THE MAGIC FLUTE has been interpreted as a fairy-tale, the story of the ontological fight between good and evil, or as the triumph of light over darkness. In its original incarnation, Die Zauberflöte served also as a political satire inspired by the struggle between the Austrian authorities and the Masonic Order. Coincidentally, Mozart and Schikaneder, the author of the original German libretto, were both devoted Freemasons. 

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Our re-interpretation of the opera assigns some very different roles to the traditional characters. The Queen of the Night, for example, originally a satirical depiction of Empress Maria Teresa, is usually understood as the 'villain' of the story, a woman who "chatters much and does little." In our rendition, her role changes into a righteously outraged mother trying desperately to rescue Pamina, her kidnapped daughter. Pamina and the 'clean-cut’ Prince Tamino attempt to enter the realm of "superior men,” but have plenty to learn about accepting the seduction of lofty philosophies. 

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At the time of its composition, the Flute was both daring and innovative. A 21st century approach, however, requires radical re-imagining of the more dated elements of this story. The vision of our production is to stay true Mozart's original intention of challenging established power structures through art, yet in a way that will resonate with contemporary audiences. 

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Perhaps the most likable characters in this story are the always-chattering human-avian hybrids Papageno and his ever-evasive female counterpart Papagena. The couple no longer only functions as comedic relief, as their enjoyment of nature and the simple pleasures of life serves as the opera's most compelling element of redemption. 

 

 

Performed in German with English Supertitles and Spoken Dialogue

 

 

Conducted by Barbara Day Turner

Directed by Daniel Helfgot

Stage Design by Robert Vaughn

Costumes by Laurel Peterson

Choreography by Alexis Silver