Our privacy policy was last updated on Monday 24 June 2019View it hereDismiss
Sign in
Bachtrack logo
What's on
Opera home

Die Zauberflöte

MapBuy ticketsWish list
Deutsche OperBismarckstraße 35, Berlin, 10627, Germany
October 03 18:00, 12, December 02, 2020 February 08, March 13, April 03, 11, May 27, June 10, 23 (at 19:30 unless shown)
Deutsche Oper Berlin
Daniel CarterConductorOct 03, 2020 Feb 08, Mar 13, Jun 10, 23
Stephan ZiliasConductorOct 12, Dec 02, 2020 Apr 03, 11, Jun 10, 23
Günter KrämerDirector
Andreas ReinhardtSet Designer, Costume Designer
Attilio GlaserTenorTaminoOct 03
Andrei DanilovTenorTaminoOct 12, Dec 02, 2020 Feb 08, Mar 13, Apr 03, 11, May 27, Jun 10, 23
Matthew NewlinTenorTamino2020 Feb 08, May 27, Jun 10
Siobhan StaggSopranoPaminaOct 03, 2020 Feb 08, Apr 03
Elena TsallagovaSopranoPaminaOct 12, Dec 02, 2020 Mar 13, Apr 11, May 27, Jun 10, 23
Jacquelyn StuckerSopranoPamina, First Lady2020 Mar 13, Apr 11, May 27, Jun 10, 23
Flurina StuckiSopranoQueen of the Night, First LadyOct 03
Aleksandra JovanovicSopranoQueen of the NightOct 12, Dec 02, 2020 Feb 08, Mar 13, Apr 03, 11, May 27, Jun 10, 23
Rainelle KrauseSopranoQueen of the NightDec 02, 2020 Apr 03, 11
Antonina VeseninaSopranoQueen of the Night2020 May 27, Jun 10, 23
Philipp JekalBaritonePapageno
Tobias KehrerBassSarastroOct 03, 12, Dec 02, 2020 Mar 13, May 27, Jun 10, 23
Patrick GuettiBassSarastro, Second Armoured Man2020 Feb 08, Apr 03, 11
Ante JerkunicaBassSarastro2020 Apr 03, 11
Annika SchlichtMezzo-sopranoSecond LadyOct 03
Karis TuckerMezzo-sopranoSecond LadyOct 12, Dec 02, 2020 Feb 08, Mar 13, Apr 03, 11, May 27, Jun 10, 23
Irene RobertsMezzo-sopranoSecond LadyDec 02, 2020 Apr 03, May 27
Ronnita MillerMezzo-sopranoThird LadyOct 03, 12, 2020 May 27, Jun 23
Anna BuslidzeMezzo-sopranoThird LadyDec 02, 2020 Feb 08, Mar 13, Apr 03, 11, Jun 10
Derek WeltonBassThe Speaker (Der Sprecher)Oct 03, 12, 2020 Apr 11
Stephen BronkBassThe Speaker (Der Sprecher), First PriestDec 02, 2020 Feb 08, Mar 13, Apr 03, May 27, Jun 10, 23
Seth CaricoBass-baritoneThe Speaker (Der Sprecher)2020 Feb 08, Mar 13
Noel BouleyBass-baritoneThe Speaker (Der Sprecher)2020 Apr 03, May 27, Jun 10, 23
Meechot MarreroSopranoPapagenaOct 03, 12, Dec 02, 2020 Feb 08, Apr 11, May 27, Jun 23
Alexandra HuttonSopranoPapagena2020 Mar 13, Apr 03, Jun 10
Burkhard UlrichTenorMonostatosOct 03, Dec 02, 2020 Feb 08, Apr 03, 11
Paul KaufmannTenorMonostatosOct 12, 2020 Mar 13, May 27, Jun 10, 23
Padraic RowanBass-baritoneFirst PriestDec 02, 2020 Feb 08, Mar 13, Apr 03, 11, May 27, Jun 10, 23
Matthew CossackBaritoneFirst Priest2020 Mar 13, Apr 03, 11, May 27, Jun 10, 23
Gideon PoppeTenorSecond PriestOct 03, 12, Dec 02, 2020 Feb 08, Apr 03, 11, May 27, Jun 23
Jörg SchörnerTenorSecond Priest2020 Mar 13, Jun 10
Clemens BieberTenorFirst Armoured ManOct 03, 2020 Mar 13, Apr 03, 11, Jun 10
Ya-Chung HuangTenorFirst Armoured ManOct 12, Dec 02, 2020 Feb 08, May 27, Jun 23
Robert WatsonTenorFirst Armoured ManDec 02, 2020 May 27
Andrew HarrisBassSecond Armoured Man2020 Feb 08, Mar 13, Apr 03, 11, May 27, Jun 10, 23
Timothy NewtonBassSecond Armoured Man2020 Apr 11, May 27, Jun 10, 23
Soloists of the Tölzer Boys ChoirFirst Boy, Second Boy, Third Boy
Thomas RichterChoirmaster / chorus director
Berlin Deutsche Opera Chorus
Orchestra of the Deutsche Oper Berlin

Prince Tamino is menaced by a wild dragon. At the last moment he is saved by three mysterious women, who have been sent by the Queen of the Night. When the bird catcher Papageno appears and boasts of his heroic deed as dragon slayer, the three ladies punish him. They present the Prince with a picture of Pamina, the Queen's daughter, who has been imprisoned by Sarastro, Regent of the Sun Temple. Tamino falls in love with her. The Queen appears in person and orders him to join forces with Papageno to save Pamina. They give Tamino a magic flute for protection and the reluctant Pagageno receives a glockenspiel of magical chimes. Led by three boys, the two heroes begin their journey to Sarastro's castle. Tamino is twice prevented from entering by the gatekeepers. At the third attempt they inform him that Sarastro is nothing like the cruel tyrant that the Queen of the Night has made him out to be. Papageno finds Pamina and tries to escape with her. He is able to stall her guard Monostatos with the help of the chimes, but the appearance of Sarastro puts an end to all attempts to flee. Papageno, Pamina and Tamino are compelled to stay in Sarastro's temple and submit to a series of life-threatening trials. First of all they have to learn to be silent, which is especially difficult for Papageno. When an old woman passes, Papageno cannot restrain himself and asks her what her name is. She disappears in a clap of thunder. Papageno consoles himself with the food that is so miraculously served to them. Tamino keeps silent, playing on his flute. Pamina appears, in deep despair that Tamino is no longer talking to her. Her mother has already entreated her in vain to murder Sarastro. When she decides to end her life the three boys seize her dagger and lead her to Tamino. Protected by the flute, both of them pass the ordeals of fire and water, and have now successfully completed all the trials. Meanwhile Papageno, in his great loneliness, conjures up the old woman again and promises to marry her, »if there's nothing better to be had«. All of a sudden she is transformed into a beautiful young girl, but their time has not yet come and she is taken from him again. In his despair he decides to end his life, but the three boys remind him of the magic chimes. Their tinkling brings back Papagena, and the reunion sets them both dreaming of a happy future together. The other pair is happy, too: Tamino and Pamina are inducted into the Society of the Enlightened, which celebrates the ideals of Nature, Wisdom and Reason. Only for the Queen of the Night does the story take a turn for the worse: when she attempts to enter the temple along with her entourage she is devoured by the spirits of darkness.

Mozart's MAGIC FLUTE is the most frequently performed opera in the German-speaking world. This variegated masterpiece straddling Viennese popular theatre, fairytale, myth and the mystery of freemasonry is a puzzle even today: did Mozart and his librettist Schikaneder switch horses in mid-stream, changing allegiance from the Queen of the Night to Sarastro? Should one not distrust the holier-than-thou world of the priests and an ideology that divides the world into good and evil? Are there not traces, even, of discrepancies between text and music, as many a Mozart expert has suggested? Whatever the facts of the matter, it is the music that smooths the contradictions of the plot, elevating them to a worldly realism. The music does not denounce the characters but rather confers on the conflicts an existential dimension. Without this dimension the opera would come over as an irrational fairytale.

Mobile version