| Mozart, Wolfgang Amadeus (1756-1791) | Die Zauberflöte | Libretto von Emanuel Schikaneder |
| Teatro Real | |||
| Ivor Bolton | Musikalische Leitung | 2020 Jan 19, 21, 25, 30, Feb 02, 07, 10, 15, 17, 20, 22, 24 | |
| Kornilios Michailidis | Musikalische Leitung | 2020 Feb 13 | |
| Suzanne Andrade | Regie | ||
| Esther Bialas | Bühnenbild, Kostüme | ||
| Barrie Kosky | Regie | ||
| 1927 | |||
| Pequeños Cantores de la Jorcam | |||
| Coro Titular del Teatro Real | |||
| Orquesta Titular del Teatro Real | |||
| Ana González | Chorleitung | ||
| Andrés Máspero | Chorleitung | ||
| Stanislas de Barbeyrac | Tenor | Tamino | 2020 Jan 19, 25, 30, Feb 02, 07, 10, 13 |
| Paul Appleby | Tenor | Tamino | 2020 Jan 21, Feb 15, 17, 20, 22, 24 |
| Anett Fritsch | Sopran | Pamina | 2020 Jan 19, 25, 30, Feb 02, 07, 10, 13 |
| Olga Peretyatko | Sopran | Pamina | 2020 Jan 21, Feb 15, 17, 20, 22, 24 |
| Sabine Devieilhe | Sopran | Königin der Nacht | 2020 Jan 19, 25, 30, Feb 02, 07, 10, 13 |
| Rocío Pérez | Sopran | Königin der Nacht | 2020 Jan 21, 25, Feb 15, 17, 20, 22, 24 |
| Albina Shagimuratova | Sopran | Königin der Nacht | 2020 Jan 19 |
| Andreas Wolf | Bass | Papageno | 2020 Jan 19, 25, 30, Feb 02, 07, 10, 13, 17, 22 |
| Joan Martín-Royo | Bass | Papageno | 2020 Jan 21, Feb 15, 20, 24 |
| Andrea Mastroni | Bass | Sarastro | 2020 Jan 19, 25, 30, Feb 02, 07, 10, 13 |
| Rafał Siwek | Bass | Sarastro | 2020 Jan 21, Feb 15, 17, 20, 22, 24 |
| Elena Copons | Sopran | Erste Dame | |
| Gemma Coma-Alabert | Mezzosopran | Zweite Dame | |
| Marie‑Luise Dressen | Mezzosopran | Dritte Dame | |
| Ruth Rosique | Sopran | Papagena | |
| Mikeldi Atxalandabaso | Tenor | Monostatos | |
| Antonio Lozano | Tenor | Erster Geharnischter | |
| Felipe Bou | Bariton | Zweiter Geharnischter |
The acclaimed production of The Magic Flute returns to the Teatro Real thus reinforcing its commitment with the devotees of Wolfgang Amadeus Mozart in a production inspired by silent film, and presented by the Stage Director Barrie Kosky. A delightful fable about fraternity, overflowing with symbolism and Masonic allusions, it would become Mozart’s musical testament.
Production property of the Komische Oper of Berlin