Julie Taymor is a well-known director and designer in the theater world, known for her innovative and imaginative productions. One of her notable works is "The Magic Flute," a production of Mozart's opera that has captivated audiences around the world. Taymor's production of "The Magic Flute" is unique and magical in its approach. She takes the timeless story and infuses it with her own artistic vision, creating a visually stunning and emotionally engaging experience for the audience. One of the standout elements of Taymor's production is the use of puppetry. Throughout the opera, larger-than-life puppet figures are brought to life by a team of puppeteers.
Monostatos tries to kiss the sleeping Pamina, but is frustrated by the entrance of the Queen of Night. Set on revenge, she charges Pamina with the task of murdering Sarastro. Torn by her devotion to her mother and her love for Tamino, Pamina is at a loss. Sarastro enters, reassuring Pamina that he is not out for vengeance, but strives for understanding and forgiveness.
Oberon was itself an adaptation of an earlier fairy-tale Singpsiel , Sophie Seyler s Hüon und Amande , which was itself an adaptation of an earlier work by Christoph Wieland. Is The Magic Flute a fairy story, then, a jumble of loosely-Masonic allegories that changed direction half way through, or is it a tightly constructed plot whose twists and ambiguities all serve a unified, higher purpose.
Throughout the opera, larger-than-life puppet figures are brought to life by a team of puppeteers. These puppets, including a giant serpent, a mechanical bird, and a fierce dragon, add another layer of enchantment to the production. They are beautifully designed and expertly manipulated, truly bringing the characters to life.
The magical piccolo by Julie Taymor
Julie Taymor’s vibrant production of The Magic Flute — with its dazzling scenery, larger-than-life puppetry, and fun, accessible story—has been a festive, family hit in its abridged English language version ever since its 2006 premiere, becoming a beloved New York City holiday tradition. But when it comes to Mozart’s magical and moving fairy tale, the many children enjoying the show from the audience aren’t the only youngsters in the house.
The Met Children’s Chorus, led by director Anthony Piccolo, plays an especially important part in The Magic Flute , with three of its members serving as the trio of mystical Spirits—voiced high, middle, and low—who guide the noble Prince Tamino and the birdbrained bird catcher Papageno in their quest to rescue Pamina, the brave and beautiful daughter of the Queen of the Night. The Spirits are an unforgettable part of the show from the moment of their dramatic entrance, floating in high above stage right, suspended from wires beneath some of the production’s magical bird puppets and singing
in three-part harmony as they soar over the colorful scenery below.
Members of the 65-strong Met Children’s Chorus audition each year to earn the privilege of performing as the Spirits, which are among the most prominent and well-known roles for children in the operatic repertory. Brothers Jesse and Casey Schopflocher, 16 and 14, have been members of the chorus for a combined 12 years, and they say performing as Spirits has been one of the highlights of their time with the Met.
Casey has appeared in The Magic Flute three times (2018, 2019, and 2021) and especially enjoys “being a part of a production that’s so over-the-top,” and feeling that he’s “part of the story and living in the opera.” His older brother Jesse was an understudy Spirit in 2016 and sang the role for the first time in 2017, then was an understudy for Casey in last season’s production.
For Jesse and Casey, the Spirits’ flying scene was both challenging and intimidating at first, but they grew to love their high-wire moment in the spotlight. “It is nerve-wracking because you’re so high up in the air and you have to position your body in just the right way, and sing on top of that,” Casey says, “but Jesse got me pumped up and excited to do it.” Jesse says that after the extensive rehearsal process, he was ready to take to the sky, and “by the night of the first perfor mance, I was more excited than nervous!”
The spectacular flying entrance is just one part of the Spirits’ role, which also includes the presentation of the flute and bells to Tamino and Papageno as they enter Sarastro’s dwelling. This scene provides a new, multi- layered challenge for the Spirits as they perform intricate choreography and dramatic acting, while handling props and continuing to sing in pitch-perfect harmony.
L ater in the opera, as they save Papageno from his death and encourage him to play the bells, revealing the young Papagena, the Spirits are given another physical challenge, balancing on the
shoulders of actors while singing. Despite the tall tasks and lofty standards expected of the
members of his chorus, Piccolo has learned not to be surprised at what they accomplish. “Don’t underestimate these children,” he says. “They’re very resilient, highly talented, and always eager to perform.”
With the house sure to be filled with families this December, Casey remembers fondly what it was like to perform in front of such a warm, appreciative crowd. “It’s extra exciting to perform for this audience,” he says. “Kids are so enthusiastic. They cheer on Tamino and laugh at Papageno.” He even had the chance to feel like a true Met star when some of them came to the stage door to meet him after performances. He hopes The Magic Flute has a lasting impact on these young audiences. “It feels amazing to be introducing opera to a new generation,” he says.
Both brothers are now in high school and consid ering their next steps in their musical journeys, but Jesse has a few words of inspiration for the children in the audience who might want to take the Met stage themselves one day “See as many operas as you can and listen to the music beforehand. Watching an opera is a much different experience when you know the music. And join a chorus! You’ll learn how to sing properly—and meet a lot of great people, too.”
The Magic Flute is on stage December 16 through January 6, with special holiday pricing.
One of the engraved illustrations from Liebeskind’s Dschinnistan, showing a Sarastro-like high priest, Egyptian statuary, symbols of magic and the occult, and a princely figure.
Another striking aspect of Taymor's production is the use of masks. The characters in "The Magic Flute" wear intricately designed masks that reflect their personality and role in the story. These masks, created with meticulous attention to detail, add an element of mystery and intrigue to the opera. Taymor's staging and set design are also notable in "The Magic Flute." She creates a visually stunning world that combines elements of fantasy and reality. The stage is transformed into a dreamscape, with floating platforms, stunning projections, and dazzling lighting effects. The audience is transported to another realm, immersing them in the magic of the story. Along with the visual elements, Taymor's production of "The Magic Flute" also focuses on the emotional journey of the characters. She brings out the depth and complexity of their relationships and explores themes of love, loyalty, and self-discovery. Through her direction, the opera becomes more than just a traditional performance; it becomes a deeply moving and thought-provoking experience. "The Magic Flute" by Julie Taymor is a testament to her creativity and talent as a director and designer. Her unique vision and meticulous attention to detail create a production that is truly magical and unforgettable. Through the use of puppetry, masks, staging, and storytelling, Taymor brings Mozart's timeless opera to life in a way that is both visually stunning and emotionally resonant. It is a production that must be seen to be believed and is sure to leave a lasting impression on all who experience it..
Reviews for "Embark on a whimsical journey with Julie Taymor's piccolo"
1. Sarah - 2/5 - I had such high hopes for "The Magical Piccolo" as I am a big fan of Julie Taymor's work. Unfortunately, this adaptation fell flat for me. The story felt disjointed and the characters lacked depth. The use of puppets and props seemed forced and didn't add much to the overall experience. Overall, I was left disappointed and wishing for more.
2. John - 1/5 - "The Magical Piccolo" was a complete miss for me. The storyline was confusing and hard to follow. The music and songs were forgettable and did not leave any impact. I found myself disengaged and bored throughout the entire performance. It's a shame because I had heard great things about Julie Taymor's previous works, but this one just didn't resonate with me at all.
3. Emily - 2/5 - I found "The Magical Piccolo" to be overly ambitious and lacking in execution. The use of extravagant set designs and elaborate costumes overshadowed the actual storytelling. The pacing was slow, and the dialogue didn't capture my attention. I expected more from a production by Julie Taymor, but this one just didn't deliver the magic I was hoping for.