The Magic Flute is a popular opera composed by Wolfgang Amadeus Mozart. It was first performed in Vienna, Austria in 1791. The opera is known for its blend of comedic and serious elements, as well as its incorporation of Masonic symbolism. The story of The Magic Flute follows the adventures of Prince Tamino as he embarks on a quest to rescue the princess Pamina. Along the way, he encounters a number of colorful characters, including the bird catcher Papageno and the evil Queen of the Night. In September 2019, a new production of The Magic Flute premiered at the Metropolitan Opera in New York City.
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.
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. 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.
In September 2019, a new production of The Magic Flute premiered at the Metropolitan Opera in New York City. This production was directed by Julie Taymor, best known for her work on the Broadway musical The Lion King. Taymor's production of The Magic Flute was highly stylized and visually stunning, featuring elaborate sets and costumes.
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.
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.
The cast of the Metropolitan Opera's production of The Magic Flute included renowned singers such as Kathryn Lewek as the Queen of the Night and Charles Castronovo as Prince Tamino. The production received critical acclaim for its innovative staging and the strong performances of its cast members. The Magic Flute has remained a popular and enduring opera throughout the years. Its timeless themes of love, friendship, and the power of music continue to resonate with audiences around the world. Whether performed in Vienna or New York, the opera's enchanting melodies and magical story never fail to captivate and delight..
Reviews for "New York's Magical Music Scene: The Magic Flute's Impact"
1. John - ★☆☆☆☆ - I was really disappointed with the performance of "Magic Flute" in New York. The singing was subpar and the actors lacked passion and enthusiasm. The sets were dull and unimpressive, and the overall production felt amateurish. I had high expectations for this famous opera, but it fell flat for me. I wouldn't recommend it to anyone looking for a captivating and enjoyable theater experience.
2. Emily - ★★☆☆☆ - I had heard so much about "Magic Flute" and was excited to see it in New York, but I left feeling underwhelmed. The story itself was confusing and hard to follow, and the performances did not do justice to the famous opera. The costumes were lackluster, and the stage effects were minimal. I expected a more grand and enchanting experience, but unfortunately, it didn't live up to my expectations.
3. Michael - ★★☆☆☆ - I have seen several productions of "Magic Flute" before, but this one in New York was the least impressive. The lead singers lacked the power and range needed for these roles, and it made the performance feel lackluster. The choreography was also uninspiring, and the whole production felt like it was going through the motions instead of creating a magical and captivating experience. Overall, I was disappointed with this rendition and would not recommend it to others.
4. Sarah - ★★☆☆☆ - The "Magic Flute" performance in New York was a letdown for me. The pacing felt off, with some scenes dragging on while others felt rushed. The stage design and lighting were unremarkable, and the overall production lacked creativity and flair. The lead actors' voices were not as powerful or captivating as I had hoped, and it made it hard to fully immerse myself in the story. Overall, I found this performance to be mediocre and wouldn't recommend it to opera enthusiasts looking for a memorable experience.