A film Magic Flute

He Teatro Real will begin the new year with the replacement of the dazzling production The magic Flute, from Wolfgang Amadeus Mozart, conceived by Suzanne Andrade, Paul Barritt y Barrie Kosky, presented with great success in your scenario January of 2016.

This time will be offered 13 functions, between 19 January 24 February, again with the musical director of Teatro Real, Ivor Bolton, to the front of a double deal, of the Headlines Choir and Orchestra of the Teatro Real and Little Singers of JORCAM.

Creative and exciting staging of the Australian director Barrie Kosky, premiered at the Komische Oper Berlin 2012, returns to The magic Flute its character as a moral allegory for all audiences, but with multiple layers ─del children's story interpretive reflection filosófica─, ─del surrealist film aesthetic references to the comic─, and winks accomplices to the viewer.

Production lacks decorated and it ─con singers interact very little mobility and meticulous and precise work actoral─, with projections of an animated film full of rhythm, humor and imagination. In the spoken parts of the opera - actually a singspiel, which mixes text and spoken dialogues appear cantado─ projected gussets and accompanied by the pianoforte Ashok Gupta, who will perform fragments Fantasy in C minor Mozart.

The success of this scenic and dramaturgical proposal lies in its enormous facility to communicate with the public, your mood, the waste of creativity and complicity with the viewer through a visual universe in which the characters mozartianos two centuries ago come to the public concerning converted naturally into as close to us as a heartthrob Rudolph Valentino type (Tamino), a seductive pert as Louise Brooks (Pamina), an evil like the terrible Nosferatu (Monostatos), or laughing, torpe e ingenuo Buster Keaton (Papageno)…

The absence of a traditional decorated, a 'virtual scenery' reduced to the presence of a screen on stage, requires singers to act with a huge concentration, acting talent and synchronized movements, they should have the freshness of the gag and clockwork precision in coordination with the projection of the drawings.

A double cast will alternate performances in giving life to the main characters ─Andrea Mastroni Y Rafal Siwek (Sarastro/Orador), Stanislas Barbeyrac Y Paul Appleby (Tamino), Albina Shagimuratova, Alexander Olczyk Y Rocío Pérez (Queen of the night), Anett Fritsch Y olga Peretyatko (Pamina), Ruth Rosique (Papagena), Andreas Wolf Y Joan Martin-Royo (Papageno) Y Mikeldi Atxalandabaso (Monostatos), who will be seconded by the three ladies of Elena Copons, Gemma Coma-Alabert, Marie-Luise Dreßen and the two men in armor played by Antonio Lozano Y Felipe Bou.

In the pit she will be the musical director of the Royal Theater, Ivor Bolton, expert in the work of Mozart and head between 2004 Y 2014 from Orchestra of the Mozarteum in Salzburg, where he has spent more than 10 years to the interpretation of the classical repertoire in the birthplace of composer.

Bolton will lead the Headlines Choir and Orchestra of the Teatro Real, one of the most popular operatic titles, which will be presented for the fourth time in the Teatro Real reopened after having done so in January 2001 (Frans Brüggen / Marco Arturo Marelli), July 2005 (Marc Minkowski / La Fura dels Baus) and January 2016, with the same production.

Coinciding with functions The magic Flute The Royal Theater has organized a series of Parallel activities related to Mozart's opera and the silent films of the year 20 which he inspired the drama and stage production proposal that will be seen on its stage.

Functions The magic Flute They are sponsored by the BBVA Foundation as part of its program of Music, which it is conceived as a complete tour of the various ways in which society can benefit and enjoy this art.

Photograph: Javier del Real

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