Picture: Iko Freese / drama-berlin.de
Picture: Video
Picture: Video
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Picture: Iko Freese / drama-berlin.de
Wolfgang Amadeus Mozart

The Magic Flute

Grand opera in two acts
Libretto by Emanuel Schikaneder
Nov '12
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Thursday, 4. July 2013
19:30
The most performed German opera in a startling interpretation. Barrie Kosky will produce The Magic Flute in combination with the British theatre group “1927”, whose humorous shows have thrilled audiences all over the world with their interaction between film animation and live-performing actors: “A perfect mixture of all the things worth loving: silent films, the cabaret of the Weimar Republic, David Lynch, and the brothers Grimm [The Guardian]

“Help, help, else I am lost!” – Tamino’s rescue at the very last second from the threatening giant snake is the beginning of a journey of adventure to undiscovered regions in search of love. For Tamino, this love initially materialises only in a picture: one of Pamina. Is this love real? Or must it first become real?
Papageno, Tamino’s jaunty companion, is also following the (dream) image of a loving partner at his side, who should be just like him if possible. Is Papagena reality, or does she ultimately remain a dream?
Mother and father figures, nearly monstrous-seeming, as if escaped from some nightmare, battle against the Queen of the Night and Sarastro for influence over Tamino and Pamina. Is the queen a loving mother or a revenge-seeking adversary? Is Sarastro a self-centred despot or a paternally caring ruler?

The Magic Flute seems to throw up more questions and mysteries than it provides answers. By the end, all logic and reason fail before the immeasurable fantasy of this magic opera. Its secret lies in deeper layers of fundamental human experience, for which fairytales seem to be just the right form of expression, and for which only music provides the appropriate language. After all, the “eponymous hero” of the opera is an instrument, or to put it plainly: music.

“A show that oozes technical accomplishment, and there's no doubt, with a debut as slick as this, that these young artists have a bright future ahead of them.” The Age, Melbourne

1927 is a London based performance company that specialise in combining performance and live music with animation and film to create magical filmic theatre. Celebrated at home and overseas, the Company was founded in 2005 by Writer, Performer & Director Suzanne Andrade and Animator & Illustrator Paul Barritt.  In 2006, Performer & Costume Designer Esme Appleton and Performer, Composer & Musician Lillian Henley joined and  in 2007, Producer Jo Crowley began collaborating with the company.  All  four  creative  members  of  1927  come  from  different  artistic backgrounds, and it is the collaboration between these artists and the complete integration of artistic  disciplines, that has paved the way for 1927 to create it’s unique, innovative and highly original work.

At the heart of 1927’s practice is the desire to explore the relationship between live actor and animation to  create dynamic and innovative live theatre.  1927 fuse, merge and mix creative mediums to create a unique  performance style.  The company has developed an approach to  combining the mediums of film,  performance and music to great effect, both technically and conceptually; pushing the forms the company  works in to new and exciting places.  1927 has mastered a delicate marriage of live music, animation, film,  performance and song  –  taking  disparate  elements  and  making  them  work  in  harmony  to  create  unique  theatrical experiences.

ACT ONE

In a dark forest, far away ...
As he flees from a dangerous giant serpent, Tamino is rescued at the last second by the three ladies who serve the Queen of the Night. When he regains consciousness, the first thing Tamino sees is Papageno, and he believes him to be his rescuer. Papageno, a bird catcher in search of love, does nothing to dispel the misunderstanding. The three ladies return and punish Papageno for his lies by rendering him mute. They show Tamino a picture of Pamina, the daughter of the Queen of the Night, whom Tamino instantly falls in love with. Shortly thereafter, the Queen of the Night herself appears and
tells Tamino of her daughter’s kidnapping at the hands of Sarastro. Tamino responds with great enthusiasm to her command that he free Pamina. The three ladies give Papageno back his voice and instruct him to accompany Tamino. As a protection against danger, they give Tamino the gift of a magic flute, while Papageno receives magic bells. The three ladies declare that three boys will show Tamino and Papageno the way to Sarastro.

Pamina is being importuned by Sarastro’s slave Monostatos. Papageno, who has become separated from Tamino on the way to Sarastro, is as scared by the strange appearance of Monostatos as the slave is by Papageno’s. Alone with Pamina, Papageno announces that her rescuer Tamino will soon arrive. Papageno himself is sad that his search for love has thus far proved fruitless. Pamina comforts him.

The three boys have led Tamino to the gates of Sarastro’s domain. Although he is initially refused entry, Tamino begins to doubt the statements made by the Queen of the Night regarding Sarastro. He begins to play on his magic flute, and enchants nature with his music. Papageno meanwhile flees with Pamina, but they are caught by Monostatos and his helpers. Papageno’s magic bells put their pursuers out of action. Sarastro and his retinue then enter upon the scene. Monostatos leads in Tamino. The long yearned-for encounter between Tamino and Pamina is all too brief. Sarastro orders that they must first face a series of trials.

ACT TWO

The trial of silence
Tamino and Papageno must practise being silent. Because of the appearance of the ladies and their warnings, their ordeal is a truly testing one. Tamino remains resolute, while Papageno immediately begins to chatter.

Meanwhile, Monostatos again tries to get close to the sleeping Pamina. The Queen of the Night appears and orders her daughter to kill Sarastro. Pamina remains behind, despairing. Sarastro seeks to console Pamina by foreswearing any thoughts of revenge.

The trial of temptation
Tamino and Papageno must resist any temptation: no conversation, no women, no food! As well as the magic flute and magic bells the three boys also bring Tamino and Papageno food, which Tamino once again steadfastly resists. Even Pamina fails to draw a single word from Tamino’s lips, which she interprets as a rejection. She laments the cooling of Tamino’s love for her.

Before the last great trial, Pamina and Tamino are brought together one last time to say farewell to one another. Papageno is not permitted to take part in any further trials. He now wishes for only a glass of wine – and dreams of his great love.

For her part, Pamina believes that she has lost Tamino forever. In her despair, she seeks to end her own life, but is prevented from doing so by the three boys, who assure her that Tamino still loves her. Gladdened and relieved, Pamina accepts their invitation to see Tamino again.

Reunited at last, Tamino and Pamina undergo the final trial together.

The trial of fire and water
The music of the magic flute and their love for one another allow Tamino and Pamina to conquer their own fear and overcome the dangers of fire and water.
Papageno is meanwhile still unsuccessful in his search for his great love. Despairing, he now also seeks to end his life, but is also prevented from doing so by the three boys. Papageno’s dream finally comes
true: together with his Papagena, he dreams of being blessed with many children.

Meanwhile ...
... the Queen of the Night, the three ladies, and the turncoat Monostatos arm themselves for an attack against Sarastro and his retinue. However, the attack is repelled.

Tamino and Pamina have reached the end of their trials, and can finally be together.

Crew

Musical direction
Animations
Concept
»1927« (Suzanne Andrade und Paul Barritt) und Barrie Kosky
Stage and costume design
Dramaturgy
Ulrich Lenz
Light
Diego Leetz

Cast

Pamina
Königin der Nacht
Sarastro / Sprecher
Papagena
Monostatos
Erste Dame
Zweite Dame
Dritte Dame
Erster geharnischter Mann
Zweiter geharnischter Mann
Drei Knaben
Solisten des Tölzer Knabenchores

Barrie Kosky produce The Magic Flute in combination with the British theatre group “1927”.
Once again this season at the Komische Oper Berlin concludes with a week-long festival. Review the new productions of the season once again on seven consecutive days. 
1927 is a London based performance company that specialise in combining performance and live music with animation and film to create magical filmic theatre.
Wehope our programme will arouse considerable interest, and as always we extend ahearty welcome to all visitors at the Komische Oper Berlin.