The ensemble of the magic flute 2022 brings together a talented group of musicians and performers to create an unforgettable experience for audiences. The magic flute is a beloved opera by Wolfgang Amadeus Mozart, and this production aims to capture the spirit and magic of the original with a contemporary twist. The ensemble is made up of a diverse range of artists, including sopranos, tenors, baritones, and basses, who bring their unique voices and interpretations to the iconic characters of the opera. The lead roles of Tamino, Pamina, and the Queen of the Night will be portrayed by world-class singers, each known for their captivating stage presence and exceptional vocal abilities. The orchestra, conducted by a renowned maestro, will provide the music that accompanies the singers and sets the mood for each scene. The score of the magic flute is filled with beautiful melodies, dramatic moments, and intricate harmonies, and the ensemble will bring these to life with their expert skill and musicality.
Maxim Emelyanychev – conducting Mozart’s The Magic Flute for the first time and making his debut with the Royal Opera House orchestra – writes in a programme note that he wants to feed off the energy of the audience. But on the first night of this revival of David McVicar’s production, now in its 20th year, I wanted more of that mercurial spark of inspiration.
Not that there isn t much to admire in the individual performances Gyula Orendt s Papageno is the heart of this production, turning his journey towards earthly fulfilment with Sarah Dufresne s Papagena into the most convincing development of character and comedy in the show; Anna Prohaska s Pamina is full of adult anguish and subtlety, especially in her act two lament, while Aigul Khismatullina s Queen of the Night is preternaturally precise in her glass-shattering rage, and Filipe Manu s Tamino is a solidly stentorian model of well-sung princeliness. Royal Opera House, London There are strong performances, particularly from Gyula Orendt s Papageno and Sarah Dufresne s Papagena, but the fun is damped down in David McVicar s 2003 staging that imposes coherence on the pantomimic plot.
The score of the magic flute is filled with beautiful melodies, dramatic moments, and intricate harmonies, and the ensemble will bring these to life with their expert skill and musicality. In addition to the singers and musicians, the ensemble also includes a team of dedicated backstage crew members, costume designers, set designers, and lighting technicians who work tirelessly to create a visually stunning and immersive production. Their attention to detail ensures that every aspect of the opera, from the costumes and sets to the lighting and special effects, is of the highest quality.
The Magic Flute review – well-behaved revival needs more of Mozart’s anarchic spirit
Royal Opera House, London
There are strong performances, particularly from Gyula Orendt’s Papageno and Sarah Dufresne’s Papagena, but the fun is damped down in David McVicar’s 2003 staging that imposes coherence on the pantomimic plot
Maxim Emelyanychev – conducting Mozart’s The Magic Flute for the first time and making his debut with the Royal Opera House orchestra – writes in a programme note that he wants to feed off the energy of the audience. But on the first night of this revival of David McVicar’s production, now in its 20th year, I wanted more of that mercurial spark of inspiration.
Not that there isn’t much to admire in the individual performances: Gyula Orendt’s Papageno is the heart of this production, turning his journey towards earthly fulfilment with Sarah Dufresne’s Papagena into the most convincing development of character and comedy in the show; Anna Prohaska’s Pamina is full of adult anguish and subtlety, especially in her act two lament, while Aigul Khismatullina’s Queen of the Night is preternaturally precise in her glass-shattering rage, and Filipe Manu’s Tamino is a solidly stentorian model of well-sung princeliness.
At the heart of this production … Gyula Orendt (Papageno) and Sarah Dufresne (Papagena). Photograph: ROH/Camilla Greenwell 2022
It’s just that none of them seem to be having much fun in Angelo Smimmo’s redirection of this show, which makes The Magic Flute an earnest post-Enlightenment essay. John Macfarlane’s imposingly tenebrous sets, lit with irresistible chiaroscuro by Paule Constable, create a world of visual and atmospheric coherence for these characters that the singers can’t sustain. The clunking dichotomies of the piece – between moon and sun, man and woman, ideology and instinct – let alone the ludicrousness of its plot, are only made more obvious and more problematic.
But there’s a spirit of sheer entertainment trying to break out in this show. The cast and musicians just need the excuse to release the Magic Flute into the weird masonic pantomime it really is, whose meaning lies in its messy inconsistencies, not its sunlit coherence. For the rest of the run, get down to Covent Garden and be the audience that helps Emelyanychev get Mozart’s party started.
Explore more on these topics- Opera
- Classical music
- Royal Opera House
- Wolfgang Amadeus Mozart
- reviews
Not that there isn’t much to admire in the individual performances: Gyula Orendt’s Papageno is the heart of this production, turning his journey towards earthly fulfilment with Sarah Dufresne’s Papagena into the most convincing development of character and comedy in the show; Anna Prohaska’s Pamina is full of adult anguish and subtlety, especially in her act two lament, while Aigul Khismatullina’s Queen of the Night is preternaturally precise in her glass-shattering rage, and Filipe Manu’s Tamino is a solidly stentorian model of well-sung princeliness.
The ensemble of the magic flute 2022 is committed to providing an inclusive and accessible experience for all audiences. They believe that opera should be enjoyed by everyone, regardless of their background or level of familiarity with the art form. As such, they offer various ticket options, translations, and accessibility services to ensure that as many people as possible can enjoy this spectacular production. In summary, the ensemble of the magic flute 2022 brings together a team of talented singers, musicians, and creative professionals who are dedicated to creating a memorable and immersive opera experience. From the lead roles to the supporting cast and crew, each member of the ensemble plays a vital role in bringing the magic of Mozart's opera to life. With their commitment to inclusivity and their passion for their craft, this ensemble promises to deliver a truly magical and unforgettable performance..
Reviews for "The Life and Legacy of Mozart: How 'The Magic Flute' Ensemble Embodies His Genius"
1. Emily - 2 out of 5 stars
I attended the performance of The Ensemble of the Magic Flute 2022 with high hopes, but I left feeling disappointed. The singing was subpar, with several off-key notes and lackluster performances. The staging was also underwhelming, with minimal props and sets that failed to create the magical atmosphere one expects from a production of The Magic Flute. Overall, I found the whole experience quite forgettable and not worth the price of admission.
2. Mark - 1 out of 5 stars
I have seen several productions of The Magic Flute in the past, but this was by far the worst. The singing was atrocious, with the lead soprano constantly straining to hit the high notes. The acting was equally uninspiring, with wooden performances that lacked any depth or emotion. The production lacked creativity and failed to capture the essence of Mozart's masterpiece. I left the theater feeling frustrated and regretful of wasting my time and money on this disappointing performance.
3. Sarah - 2 out of 5 stars
As a fan of opera, I was excited to see The Ensemble of the Magic Flute 2022, but unfortunately, it fell short of my expectations. The costumes were lackluster and uninspired, failing to bring the characters to life. The staging was also confusing at times, with awkward transitions and unclear storytelling. While there were a few standout performances, the overall production felt disjointed and chaotic. I was disappointed by the lack of cohesion and attention to detail in this rendition of The Magic Flute.