some parts. Others had me harder; processions, morality, religious mysticism. Maybe it was about the child’s unwillingness to listen to the adults’ sermons about life. That love is the greatest of all, I wanted to discover for yourself, do not get told me from the stage.
Die Zauberflöte has often been criticized for its lack of text and its absurd logic. That there are tricky parts of the text is correct. The description of Monostatos is racist. He is black, arbitrary and violent. Women are either naive or squab prattle witches and above all subordinate officers, at least if you believe Sarastro and his helpers. But the image of women change when you start to listen to the music. Mozart wrote great music to their female characters and Pamina is perhaps the gestalt of all Mozart’s roles would be most deeply human.
Criticism of muddled dramaturgy and immunological processes are unnecessarily harsh. Sure, it may seem odd that the Queen of the Night in the beginning of the opera stands out as the good, the hapless mother and Sarastro as the bad guy who abducted her daughter, and then halfway through the piece interchanged, the bad becomes good, good becomes evil . But really, I think the story will win on the unexpected turn. The picture of reality may Tamino must constantly re-evaluated, he must walk a new path, and it makes the story more believable and scenically more exciting. So it’s also in real life.
I find it hard to believe that two such experienced stage foxes Schikaneder and Mozart did not know what they were doing. A closer look at the action notice also that the story follows the mythical hero of the fairy tale classic dramaturgy. An unexpected event puts the main character in flux (the snake), he gets an assignment (save Pamina) and embarks on a journey. On the way, he meets a strange figure (three boys) who leads him on, he may also be a magic thing to help him along the way (The Magic Flute). He meets resistance, is undergoing trials (trials and tribulation temple), the hardest is a meeting with death (Pamina’s death wish). He overcomes the danger, success is continued on the other side, and return to the world with a new realization about himself.
Mozart himself had full control over the plant’s dramatic and musical form. His ability to create characters with music is unparalleled. Is it possible at all to imagine Papageno or Queen of the Night without music? I can not. They have become universal characters that appear less clear with each new generation to meet them. Therefore, they can also be reinterpreted again and again. How they look, in which time they are placed on the stage, their music sounds as crystal clear. The music is their soul and their fate.
There are only two letter quotes from Mozart Magic Flute from the time of inception. In one, he writes to his wife Constanze in crisis cure in Baden along with Franz Xaver Süss.
“Neither my work makes me more happy, then I’m used to interrupt me and talk a few words with you, and this pleasure is now unfortunately is impossible – if I go up to the piano and sing anything from opera, so I must stop immediately – it raises too much sense to me. ”
We do not know what Mozart sang the opera. But it’s hard not to see parallels between Mozart’s Pamina’s grief and sense of utter hopelessness as portrayed in her aria in the second act. During these last months of his life Mozart lived alone, abandoned by all, even his wife, increasingly aware of their own failure in a city that no longer wanted to hear his music. Rarely has the feeling of abandonment and loneliness portrayed as strong. Pamina sings “If you do not love me more, then get the death comfort me.” But really, the words superfluous. She might as well sing their final statements in a vowel. Try to hum the melody you will hear. Again, it is the music that is the feeling, again becomes Mozart tones of the human voice.
Katarina Aronsson Dramaturg at the Royal Opera