The Magic Flute is an opera in two acts composed by Wolfgang Amadeus Mozart. It was first performed in 1791, just two months before Mozart's death. The libretto was written by Emanuel Schikaneder, who also played the character of Papageno in the opera. The Magic Flute tells the story of Prince Tamino, who is sent on a quest by the Queen of the Night to rescue her daughter, Pamina, from the evil Sarastro. Tamino is given a magic flute to help him on his journey, and along the way, he meets Papageno, a birdcatcher who becomes his companion. Throughout the opera, Mozart weaves together elements of comedy, fantasy, and Freemasonry symbolism.
I ngmar Bergman’s 1975 production of Mozart’s The Magic Flute, originally made for television, is now rereleased as part of the Bergman centenary retrospective at London’s BFI Southbank. It has gaiety and mystery. To consider it between, say, his Smiles of a Summer Night and Fanny and Alexander, is perhaps to see the Mozartian quality of Bergman’s work generally; to savour an influence on his own registers of seriousness and mischief, and his use of symbolism.
Ulrik Cold sings the part of Sarastro, the high priest, here also the father of Pamina Irma Urrila , whom he has taken away from her mother, the Queen of the Night Birgit Nordin. Finally, we have the film released only last year, directed by Florian Sigl, but perhaps more associated with its more famous producer, Roland Emmeich.
Throughout the opera, Mozart weaves together elements of comedy, fantasy, and Freemasonry symbolism. The music is both complex and accessible, with memorable arias such as "Der Hölle Rache kocht in meinem Herzen" (The Queen of the Night's Revenge Aria) and "Der Vogelfänger bin ich ja" (I am the Birdcatcher). The score also includes various Masonic references, reflecting Mozart's involvement in the Freemasons.
The Magic Flute
Pre-concert talk (in Norwegian) by Gunnar Danbolt 1 hour before the performance.
– Simon McBurney’s “The Magic Flute” is the best production I’ve ever witnessed of Mozart’s last opera, and the perfect introduction for a ‘Magic Flute’ virgin. (Wall Street Journal)
Autumn 2022 we proudly present Mozart's Magic Flute, with soprano Mari Eriksmoen as Pamina.
The rising opera star Linard Vrielink makes his role debut as prince Tamino, and the coloratura soprano Rainelle Krause is ready for the furious fight against Wagner-bass Stephen Milling as Sarastro. Thomas Oliemans has played Papageno several times in this highly acclaimed production signed stage director Simon McBurney. And for the first time Oliemans meets Norwegian soprano Renate Ekerhovd as his beloved Papagena.
– With his fine sense of physical comedy and communicative singing style, the baritone Thomas Oliemans was a fine Papageno and the well-deserved audience darling of the show. (New York Times about the performance in Aix-en-Provence)
INFORMATION
Sung in German, surtitled in Norwegian
Duration approx. 3 hours, including 30 minutes interval
Performances November 5, 7, 9 and 11 in Grieghallen in Bergen
A co-production between Dutch National Opera, Amsterdam; English National Opera, London; and Festival d’Aix-en-Provence.
Presented by Bergen National Opera, Musikkselskapet Harmonien and Edvard Grieg Kor.
Photos by Michel Schnater
THE MAGIC FLUTE (DIE ZAUBERFLÖTE)
The rising opera star Linard Vrielink makes his role debut as prince Tamino, and the coloratura soprano Rainelle Krause is ready for the furious fight against Wagner-bass Stephen Milling as Sarastro. Thomas Oliemans has played Papageno several times in this highly acclaimed production signed stage director Simon McBurney. And for the first time Oliemans meets Norwegian soprano Renate Ekerhovd as his beloved Papagena.
The Magic Flute has become one of Mozart's most popular and frequently performed operas. Its themes of love, enlightenment, and the triumph of good over evil appeal to audiences of all ages. The opera's enduring popularity can also be attributed to its captivating characters, exciting plot, and beautiful music. Beryman is a lesser-known aspect of The Magic Flute. Beryman is a character who appears only in some productions of the opera as a servant of the Queen of the Night. He adds comic relief to the story and often participates in the aria "Das klinget so herrlich" (That sounds so wonderful) alongside Papageno. Beryman's role is not essential to the plot, but his inclusion adds an extra layer of humor to the opera. In conclusion, The Magic Flute is a masterpiece of opera composition by Mozart. Its combination of music, storytelling, and symbolism continues to captivate audiences around the world. While Beryman may not be a central character, his presence in certain productions adds an extra element of comedy to an already enchanting opera..
Reviews for "Finding Your Voice: Self-expression and Creativity with the Nagic Flute Beryman"
1. Daniel - 2/5 stars - I was really looking forward to seeing "Magic Flute Beryman" but was ultimately disappointed. The production seemed disjointed and confusing, with bizarre set design choices that didn't seem to serve any purpose. The performances were lackluster, lacking the energy and passion that this opera requires. Overall, I felt disconnected from the production and struggled to engage with the story. It's a shame because I had high expectations for this performance.
2. Jessica - 1/5 stars - "Magic Flute Beryman" was a complete waste of time for me. The direction was confusing, and the stage design was distractingly messy. The singers didn't seem to be fully invested in their roles, resulting in a lackluster and underwhelming performance. The pacing was off, with scenes dragging on for too long, and the overall production lacked coherence. I would not recommend this production to anyone looking for a captivating and enjoyable opera experience.
3. Michael - 2/5 stars - I found "Magic Flute Beryman" to be quite disappointing. The concept behind the production was interesting, but the execution fell flat. The actors seemed unsure of their characters, delivering lackluster performances that lacked depth. The stage design was visually unappealing and didn't add anything significant to the overall experience. While there were a few memorable moments, they were overshadowed by the overall mediocrity of the production. I wouldn't recommend this opera to anyone seeking a captivating and well-executed performance.
4. Samantha - 2/5 stars - "Magic Flute Beryman" left me feeling underwhelmed. The production lacked coherence and failed to effectively transport the audience into the fantastical world of Mozart's opera. The set design was messy and confusing, distracting from the performances instead of enhancing them. The singers struggled to connect with their characters, resulting in a lack of emotional depth. Overall, this production felt like a missed opportunity to truly bring the magic of "Magic Flute" to life. I would suggest looking for another interpretation of this opera.