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Die Zauberflöte

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Deutsche OperBismarckstraße 35, Berlin, Germany
2017 August 31, September 30, October 13, November 28, December 27, 2018 February 23, March 11, May 26, June 14 at 19:30
Deutsche Oper Berlin
Ido AradConductor2017 Aug 31, Sep 30, Nov 28, Dec 27, 2018 Mar 11
Nikolas NägeleConductor2017 Oct 13, 2018 Feb 23, Mar 11, May 26
TBCConductor, , Queen of the Night, First Lady, Third Lady, Monostatos, First Armoured ManJun 14
Günter KrämerDirector
Andreas ReinhardtSet Designer, Costume Designer
Tobias KehrerBassSarastro2017 Aug 31, 2018 Mar 11, May 26, Jun 14
Ante JerkunicaBassSarastro2017 Sep 30, Oct 13, Nov 28, Dec 27, 2018 Feb 23
Attilio GlaserTenorTamino2017 Aug 31, Sep 30, Oct 13, Dec 27, 2018 May 26, Jun 14
Matthew NewlinTenorTamino2017 Nov 28, 2018 Feb 23, Mar 11
Kathryn LewekSopranoQueen of the Night2017 Aug 31
Tuuli TakalaSopranoQueen of the Night2017 Sep 30, Oct 13, Nov 28, Dec 27, 2018 Feb 23, Mar 11, May 26, Jun 14
Hulkar SabirovaSopranoQueen of the Night2017 Nov 28, Dec 27, 2018 May 26
Elena TsallagovaSopranoPamina2017 Aug 31, Oct 13, Dec 27
Siobhan StaggSopranoPamina2017 Sep 30, Nov 28, 2018 Feb 23, Mar 11, May 26, Jun 14
Philipp JekalBaritonePapageno, First Priest2017 Aug 31, Sep 30, Nov 28, Dec 27, 2018 Jun 14
Simon PaulyBaritonePapageno2017 Oct 13, 2018 Feb 23, Mar 11, May 26
John ChestBaritonePapagenoMar 11, May 26
Seth CaricoBass-baritoneThe Speaker (Der Sprecher)2017 Aug 31, Sep 30, 2018 Feb 23, Mar 11
Dong-Hwan LeeBassThe Speaker (Der Sprecher)2017 Oct 13, Nov 28, Dec 27, 2018 May 26, Jun 14
Stephen BronkBassThe Speaker (Der Sprecher), First Priest2017 Nov 28, Dec 27, 2018 May 26
Federica LombardiSopranoFirst Lady2017 Aug 31, Sep 30, Oct 13, Nov 28, 2018 Feb 23, May 26, Jun 14
Annika SchlichtMezzo-sopranoSecond Lady2017 Aug 31, Nov 28, Dec 27, 2018 Feb 23, Mar 11, Jun 14
Vasilisa BerzhanskayaMezzo-sopranoSecond Lady2017 Sep 30, Oct 13, 2018 May 26
Ronnita MillerMezzo-sopranoThird Lady2017 Aug 31, Sep 30, Oct 13, Nov 28, 2018 Feb 23, Mar 11
Alexandra HuttonSopranoPapagena2017 Aug 31
Nicole HaslettSopranoPapagena2017 Sep 30, Oct 13, Nov 28, Dec 27, 2018 Feb 23, Mar 11, May 26, Jun 14
Marrero MeechotSopranoPapagenaFeb 23, Mar 11, May 26
Burkhard UlrichTenorMonostatos2017 Aug 31, 2018 Feb 23, Mar 11, Jun 14
James KryshakTenorMonostatos2017 Sep 30, Oct 13, Nov 28, Dec 27, 2018 May 26
Clemens BieberTenorFirst Armoured Man2017 Aug 31, Sep 30, Oct 13, Nov 28, 2018 Jun 14
Paul KaufmannTenorFirst Armoured Man2017 Dec 27, 2018 Feb 23, Mar 11, May 26
Andrew HarrisBassSecond Armoured Man
Thomas LehmanBassFirst Priest2017 Nov 28, Dec 27, 2018 Feb 23, Mar 11, May 26, Jun 14
Jörg SchörnerTenorSecond Priest2017 Aug 31, Dec 27, 2018 Feb 23, Mar 11, May 26, Jun 14
Gideon PoppeTenorSecond Priest2017 Sep 30, Oct 13, Nov 28
Berlin Deutsche Opera Orchestra
Berlin Deutsche Opera Chorus

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.

© Bettina Stöß
© Bettina Stöß
March 2018
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