| Mozart, Wolfgang Amadeus (1756-1791) | La flauta mágica (Die Zauberflöte) | Libreto de Emanuel Schikaneder |
| Teatro Real | |||
| Ivor Bolton | Dirección | 2020 ene 19, 21, 25, 30, feb 02, 07, 10, 15, 17, 20, 22, 24 | |
| Kornilios Michailidis | Dirección | 2020 feb 13 | |
| Suzanne Andrade | Dirección de escena | ||
| Esther Bialas | Diseño de escena, Diseño de vestuario | ||
| Barrie Kosky | Dirección de escena | ||
| 1927 | |||
| Pequeños Cantores de la Jorcam | |||
| Coro Titular del Teatro Real | |||
| Orquesta Titular del Teatro Real | |||
| Ana González | Dirección de coro | ||
| Andrés Máspero | Dirección de coro | ||
| Stanislas de Barbeyrac | Tenor | Tamino | 2020 ene 19, 25, 30, feb 02, 07, 10, 13 |
| Paul Appleby | Tenor | Tamino | 2020 ene 21, feb 15, 17, 20, 22, 24 |
| Anett Fritsch | Soprano | Pamina | 2020 ene 19, 25, 30, feb 02, 07, 10, 13 |
| Olga Peretyatko | Soprano | Pamina | 2020 ene 21, feb 15, 17, 20, 22, 24 |
| Sabine Devieilhe | Soprano | Queen of the Night | 2020 ene 19, 25, 30, feb 02, 07, 10, 13 |
| Rocío Pérez | Soprano | Queen of the Night | 2020 ene 21, 25, feb 15, 17, 20, 22, 24 |
| Albina Shagimuratova | Soprano | Queen of the Night | 2020 ene 19 |
| Andreas Wolf | Bajo | Papageno | 2020 ene 19, 25, 30, feb 02, 07, 10, 13, 17, 22 |
| Joan Martín-Royo | Bajo | Papageno | 2020 ene 21, feb 15, 20, 24 |
| Andrea Mastroni | Bajo | Sarastro | 2020 ene 19, 25, 30, feb 02, 07, 10, 13 |
| Rafał Siwek | Bajo | Sarastro | 2020 ene 21, feb 15, 17, 20, 22, 24 |
| Elena Copons | Soprano | First Lady | |
| Gemma Coma-Alabert | Mezzosoprano | Second Lady | |
| Marie‑Luise Dressen | Mezzosoprano | Third Lady | |
| Ruth Rosique | Soprano | Papagena | |
| Mikeldi Atxalandabaso | Tenor | Monostatos | |
| Antonio Lozano | Tenor | First Armoured Man | |
| Felipe Bou | Barítono | Second Armoured Man |
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