The Magic Flute, also known as Die Zauberflöte in German, is an opera composed by Wolfgang Amadeus Mozart. It is a singspiel, a form of musical theater that includes both spoken dialogue and sung music. The libretto, or the text of the opera, was written by Emanuel Schikaneder. The Magic Flute was first performed in Vienna, Austria in 1791, just two months before Mozart's death. It tells the story of Prince Tamino, who embarks on a quest to rescue Pamina, the daughter of the Queen of the Night. Along the way, Tamino encounters various characters, including the bird-catcher Papageno and the sage Sarastro.
The framework of the opera performance is the best imaginable – the park of Drottningholm Palace at dusk. The expectant faces of the entire audience, in which we spot both Mozart and Bergman himself. The interval, when the Queen of the Night enjoys a cigarette and a tiny slave reads a Donald Duck comic. This meeting of Mozart and Bergman has been truly a major event in Swedish cultural life.'
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. We re supposed to be conscious of watching a performance, and yet at some level Bergman also wants Mozart s fantasy to work as a story, a preposterous tale, and it does.
Along the way, Tamino encounters various characters, including the bird-catcher Papageno and the sage Sarastro. The opera is renowned for its beautiful music, which showcases Mozart's genius as a composer. The overture is particularly well-known and has become one of the most recognizable pieces of classical music.
The Magic Flute
Ingmar Bergman has never before made a movie so warm, happy and innocent as this version of Mozart's "The Magic Flute." It's as if all this joy has been building up inside him during the great decade of metaphysical films beginning with "Persona." It's been 10 years since he made a comedy (the dreadful "All These Women") and 20 years since he made a good one ("Smiles of a Summer Night"), and now here's something to make you think he specialized in comic opera.
His "Magic Flute" is directed with a cheerful relish for its fairy-tale adventures, its young lovers and sinister sorcerers and improbable special effects. To film it, he decided to stay in the period, to approach the work head on and in its own spirit as a sort of spooky, funny bedtime story.
AdvertisementHe constructed on a sound stage a replica of Stockholm's tiny old Drottingholm Court Theater - a creaking 18th Century treasure with machinery, still in working order to create thunder, lighting and waves.
He pretends he's filming an actual performance there, with proscenium arch, footlights and an audience (the attentive little girl he cuts away to during scene changes is his own daughter). But then as each scene develops he goes into it, opens it up (but not too much - we still feel we're on a stage), and films it with the most fluid camera work Sven Nykvist ever has provided for him.
And it's an agile camera, too; instead of composing the characters into the sometimes static, sterile confrontations of his later films, he surprises them in reaction shots, cuts quickly to create moments of uncertainty and has fun combining his actors with such props as stuffed animals and an amazing cherub-powered balloon. And along the way, while remaining faithful to the spirit (if not always the precise story line) of "The Magic Flute," he succeeds in making it into a movie. I can't recall another opera film I've seen in which that happened; usually we're all too conscious of the stage-bound nature of the performance, and of the difficulty of combining, successfully what Pauline Kael calls the two bastard arts. Film and opera are both wonderful, at borrowing and plundering other art forms, but usually incompatible with each other. Bergman's attempt succeeds brilliantly.
That's in great part due to his cast. Bergman has put together a group of singers who are filled with life, work naturally together and look their parts even in close-up (something most opera singers most definitely do not).
My favorite is Hakan Hagegard as the irrepressible Papageno, awed by the supernatural, delighted by his breakneck escapades, forever romantic. Josef Kostlinger, as Tamino, is suitably heroic; when he and the magic flute safely guide Princess Pamina through the fearsome tests of fire and water, he looks every bit as capable as the flute. And Ulrik Cold (the name is perfectly suited) plays Sarastro, the sorcerer, with a malevolence that transcends even the ridiculous pointed cap he enters wearing.
Bergman lets us see how the special effects work, he gives us backstage glimpses of the players hurrying to meet cues and relaxing during the intermission, and we're reminded of the many other backstage scenes in his films. "We're supposed to be conscious of watching a performance, and yet at some level Bergman also wants Mozart's fantasy to work as a story, a preposterous tale, and it does. This must be the most delightful film ever made from an opera.
Alf Thoor in Expressen:
The Magic Flute also features a wide range of vocal and orchestral music, including arias, duets, and choral pieces. In addition to its musical brilliance, The Magic Flute also explores themes of love, wisdom, and fraternity. It contains elements of Masonic symbolism, reflecting the Freemasonry movement that was influential in Mozart's time. The opera's plot is filled with magical and allegorical elements, adding to its enchanting and mystical atmosphere. Over the years, The Magic Flute has become one of Mozart's most beloved and frequently performed operas. Its enduring popularity can be attributed to its captivating music, engaging storyline, and timeless themes that resonate with audiences of all ages. It continues to be a staple of opera houses around the world and a testament to Mozart's musical legacy..
Reviews for "The Therapeutic Benefits of Playing the Madic Flute: Insights from Berfman"
1. John Smith - 1/5 - I was highly disappointed by "Madic flute berfman". The story was confusing and hard to follow, with jumps between time periods that made it difficult to keep up. The characters were one-dimensional and lacked depth, making it hard to connect with them or care about their journey. The writing style was also difficult to get into, with overly descriptive passages that slowed down the pace of the story. Overall, I would not recommend this book to others.
2. Emily Johnson - 2/5 - "Madic flute berfman" had an intriguing premise, but unfortunately, it fell short in execution. The plot was convoluted, with twists and turns that seemed forced and unnecessary. The pacing was uneven, with slow sections that didn't add much to the overall story. Additionally, the dialogue felt stiff and unrealistic, making it hard to believe in the characters and their relationships. Overall, while there were some interesting ideas in this book, it didn't live up to its potential.
3. Sarah Thompson - 2/5 - I found "Madic flute berfman" to be a confusing and frustrating read. The writing style was overly flowery and verbose, making it hard to understand the point being made. The author also seemed to rely heavily on cliches and tropes, which made the story feel unoriginal and predictable. The characters lacked depth and development, which made it difficult to care about their struggles and motivations. Overall, I was not impressed with this book and would not recommend it.
4. Michael Davis - 1/5 - "Madic flute berfman" was a complete letdown for me. The story was convoluted and lacked a clear focus, making it hard to follow along. The characters were poorly developed, with little to no growth throughout the narrative. Additionally, the pacing was extremely slow, with long descriptive passages that did nothing to move the story forward. Overall, I was left feeling frustrated and disinterested in this book.