Conductor: Robert Houlihan

Stage Director: Bruno Berger-Gorski

Set designer: Daniel Dvořák

Costume designer: Alan Hranitelj

Light design: Marino Frankola

Choreographer: Božena Klimczak

Chorus-mistress: Zsuzsa Budavari Novak, 

Assistant to stage director: Nynke Van Den Bergh, Tanja Lužar

 

 

Slovensko narodno gledališče

MARIBOR, 2014

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Magic Flute, a two-act German singspiel (an opera genre with spoken dialogues), undoubtedly represents one of Mozart’s most accomplished works that was conceived in the last year of composer’s life (1791) to a libretto of his friend – a singer, actor and impresario Emanuel Schikaneder. The complexity of this opera reflects the spirit of the Enlightenment, most notably due to its esoteric content and rich symbolism that has been an inherent part of our society since the dawn of humankind. Mozart’s music and theatrical ingenuity, which was for quite some time an unsurpassed phenomenon, addressed the ever "modern" conflict between good and evil, the darkness and the light – or, as in the context of modern psychoanalysis –, the ego and the unconscious, in the character of Prince Tamino, who is torn between temptations of the evil, incarnated by the Queen of the Night, and the sovereign "divine" reign of Sarastro. In contrast, the composer and librettist created the role of Papageno, a simple bird-catcher and Tamino’s "natural" antipode, who is more interested in earthly pleasures than those of knowledge and wisdom.