| Mozart, Wolfgang Amadeus (1756-1791) | La flauta mágica (Die Zauberflöte) | Libreto de Emanuel Schikaneder |
| Gran Teatre del Liceu | |||
| Paolo Bortolameolli | Dirección | 2022 jun 27, jul 01 | |
| Gustavo Dudamel | Dirección | ||
| Sir David McVicar | Dirección de escena | ||
| John Macfarlane | Diseño de escena, Diseño de vestuario | ||
| Paule Constable | Diseño de iluminación | ||
| Orquesta Sinfónica del Gran Teatre del Liceu | |||
| Coro del Gran Teatre del Liceu | |||
| Jean Kalman | Diseño de iluminación | ||
| Angelo Smimmo | Director de reposición | ||
| Conxita Garcia | Dirección de coro | ||
| Javier Camarena | Tenor | Tamino | 2022 jun 20, 22, 26, 27, jul 01 |
| Julien Behr | Tenor | Tamino | 2022 jun 21, 25, 28, 30, jul 02 |
| Lucy Crowe | Soprano | Pamina | 2022 jun 20, 22, 26, 27, jul 01 |
| Núria Rial | Soprano | Pamina | 2022 jun 21, 25, 28, 30, jul 02 |
| Kathryn Lewek | Soprano | Queen of the Night | 2022 jun 20, 22, 26, 27, jul 01 |
| Sara Blanch | Soprano | Queen of the Night | 2022 jun 21, 25, 28, 30, jul 02 |
| Thomas Oliemans | Barítono | Papageno | 2022 jun 20, 22, 26, 27, jul 01 |
| Joan Martín-Royo | Bajo | Papageno | 2022 jun 21, 25, 28, 30, jul 02 |
| Stephen Milling | Bajo | Sarastro | 2022 jun 20, 22, 26, 27, jul 01 |
| John Relyea | Bajo-barítono | Sarastro | 2022 jun 21, 25, 28, 30, jul 02 |
| David Lagares | Barítono, Bajo | Second Armoured Man, Second Priest | |
| Berna Perles | Soprano | First Lady | |
| Gemma Coma-Alabert | Mezzosoprano | Second Lady | |
| Marta Infante | Mezzosoprano | Third Lady | |
| Matthias Goerne | Barítono | The Speaker (Der Sprecher) | |
| Serena Sáenz | Soprano | Papagena | |
| Roger Padullés | Tenor | Monostatos | |
| Albert Casals | Tenor | First Priest |
Production: Royal Opera House
A children’s story for some, a profound meditation on life and death for others, Mozart’s opera is a referential work, but it is also a medium where the composer expressed his deep spiritual beliefs. Thus, in this work he brings together the main concerns of the Enlightenment and the 18th century: education, morality, religion, culture, nature...
If there is one production that has marked a generation of European spectators, it is undoubtedly this one, by director David McVicar. Its spectacular nature transports us to a fantastic world of dancing animals, flying machines and starry skies. A fascinating setting to host, in a manner both humorous and stern, the fantastic story of the quest of Prince Tamino and his beloved Pamina, with two antagonistic powers in contention: Sarastro (light and truth) and the Queen of the Night (darkness and deception). The production reveals the enigmas of a score encompassing the entire universe. An immediate success since its premiere, at the heart of this charming tale there is a defiled paradise of wisdom, knowledge, constancy of universal values and virtue that needs to be rebalanced.
The presence of Gustavo Dudamel in the highly anticipated debut of this opera will highlight a work full of contradictory binomials: day/night, male/female, rationality/superstition or emotion/logic, drawing us into the infinite details of this colossal kaleidoscopic score, making these sessions historic. On this occasion, the grand final solo represents the triumph of truth over abuse.