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Die Zauberflöte

PlanRéserverMes souhaits
Deutsche OperBismarckstraße 35, Berlin, 10627, Allemagne
Octobre 03 18:00, 12, décembre 02, 2020 février 08, mars 13, avril 03, 11, mai 27, juin 10, 23 (à 19:30 sauf avis contraire)
Artistes
Deutsche Oper Berlin
Daniel CarterDirectionoct. 03, 2020 févr. 08, mars 13, juin 10, 23
Stephan ZiliasDirectionoct. 12, déc. 02, 2020 avril 03, 11, juin 10, 23
Günter KrämerMetteur en scène
Andreas ReinhardtDécors, Costumes
Attilio GlaserTénorTaminooct. 03
Andrei DanilovTénorTaminooct. 12, déc. 02, 2020 févr. 08, mars 13, avril 03, 11, mai 27, juin 10, 23
Matthew NewlinTénorTamino2020 févr. 08, mai 27, juin 10
Siobhan StaggSopranoPaminaoct. 03, 2020 févr. 08, avril 03
Elena TsallagovaSopranoPaminaoct. 12, déc. 02, 2020 mars 13, avril 11, mai 27, juin 10, 23
Jacquelyn StuckerSopranoPamina, First Lady2020 mars 13, avril 11, mai 27, juin 10, 23
Flurina StuckiSopranoQueen of the Night, First Ladyoct. 03
Aleksandra JovanovicSopranoQueen of the Nightoct. 12, déc. 02, 2020 févr. 08, mars 13, avril 03, 11, mai 27, juin 10, 23
Rainelle KrauseSopranoQueen of the Nightdéc. 02, 2020 avril 03, 11
Antonina VeseninaSopranoQueen of the Night2020 mai 27, juin 10, 23
Philipp JekalBarytonPapageno
Tobias KehrerBasseSarastrooct. 03, 12, déc. 02, 2020 mars 13, mai 27, juin 10, 23
Patrick GuettiBasseSarastro, Second Armoured Man2020 févr. 08, avril 03, 11
Ante JerkunicaBasseSarastro2020 avril 03, 11
Annika SchlichtMezzo-sopranoSecond Ladyoct. 03
Karis TuckerMezzo-sopranoSecond Ladyoct. 12, déc. 02, 2020 févr. 08, mars 13, avril 03, 11, mai 27, juin 10, 23
Irene RobertsMezzo-sopranoSecond Ladydéc. 02, 2020 avril 03, mai 27
Ronnita MillerMezzo-sopranoThird Ladyoct. 03, 12, 2020 mai 27, juin 23
Anna BuslidzeMezzo-sopranoThird Ladydéc. 02, 2020 févr. 08, mars 13, avril 03, 11, juin 10
Derek WeltonBasseThe Speaker (Der Sprecher)oct. 03, 12, 2020 avril 11
Stephen BronkBasseThe Speaker (Der Sprecher), First Priestdéc. 02, 2020 févr. 08, mars 13, avril 03, mai 27, juin 10, 23
Seth CaricoBaryton-basseThe Speaker (Der Sprecher)2020 févr. 08, mars 13
Noel BouleyBaryton-basseThe Speaker (Der Sprecher)2020 avril 03, mai 27, juin 10, 23
Meechot MarreroSopranoPapagenaoct. 03, 12, déc. 02, 2020 févr. 08, avril 11, mai 27, juin 23
Alexandra HuttonSopranoPapagena2020 mars 13, avril 03, juin 10
Burkhard UlrichTénorMonostatosoct. 03, déc. 02, 2020 févr. 08, avril 03, 11
Paul KaufmannTénorMonostatosoct. 12, 2020 mars 13, mai 27, juin 10, 23
Padraic RowanBaryton-basseFirst Priestdéc. 02, 2020 févr. 08, mars 13, avril 03, 11, mai 27, juin 10, 23
Matthew CossackBarytonFirst Priest2020 mars 13, avril 03, 11, mai 27, juin 10, 23
Gideon PoppeTénorSecond Priestoct. 03, 12, déc. 02, 2020 févr. 08, avril 03, 11, mai 27, juin 23
Jörg SchörnerTénorSecond Priest2020 mars 13, juin 10
Clemens BieberTénorFirst Armoured Manoct. 03, 2020 mars 13, avril 03, 11, juin 10
Ya-Chung HuangTénorFirst Armoured Manoct. 12, déc. 02, 2020 févr. 08, mai 27, juin 23
Robert WatsonTénorFirst Armoured Mandéc. 02, 2020 mai 27
Andrew HarrisBasseSecond Armoured Man2020 févr. 08, mars 13, avril 03, 11, mai 27, juin 10, 23
Timothy NewtonBasseSecond Armoured Man2020 avril 11, mai 27, juin 10, 23
Soloists of the Tölzer Boys ChoirFirst Boy, Second Boy, Third Boy
Thomas RichterChef de choeur
Chor der Deutschen Oper Berlin
Orchester der Deutschen Oper Berlin

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.

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