The Magic Flute at the Royal Theatre

Magic Flute

Credited is that the most critical situations extracted from each person his "self" most extraordinary. Transferred this theory to a genius like Mozart and mixed with Masonic ideals, the result is one of the most sublime works of art of music. A work that, far from being a children's story, browse the deepest dreams illustration.

With The magic Flute Mozart raised the Singspiel, the most popular music, at its best. Released in 1791 at Theater auf der Wieden, second theater of the city of Vienna, composition proved to be a masterpiece. Libretto by Emanuel Schikaneder, Mozart's friend and Mason as he, and influenced both by the winds of change coming from France, they created a work full of dualities. The transition between darkness representing religious ideas, and the light of the new ideals of the Enlightenment of the eighteenth century.

Based on this general concept that represents The Magic Flute, Barrie Kosky Y Suzanne Andrade have managed masterfully captures the essence of the opera by German composer. Just as Mozart gets the Singspiel as the most popular and intelligible way to reach the public in the suburbs of Vienna, Barrie Kosky also uses another popular and intelligible method as silent films. The theater company 1927, used to working with the keys to the film story, It was initially responsible for transforming this work in movie magic. A perfect operatic recoding with the same key that led to its composition and Mozart would enjoy the most of this production.

It is not easy to surprise the audience with an opera many times represented, but therein lies the success of this version of Barrie Kosky. always keeps public interest.

The scenery does not exist. It is replaced by a large screen where animations are projected with the singers-actors interact in a perfect gear went really silent films evoking the years 20. recitatives, of those who in many productions of this opera is omitted, in this are replaced by the projection of a concise text that singers perform mimed. Those texts puts music piano, which serves continuous, interpreting Fantasies in C minor and D minor by Mozart himself. The result can not be more seductive. Superb sharpness who has managed to integrate all these complex elements and whose result is the most stimulating simplicity. The screen layout on stage facilitates the projection of the voices for its proximity to the pit.

The only production but this may be their excess role. The show is so intense that it can distract from the voices or music.

The box has an important quality singers, the equilibrium. Two powerful deals in which it is noteworthy that 13 of them are Spanish. And well he said Joan Mataboch, "They are here not by Spaniards, but by extraordinary singers ".

The cast shone together, but there were also very good individualities. Debutant Real Joel Prieto, as Tamino, It was the most outstanding. Its beautiful timbre, full of smoothness, an elegant and smooth ridge line adds, perfect diction, remarkable volume and taste in interpretation. Sobre todo en el aria "This portrait is enchantingly beautiful".

The English Sophie Bevan, he served as Pamina-Louise Brooks fluently. It was less to more and gave the audience a heartfelt "ach, I fühl's ".

Another highlight of the evening was the baritone Joan Martin-Royo, Papageno-playing a big comic Buster Keaton, without ever falling into exaggeration. A wide and fresh voice, with perfect phrasing, Successful intention he filled all its interventions.

Christof fish eaters, in his dual role of Sarastro and speaker, He surprised by its timbre and tessitura. An extensive round voice, reaching a consistent dark and serious. Abyssal does not reach the low tessitura of another era, but it is usual and hear deep bass.

Mikeldi Atxalandabaso, como Monostatos-Nosferatu, It was another pleasant surprise. Had a brilliant interpretation interacting with images masterfully and fun. A mighty voice and bright printed accented character to character.

Cadiz Ruth Rosique He left us with honey on the lips as his role of Papagena not give more. Her pert interpretation was high and we hope to hear soon on a larger role.

The soprano of Macedonia Ana Durlovski she played a evil Queen characterized night large spider. It was the most applauded, as it is almost always this character. Pyrotechnic to interpret his two arias qualities are undeniable. Better second than the first. But both lacked emotion. His treble were devilishly agile.

Well the three ladies, interpreted by Elena Copons, Gemma Coma-Alabert Y Nadine Weissmann. Enliven some ladies full of charisma and sympathy vocally fell short of the powerful cast.

If there is a "character" which is always a guarantee on their interpretations, both impasto, Uniformity and expressiveness, that is, definitely, he Coro del Teatro. Impeccable.

Ivor Bolton from the pit all night was very inspired. It has a special sensitivity to this type of repertoire. His enthusiasm spread directing the Orchestra. Pending singers directed them even vocalizing their texts. a notable presence of trumpets noticed, the taste of the work and director, but at some point they are eclipsing the subtle interpretation of other instruments.

No doubt this magic flute has been, Until now, The best of the season. It has also been successful policy of attracting new audiences inviting children and youth trials. stimulating energy that brings us to the theater as one goes to a temple.

The magic Flute
(The Magic Flute)
Wolfgang Amadeus Mozart (1756-1791)
Singspiel in two acts
Record of Emanuel Schikaneder
Komische Oper production Berlin
D. musical: Ivor Bolton
Stage directors: Suzanne Andrade, Barrie Kosky
Concept: 1927 (Suzanne Andrade, Paul Barrit),Barrie Kosky
Scenography and figuration: Esther Bialas
illuminator: Diego Leetz
D. choir: Andrés Máspero
D. young singers: Ana González
Distribution: Christof fish eaters, Joel Prieto, Ana Durlovski, Sophie Bevan, Joan Martin-Royo, Mikeldi Atxalandabaso,
Ruth Rosique, Elena Copons, Gemma Coma-Alabert,
Nadine Weissmann, Catalina Pelaez, Celia Martos,
Patricia Ginés, Airam Hernandez, David Sanchez,
Headlines Choir and Orchestra of the Teatro Real,
Little Singers of ORCAM

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real