MOZART’S The Magic Flute (Die Zauberflöte) 8–10 March • ASB Theatre, Aotea Centre Auckland Arts Festival presents MOZART’S The Magic Flute (Die Zauberflöte) 8–10 March 2019 ASB Theatre, Aotea Centre Composer: Wolfgang Amadeus Mozart Libretto: Emanuel Schikaneder Directors: Barrie Kosky & Suzanne Andrade Musical Direction: Jordan de Souza & Hendrik Vestmann Stage & Costume Design: Esther Bialas Animation: Paul Barritt Conception: Suzanne Andrade & Paul Barritt (1927) & Barrie Kosky With the Auckland Philharmonia Orchestra Produced by Komische Oper Berlin Presented by arrangement with Arts Projects Australia Cover & Images: Iko Freese / drama-berlin.de Auckland Arts Festival Season supported by Opera Boost Patrons Jeremy Collins • Sir Roderick and Gillian, Lady Deane • Trevor and Jan Farmer ‘Pamina & Papageno’ Friedlander Foundation • Kent and Gaye Gardner • Dame Jenny Gibbs • The Wallace Foundation 1 ‘Tamino & Papageno’ ‘Papageno’ Welcome Nau Mai, Haere Mai. In each of my festivals, I want to present created the most popular opera production we would not be able to dream so ambitiously. for Auckland audiences an outstanding of the modern era, evidenced by audiences Huge thanks also to our sponsor, the University Welcome to Te Ahurei Toi o example of artists who are breathing new storming the box office in major cities around of Auckland, and to Goethe Institute, both of Ta¯maki Makaurau 2019. life into classic works and engaging in art the world. Now it is our turn to be enchanted. whom contributed greatly to presenting this making in thoroughly contemporary ways. project. We are grateful for the ongoing and It is a privilege for us to welcome to New steadfast support of Auckland Council and In this extraordinary production of Mozart’s Zealand for the first time a major European Creative New Zealand. most loved opera, The Magic Flute, we see opera house in this epic enterprise, with the collaboration between a storied opera some 125 members of KOB joining with our I invite you to continue your Auckland Arts house from the heart of the Germanic beloved Auckland Philharmonia Orchestra Festival experience following The Magic Flute tradition in Komische Oper Berlin, and a under Erster Kapellmeister Jordan de Souza. as we bring you amazing artists from Aotearoa daring UK theatre company in 1927 for and beyond. This is a festival made with aroha whom opera was an unknown universe. Thank you to New Zealand Opera, whose by a group of people I am honoured to work exciting new General Director Thomas de with, led by our CEO David Inns. KOB’s utterly unique Flute compels us to Mallet Burgess has been a staunch comrade look again at the operatic art form and of this project. Our deepest thanks to the It’s your festival. You are welcome. Nga¯ mihi nui. find fresh and thrilling inspiration. It is visionary gifts of our Opera Boost patrons no overstatement to say that directors led by the late, great Jeremy Collins. Without Jonathan Bielski Barrie Kosky and Suzanne Andrade have the support of such generous Aucklanders, Artistic Director, Auckland Arts Festival 2 3 Synopsis Act I Act II In a dark forest, far away… Pamina is being importuned by Sarastro’s The trial of silence For her part, Pamina believes that she has slave Monostatos. Papageno, who has lost Tamino forever. In her despair, she seeks As he flees from a dangerous giant serpent, become separated from Tamino on the way Tamino and Papageno must practise being to end her own life, but is prevented from Tamino is rescued at the last second by the to Sarastro, is as scared by the strange silent. Because of the appearance of the doing so by the three boys, who assure her three ladies who serve the Queen of the appearance of Monostatos as the slave is by ladies and their warnings, their ordeal is a that Tamino still loves her. Gladdened and Night. When he regains consciousness, the Papageno’s. Alone with Pamina, Papageno truly testing one. Tamino remains resolute, relieved, Pamina accepts their invitation to first thing Tamino sees is Papageno, and he announces that her rescuer Tamino will while Papageno immediately begins to see Tamino again. believes him to be his rescuer. soon arrive. Papageno himself is sad that chatter. his search for love has thus far proved Reunited at last, Tamino and Pamina undergo Papageno, a bird catcher in search of love, fruitless. Pamina comforts him. Meanwhile, Monostatos again tries to get the final trial together. does nothing to dispel the misunderstanding. close to the sleeping Pamina. The Queen of The three ladies return and punish Papageno The three boys have led Tamino to the the Night appears and orders her daughter The trial of fire and water for his lies by rendering him mute. They gates of Sarastro’s domain. Although he to kill Sarastro. Pamina remains behind, The music of the magic flute and their love show Tamino a picture of Pamina, the is initially refused entry, Tamino begins to despairing. Sarastro seeks to console Pamina for one another allow Tamino and Pamina daughter of the Queen of the Night, whom doubt the statements made by the Queen of by foreswearing any thoughts of revenge. to conquer their own fear and overcome the Tamino instantly falls in love with. the Night regarding Sarastro. He begins to dangers of fire and water. play on his magic flute, and enchants nature The trial of temptation Shortly thereafter, the Queen of the Night with his music. Tamino and Papageno must resist any Papageno is meanwhile still unsuccessful herself appears and tells Tamino of her in his search for his great love. Despairing, daughter’s kidnapping at the hands of Papageno meanwhile flees with Pamina, temptation: no conversation, no women, no food! he now also seeks to end his life, but is Sarastro. Tamino responds with great but they are caught by Monostatos and also prevented from doing so by the three enthusiasm to her command that he free his helpers. Papageno’s magic bells put As well as the magic flute and magic bells boys. Papageno’s dream finally comes true: Pamina. The three ladies give Papageno back their pursuers out of action. Sarastro and the three boys also bring Tamino and together with his Papagena, he dreams of his voice and instruct him to accompany his retinue then enter upon the scene. Papageno food, which Tamino once again being blessed with many children. Tamino. As a protection against danger, they Monostatos leads in Tamino. The long steadfastly resists. Even Pamina fails to draw give Tamino the gift of a magic flute, while yearned-for encounter between Tamino and a single word from Tamino’s lips, which she Meanwhile… Papageno receives magic bells. The three Pamina is all too brief. Sarastro orders that interprets as a rejection. She laments the …the Queen of the Night, the three ladies, and ladies declare that three boys will show they must first face a series of trials. cooling of Tamino’s love for her. the turncoat Monostatos arm themselves for Tamino and Papageno the way to Sarastro. Interval Before the last great trial, Pamina and an attack against Sarastro and his retinue. Tamino are brought together one last time to However, the attack is repelled. say farewell to one another. Tamino and Pamina have reached the end of Papageno is not permitted to take part in any their trials, and can finally be together. further trials. He now wishes for only a glass of wine – and dreams of his great love. 4 5 Artists’ Q&A Barrie Kosky, How did you come up with the idea of The result was a unique Magic Flute. Although Paul Barritt (filmmaker; co-creator staging The Magic Flute with 1927? Suzanne and Paul were working in Berlin for of 1927): And yet it would be wrong to Suzanne Andrade the first time, they had a natural feel for the see in our work only the influence of the & Paul Barritt Barrie Kosky (stage director; Intendant city’s artistic ambiance, especially the Berlin 1920s and silent film. We take our visual of the Komische Oper Berlin): The Magic on flying elephants, of the 1920s, when it was such an important inspiration from many eras, from the Flute is the most frequently performed creative center for painting, cabaret, silent film copper engravings of the 18th century as the world of silent film German-language opera, one of the top and animated film. Suzanne, Paul and I share well as in comics of today. There is no and the eternal ten operas in the world. Everyone knows a love for revue, vaudeville, music hall and preconceived aesthetic setting in our mind the story; everybody knows the music; similar forms of theatre, and, of course, for when we work on a show. The important search for love. everyone knows the characters. On top of silent film. So our Papageno is suggestive of thing is that the image fits. A good example that, it is an “ageless” opera, meaning that Buster Keaton, Monostatos is a bit Nosferatu, is Papageno’s aria ‘Ein Mädchen oder an eight-year-old can enjoy it as much and Pamina perhaps reminiscent of Louise Weibchen’ [a girl or a little wife]. In the as an octogenarian can. So you start out Brooks. But it’s more than a homage to silent libretto, he is served a glass of wine in the with some pressure when you undertake a film – there are far too many influences from dialogue before his aria. We let him have staging of this opera. I think the challenge other areas. But the world of silent film gives a drink, but it isn’t wine.