controversy “Magic Flute” The season opens in Arts

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controversy “Magic Flute” The season opens in ArtsBy Diego Manuel García Pérez.

This controversial Magic Flute, with a transgressive staging of Graham Vick, It is purporting to show the serious imbalances affecting today's society, with a clear confrontation between the poorest and most privileged classes. Large placards and protest banners dominated the stage space and the lateral ends of the different floors of the room, with a lot of extras, They are moving both onstage and off. all, resulting is to divert attention from viewers what really matters: mozartiana wonderful music. Fortunately, Orchestra of Valencia, well directed by Lothar Koenigs, offered excellent sound and the Choir of the Generalitat was at his usual great height. Notable performance group solo singers, which include the Italian soprano Mariangela Sicilia, which he offered an excellent creation of Pamina.

The Magic Flute (The magic Flute) es un Singspiel (opera sung in German theatrical dialogues which include), in two acts with music by Wolfgang Amadeus Mozart and libretto by Emanuel Schikaneder. Its premiere took place at the Theater auf der Wieden popular in Vienna 30 September 1791, directed by Mozart with Schikaneder himself and playing the character of Papageno. It was the last premiere of composer, who died two months later, he 4 from December, with only thirty-five years. Today it seems clear that it was Mozart who proposed Schikaneder (multifaceted character: businessman, actor, singer, librettist and theater director), and not inverted, the creation of a German opera magical character. I wanted to repeat the great success, in 1782, with Singspiel The Enführung from the Seraglio (The Abduction from the Seraglio). The argument has been very controversial, through his messy network. It seems they started writing it Schikaneder and actor and singer Ludwig Giesecke, by the own Mozart, and criteria changed once written the first scenes, so that, magical comedy with a rueful Queen for the abduction of her daughter Princess Pamina and the gallant Prince Tamino in charge of rescue, It became more complex: an apology of Freemasonry, which clearly it alludes to convert the evil kidnapper of Pamina, the wise priest Sarastro, who governs a temple which is accessed beating tests where to display courage and strength of character. Tamino and Pamina, They manage to overcome sealing their love, despite the machinations of the Queen of the Night and the three ladies at your service. The most endearing character in the play is the simple Papageno, fowler, initially serving the Queen of the Night, and later become protector of the loving relationship between Pamina and Tamino. This argument is disjointed together by the extraordinary music of Mozart, orchestral fabric in which the voices of the different characters are inserted as an instrument. Obviously, It is a standard repertoire opera, There are many recordings on CD and DVD. Include two historic recordings, with magnificent orchestras and excellent performers, taken in studio and can be heard on YouTube complete. The first one was held in Berlin between 1937 Y 1938, with the great English conductor Sir Thomas Beecham, in front of the Berlin Philharmonic. In an environment already antebellum, Beechan could not finish recording; what, seems to be, It was completed by a young Herbert von Karajan. The cast was headed by two sensational performers: German soprano Tiana Lemnitz as Tamina, offering a voice of great purity and full of melancholy, next to Tamino Danish tenor Helge Rosvaenge, voluminous voice and beautiful, with a magnificent phrasing and absolute mastery of Mozartian style. The soprano Erna Berger makes an excellent creation of the Queen of the Night. The remastered edition for the Naxos label, significantly improves the original sound. The second recording recommended, It was made by EMI, in 1950, with the beautiful orchestral response of the Vienna Philharmonic directed by Herbert von Karajan, and a great voice cast with excellent Tamino Slovenian tenor Anton Dermota, auténtico estilista Mozart, a refined edge line, with German soprano Irmgard Seefried, a voice of great tonal beauty who plays a sensitive and delicate Pamina. Wilma Lipp makes a great creation of the Queen of Night, with superb mastery of coloratura. The other characters are played by great voices: great bass Ludwig Weber, a sensational plays Sarastro, Erich Kunz (Papageno), George London (speaker), Emmy Loose (Papagena). In the mid-fifties of last century, bursts into the opera scene the extraordinary German tenor Fritz Wunderlich, of beautiful vocalism and great dramatic temperament, Tamino whose creation is anthological, reaching often interpret. In 1964 (two years before his death, with just thirty-six years) Tamino played a recording studio in Deutsche Grammophon, with Karl Böhm in front of the Berlin Philharmonic, El Gran His Otter (speaker), Franz Grass (Sarastro), Dietrich Fischer-Dieskau (Papageno), Evelyn Lear (Pamina) and Roberta Peters (Queen of the Night). Escuchar a Fritz Wunderlich en el aria del retrato "This portrait is enchantingly beautiful", It is a true delight canoro.

There are two video shots, which can be heard complete on YouTube. The first one held in 1983, Opera in Munich, Wolfgang orchestral address Sawalisch, and sold on DVD by Deutsche Grammophon, with magnificent Tamino the Mexican tenor Francisco Araiza, of beautiful timbre and perfect adaptation to Mozartian stylistic repertoire, with excellent Pamina of the great Czech soprano Lucia Popp, a voice crystalline purity, and Queen of the Night of Edita Gruberoba, who shows his absolute mastery of coloratura. The second shot on video recommended, It was performed at the Zurich Opera House, Le year 2000 and sold on DVD by ARTHAUS MUSIC, Frantz orchestral address Welser-Möst, with gorgeous Tamino Polish tenor Piotr Beczała, whose voice is reminiscent of Fritz Wunderlich, Pamina next to the Swedish soprano Malin Hartelius, who brings voice and scenic beauty. The great Finnish bass Matti Salminen, It comprises an imposing Sarastro. Classic and very suitable Jonathan Miller scenic proposal.

It can not be said of scenic Mount Graham Vick, which has been seen in Valencia, coproduction with the Palau de les Arts, Birmingham Opera and the Festival of Macerata. Viewers who entered the room were surprised by a series of large posters hanging from all floors with protest messages: "Against gender violence", "In defense of the rights and freedom", "The system can not fight corruption because corruption is the system", "Fair pensions, the ". Number of extras invaded the stage and suffered some spaces viewers, what they wanted, He was having a good time listening to the wonderful music of Mozart. Y, all, It is the packaging of the set itself, performed by Stuart Nunn, (also responsible for costume design), where you can see three adjoining buildings: one of high altitude, on top of which, It appears the euro symbol (Financial power), Appel shop (The computing power, also home to the Masonic Temple) and a replica of St. Peter's Basilica (The power of the church). Of these buildings, at some point in the function, out amount of figurantes: financial executives smartly dressed and surrounded by sophisticated women, with military and ecclesiastical purple red, that make up the powers, oppressors of the people manifested with significant signs: “No, is not", "We also have voice", "We do not steal the future", "Diversity, Equality and Unity ", near these iconic buildings, bounded with defensive fences. The financial edifice is rotated at some point, can be seen in the back, missile battery connivance of economic and military power! or we shown the back of the basilica, where it appears a madonna, with his mouth covered The marginalization of women in the centers of power of the Catholic ecclesiastical world! Is inadmissible manipulation by Graham Vick of brilliant dialogues in German original text, with the inclusion of phrases in Spanish, where the impromptu chorus of figurantes acts as a Greek chorus leader, characters warning of the possible consequences of their actions or behavior reproaching. The aim of moving a work immersed in the world of the late eighteenth century to the current problems, should be entitled: The magic Flute with music by Wolfgang Amadeus Mozart and Emanuel Schikaneder text, reviewed by Graham Vick. It ragtag costumes, from that elegant business suit carrying Sarastro, to Papageno wrapped in a chicken costume, through Tamino and Pamina dressed in tracksuit with a dress reminiscent of the doll Olympia The Tales of Hoffmann, or the three ladies crammed into monkeys workers, which they are removed exhibiting attractive clothing in line with leading her boss, the evil Queen of the Night Ah! Y, also signal the presence of an excavator which serves snake chasing Tamino, and a soprano scooters where children move. In the end, the collapse of the three emblematic buildings followed by a macrodanza where all participants evolve preamble of a world where peace and harmony!

Faced with so many extras, With continuous stage movements, It has much merit and the conductor Lothar Koenigs conciliatory work, with the excellent sound of the Orchestra of Valencia, already apparent in the overture, the largest composed by Mozart, with a surprising use of counterpoint, and is continued with music that envelops the arioso a frightened Tamino and scenic irruption of the three ladies. Orchestral highlight both the quintet resolution Tamino, Papageno and the three ladies, as the beautiful Pamina and Papageno duet. The orchestra shines greatly across the broad end of Act I, with that solemn accompaniment that gives real emphasis duo of Tamino and Sprecher, or sound of the magic flute solo in the second intervention Tamino, with music that marks the stage presence of Sarastro, and band-chorus assembly, which concludes that Act I. Ya, in Act II, Significantly, the introductory orchestral sound with the "March of the Priests" and the brilliant combination of orchestra and choir in the "Choir of priests". The orchestral sound envelops brilliantly the two solos Sarastro. Very prominent orchestral performance in the solo interventions of Papageno, with continuous audible presence of "glockenspiel". But, especially, noteworthy, the excellent orchestral sound across the broad end of the work, with musical moments of extraordinary quality: that great scene, where, Firstly, the two gunmen involved temple with Tamino, with a sound reminiscent of a dramatic oratorio, followed by the sublime duet of Pamina and Tamino, where beautiful orchestral interludes where looks are inserted the sound of the flute, with a concluding coda where conjoined brilliant way of chorus and orchestra. As in so many moments of this work, the contrasts between idealized world in which Tamino and Pamina move shows, and the tangible reality, with that comic Papageno and Papagena duet, where another plane also-- The orchestral sound is very bright. Beautiful combination of orchestra, solo voices and chorus in the brilliant end of this Singspiel. Within the high level of all orchestral sections include the sound of oboes, clarinets and bassoons with a special mention of the flute solo.

The large group of singers include the Pamina gorgeous Italian soprano Mariangela Sicilia, attractive voice timbre, with width and breadth, with excellent phrasing and ability to sound regulations. And shows his vocal quality in the beautiful duet with Papageno Act I, offering their best performance in Act II aria "Ach, I feel it, ESIST verschuwunden ", sung with great Mozartian style and dramatic high capacity. Magnificent interpretation of that sublime duet "Tamino mein! O welch ein Glück "next to Tamino played by the Ukrainian tenor Dmitry Korchak, wide voice with good high register, although showing gaps stylistic, sobre todo al afrontar la dificilísima aria del retrato "This portrait is enchantingly beautiful", which it requires refined technique and expressiveness. His performance improvement in the aria "Wie stark ist nicht dein Zauberton" accompanied by his magic flute. Emphasize his intervention in the trio of Act II with Pamina and Sarastro, played by German under Wilhelm Schwinghammer, very elegant stage presence, sings with style, but it suffers from those deep bass notes that requires the character. It is also subject to occurrences of Graham Vick, taking that move through the stalls and issue some words in Spanish. English baritone Mark Stone, comprises a funny Papageno, remarkable vocal and especially interpretive plan, taking also sing phrases in Spanish. Queen of the Night, Czech soprano Tetiana Zhuravel, It offers an attractive stage presence; Y, though his voice is small and slight excess, LOGRA resolver de manera notable la coloratura aria del "revenge Hell boils in my Hertz", with those very difficult chopped notes. While Moses Monostatos Marin. Very funny the three ladies: Camila Titinger, Olga Syniakova y Marta Di Stefano, belonging to the Centro Plácido Sunday. Sprecher acceptable played by the bass Deyan Vatchkov. Notably the creation of Papagena-soprano Júlia Farrés Llongueras, who, in his first appearance, Graham Vick, which forces her to stay contortionist in a small container, and genuine comedy that gives his duet with Papageno. While the rest of performers including three children-soprano moving in patinete.

The Choir of the Generalitat returns to its high quality in its many interventions throughout the work.

 

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