Kritiken zu klassischen Konzerten, Opern, Ballett und Tanz finden | Die Zauberflöte

Kurzweilige und atemberaubende Schussfahrt auf steilen Pisten von Liebesgefühlen und Geschlechterkampf: Mozarts Zauberflöte in Nürnberg zwischen Winter- und Gefühlskälte.

Keine Folklore, kein Kitsch, dafür political correctness: Torsten Fischers Inszenierung bürstet die Klischees der Zauberflöte gegen den Strich und landet trotzdem einen Überraschungserfolg.

Auch nach vier Jahren lockt die Produktion von Mozarts Evergreen das Publikum in Scharen ins Opernhaus und verspricht einen anregenden Abend.

Mit Mozarts Zauberflöte gibt Jette Steckel ihr Debüt als Opernregisseurin und polarisiert mit einer von Lichteffekten überladenen Bühnenausstattung das Hamburger Premierenpublikum.

Die Zauberflöten-Inszenierung der Komischen Oper ist ein moderner Klassiker: Barrie Kosky und das Team des 1927 Theaters versprühen pure Magie.

Ein schwungloses Dirigat und durchwachsene Gesangsleistungen sorgten in einer Inszenierung, die mehr Endzeitstimmung als Märchenhaftigkeit ausstrahlt, für einen enttäuschenden Gesamteindruck.

Zum Auftakt der neuen Opernsaison inszeniert Intendant Carl Philip von Maldeghem in Salzburg die letzte Oper des genius loci Wolfgang Amadeus Mozart. Heraus gekommen ist ein bunter Zirkus und weitgehend solide musikalische Leistungen. 

Pour les fêtes, l'Opéra de Toulon présente une nouvelle production décevante de la Zauberflöte de Mozart. 

Cette Flûte Enchantée, aussi visuelle que musicale, est un spectacle pour tous, idéal pour initier à l’opéra les petits comme les grands.

The musical experience was dominated by the imagery making spectators feel, at least at times, overwhelmed.

Mozart meets the movies as 1927's wacky production comes to Opera Philadelphia. 

In Thomas Guthrie’s revival of Sir David McVicar’s sober 2003 production of Mozart’s Singspiel, it was the pantomime elements of the show which registered strongly.

A fresh, yet traditional Magic Flute at Longborough uses puppetry to bring an atmosphere of fairytale onto the stage, with fine singing from a strong cast. 

Animated characters are the real stars of an imaginative production of The Magic Flute. 

“Love, love, love… that is the soul of genius,” said Mozart. In no other work does he demonstrate this affirmation more compellingly than in his forever-beloved opera, Die Zauberflöte. 

With a guest performance of the Komische Oper Berlin, Barrie Kosky's and Suzanne Andrade's magical production triumphs in Budapest.

Cette Flûte Enchantée, qui joue avec intelligence sur les contrastes et la complexité des personnages, est servie par un plateau de jeunes et talentueux interprètes.

Cette reprise de La Flûte dans la mise en scène de Robert Carsen nous dévoile un casting vocal à la hauteur des exigences de la partition, et nous démontre une fois de plus la capacité du metteur en scène à traduire avec poésie et grâce les sentiments les plus perfides qui bien souvent s'expriment dans les rapports les plus intenses entre les êtres.

A local solid cast and a lively production make for an entertaining premiere of Mozart's last masterpiece at the Royal Opera House in Stockholm.

Setting the opera in the backyard of a suburban house feels refreshingly honest: the ridiculous and simplistic tale of the evil witch, the prince and the maiden is rightfully returned to the arena of children's games, and adults look on indulgently, with a wink.

This visiting production by Róbert Alföldi set in a psychiatric unit is sensational; thought-provoking, moving and with a very fine cast.

El Liceu comienza su temporada con La flauta mágica, en una producción de inspiración cinematográfica que conforma un espectáculo audiovisual abierto a todos los públicos completado por una interpretación ágil de la partitura.

John Savournin takes Mozart's Magic Flute on an exotic adventure into the Peruvian rainforest: and retrieves more than a sprinkling of Inca gold. 

A solid Magic Flute from the performers but marred by the director's foibles. 

Iván Fischer's staged concert had its flaws, but some original ideas and a strong cast gave an impressive performance.

A promising new tenor debuts in Adelaide’s State Opera of South Australia’s The Magic Flute, being performed in the heritage listed Great Hall of a historic Masonic Lodge.

A revival of Simon McBurney's 2013 production of The Magic Flute reaches new heights under Mark Wigglesworth's baton.

Arriesgada y deliciosa recreación humorística de la obra mozartiana en clave de cine mudo, lejos de cualquier simbología o pretensión de profundidad

Julie Taymor's production maintains the magic of The Magic Flute at Sydney Opera House. 

Une Flûte Enchantée dont on retiendra un plateau homogène et une mise en scène peu analytique qui aura eu le soin de reposer nos âmes éprouvées par les émotions d'une année 2015 certainement assez chargée... 

Jun Kaneko's production of The Magic Flute at San Francisco Opera is a feast for the eyes, but both the stage direction and the translation need work.

Conte merveilleux peuplé d’objets et de personnages magiques, c’est également une allégorie de la quête du Bien et de la connaissance, et un opéra maçonnique où les rites d’initiation et les symboles sont repris ouvertement.

A fine cast and orchestra revive Simon McBurney’s twilit, inventive Magic Flute at Dutch National Opera.

With its latest incarnation of Die Zauberflöte, the Royal Opera ticks all the boxes in a strongly cast revival. 

Lothar Koenigs conducts a stylish, colourful Magic Flute inspired by Magritte. 

Die Zauberflöte may well tell us something about the Human Condition, but its staging in Zurich serves more to distract from the music and the messages than it does to support them.

Excellent singing and a stunning debut win out over relentlessly clever visual effects.

Shadow puppet serpents and policemen in tutus: Moshe Leiser and Patrice Caurier's production of Die Zauberflöte is graced with a strong cast. 

English Touring Opera's production of Mozart's The Magic Flute launches in Hackney, balanced more towards fun than profundity, with some stunning coups de théâtre.

Dancing teddy bears, a larger-than-life Sarastro, live birds and numerous airborn characters all make the brand new production of Mozart’s beloved Singspiel at the Staatsoper a very family-friendly event.

Before the beginning of this new version of Mozart’s The Magic Flute from Simon McBurney, Complicite and English National Opera, one may wonder, looking at the stage, why it was recently hailed as the company’s most technically advanced creation to date: an austere, no-frills set consisting of a single suspended rectangular slab and a raised orchestra pit both reflect this production’s refre

The Magic Flute at the Deutsche Oper Berlin is an interesting, well-sung and well-performed classic. Set in an agrarian world where Sarastro is less a high priest than he is a benevolent farmer-king, Günter Krämer’s 1991 production does not subvert the opera’s problems so much as it highlights them.

From Studio to Stage was the name of this year’s summer performance by young artists on the Jette Parker programme at the Royal Opera House. The programme includes not only singers but also conductors/répétiteurs, a pianist, a lighting designer and stage director Pedro Ribeiro, who surely wins the prize for best headshot.

Die Zauberflöte is a work whose outward simplicity masks internal complexity and even contradictions. Mozart’s music is childishly tuneful and yet reaches for the classically sublime; Emmanuel Schikaneder’s libretto alternates a magical quest story out of a German storybook with Masonic claptrap and secondhand Voltaire.

Programming is one of Simon Rattle’s fortes, and this was clearly evident her. Both works on the programme, Brett Dean’s The Last Days of Socrates and Michael Tippett’s A Child of Our Time are large-scale oratorios dealing with difficult subject matter.

How, I wonder, is it best for an opera company to treat a revival of a well-aired, well-liked, decent but not particularly radical production of a top ten opera? This was what the Royal Opera had to contend with in this season’s revival of David McVicar’s 2003 setting of Die Zauberflöte: many in the audience will have known every note of the opera, and several will have been thoroughly famili

Opera Atelier espouses truth in advertising: The Magic Flute, they tell us, is a Singspiel in two acts. You can call it a play with songs, a musical comedy, even an operetta, but hardly an opera in the traditional sense. Call it what you will, this is Opera Atelier’s fourth production of the work in the last 22 years.

Mozart’s original The Magic Flute is bizarre enough. The story of a prince and a bird-catcher’s journey to save a princess they’ve never met from a sinister quasi-Freemason who turns out to be alright, it is sufficiently packed full of great songs and good humour to have become an enduring repertory favourite – but that doesn’t mean it makes any sense. It doesn’t, really.

Following acclaimed productions at Scottish Opera of The Marriage of Figaro and The Barber of Seville, recently revived, Thomas Allen returns to Glasgow to direct The Magic Flute.

The house was full for the opening night at the London Coliseum, and there were plenty of whoops for conductor Nicholas Collon as he made his ENO debut. This year marks the 25th anniversary of ENO's celebrated production of Mozart's The Magic Flute, and this revival – the fourteenth – will be the last.