Die Zauberflöte - Schedule, Program & Tickets
Die Zauberflöte
Great opera in two elevators
Libretto by Emanuel Schikaneder
First performance on September 30, 1791 in Vienna
Premiere at the Deutsche Oper Berlin on September 24, 1991
Suitable for children over 10 years
In German with German and English surtitles
Mozart's MAGIC FLUTE, the most-performed opera in the German-speaking world, the multi-layered masterpiece in the unusual mixture of Viennese folk theater and Masonic mystery, fairy tales and myths, remains a mystery to us: Did Mozart and his librettist Schikaneder change sides in the middle of the work between the Queen of Night and Sarastro? Is not there mistrust of the overly healed world of priests and their ideology that divides the world into good and evil? Are not there even traces of a distance between text and music, as some Mozart specialists suspect? Nevertheless, it is precisely the music that raises the contradictions of action into the world. She does not denounce her characters, but gives their conflicts an existential dimension. Without them the opera would sound like an irrational fairytale.
Libretto by Emanuel Schikaneder
First performance on September 30, 1791 in Vienna
Premiere at the Deutsche Oper Berlin on September 24, 1991
Suitable for children over 10 years
In German with German and English surtitles
Mozart's MAGIC FLUTE, the most-performed opera in the German-speaking world, the multi-layered masterpiece in the unusual mixture of Viennese folk theater and Masonic mystery, fairy tales and myths, remains a mystery to us: Did Mozart and his librettist Schikaneder change sides in the middle of the work between the Queen of Night and Sarastro? Is not there mistrust of the overly healed world of priests and their ideology that divides the world into good and evil? Are not there even traces of a distance between text and music, as some Mozart specialists suspect? Nevertheless, it is precisely the music that raises the contradictions of action into the world. She does not denounce her characters, but gives their conflicts an existential dimension. Without them the opera would sound like an irrational fairytale.
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