| Mozart, Wolfgang Amadeus (1756-1791) | La Flûte enchantée (Die Zauberflöte) | Livret de Emanuel Schikaneder |
| Gran Teatre del Liceu | |||
| Paolo Bortolameolli | Direction | 2022 juin 27, juil. 01 | |
| Gustavo Dudamel | Direction | ||
| Sir David McVicar | Mise en scène | ||
| John Macfarlane | Décors, Costumes | ||
| Paule Constable | Lumières | ||
| Orquesta Sinfónica del Gran Teatre del Liceu | |||
| Coro del Gran Teatre del Liceu | |||
| Jean Kalman | Lumières | ||
| Angelo Smimmo | Revival Director | ||
| Conxita Garcia | Chef de chœur | ||
| Javier Camarena | Ténor | Tamino | 2022 juin 20, 22, 26, 27, juil. 01 |
| Julien Behr | Ténor | Tamino | 2022 juin 21, 25, 28, 30, juil. 02 |
| Lucy Crowe | Soprano | Pamina | 2022 juin 20, 22, 26, 27, juil. 01 |
| Núria Rial | Soprano | Pamina | 2022 juin 21, 25, 28, 30, juil. 02 |
| Kathryn Lewek | Soprano | Reine de la nuit | 2022 juin 20, 22, 26, 27, juil. 01 |
| Sara Blanch | Soprano | Reine de la nuit | 2022 juin 21, 25, 28, 30, juil. 02 |
| Thomas Oliemans | Baryton | Papageno | 2022 juin 20, 22, 26, 27, juil. 01 |
| Joan Martín-Royo | Basse | Papageno | 2022 juin 21, 25, 28, 30, juil. 02 |
| Stephen Milling | Basse | Sarastro | 2022 juin 20, 22, 26, 27, juil. 01 |
| John Relyea | Baryton-basse | Sarastro | 2022 juin 21, 25, 28, 30, juil. 02 |
| David Lagares | Baryton, Basse | Second homme en armure, Deuxième Prêtre | |
| Berna Perles | Soprano | Première Dame | |
| Gemma Coma-Alabert | Mezzo-soprano | Deuxième Dame | |
| Marta Infante | Mezzo-soprano | Troisième Dame | |
| Matthias Goerne | Baryton | L'Orateur (Der Sprecher) | |
| Serena Sáenz | Soprano | Papagena | |
| Roger Padullés | Ténor | Monostatos | |
| Albert Casals | Ténor | Premier Prêtre |
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.