La chronique d'Eléonore et Klari :
MOZART WEEK 26 - SALZBURG 23 1 26
DIE ZAUBERFLÖTE / THE MAGIC FLUTE
STAGING : ROLANDO
Mozarteumorchester Salzburg - Philharmonia Chor Wien - Roberto González-Monjas : Conductor - Franz-Josef Selig : Sarastro - Kathryn Lewek : Queen of the Night - Magnus Dietrich : Tamino - Emily Pogorelc : Pamina - Theodore Platt : Papageno - Tamara Ivanis : Papagena / Old Woman - Alice Rossi : First Lady -Stepanka Pucálková : Second Lady - Noa Beinart : Third Lady - Paul Schweinester : Manostatos - Rupert Grössinger : Speaker - Vitus Denifl : Mozart -St.Florianer Sangerknaben : Three Boys - Victoria D'Agostino : Constanze - Maximilian Müller : Second Priest & First Armoured Man - Maximilian Anger : Third Priest & Second Armoured Man
"THE" MAGIC FLUTE FOR THE 21TH CENTURY
A fantastic, fabulous staging. Sparkling, effervescent thoughts. An ebullient concept.
The most worthy commemoration and the most worthy celebration of Mozart.
From the very first moment, we feel like an integral part of the event taking place on stage.
We are in it and it is in us at the same time. With this, Rolando gives us the feeling of being present in Mozart's life.
An ingenious idea : during the interval, Mozart was present on stage doing his habitual actions in his home.
The motto of every staging of Rolando is creativity. This creativity is present not only in his stagings, Rolando demands it also from the spectators.
Extremely strong conceptions that inspire : a constant presence of dying Mozart who participates in all activities, and the Mozart's family (wife and children) involved in all events, the family living all their lives.
One of the most powerful elements of the staging :
TIME being the supreme ordening principle in the life of dying Mozart, symbolized by a clock cabinet with a dial that flashes, then darkens in defining moments.
Demonstrating limitless creativity, countless exciting and absolutely brilliant ideas filled the staging, keeping us speechless.
These are not separate ones, they are integrated as an organic whole.
After watching just a first performance, it is impossible to remember them all, so we mention: -
A huge serpent in the first scene, becoming a part of Mozart's life as a plush toy, put on his bed- Plush animal figures as children's toys, but also as figures appearing with Tamino and Papageno wandering in the forest
- Nine huge Mozart-figures
- in the numerology, the nine symbolizing humanism and wisdom- Cabinets having a double role : communication among the rooms of Mozart's home and somehow they offer a gateway to the opera
- A night sky scattered with musical notes, and the dress of the Queen of the Night forming a dome above Earth.
Other bright ideas : the Queen of the Night appears first in a light blue dress leaving to believe in her goodness, then this dress becomes dark blue. and also : she never stands on Earth, but sitting on the Moon or floating above Earth.
Freemasonry was extremely important in Mozart's life : its symbol is projected on the wall and it is also present on the dress of the Queen of the Night.
Importance of colours. A limitless richness of colours in the costumes.Manostatos' coat is lined with small Mozart's figures (and also with tiny yellow ducks...)
The most deep and touching emotional moments : dying Mozart in his home clothing, rising from his bed, changing his clothes, taking the "iconic well-known red Mozart-dress". He slowly rises above the World, ascending into Eternity, accompanied by the heartbreaking sounds of the Lacrimosa.
The performance ended with a fantastic, wildly cheerful crowd scene with Mozart in the air laughing and making fun of the worldOnly the strongest expressions must be used for the success.
The audience celebrated the performance in all forms and expressions of approval usual in theaters (endless, noisy applause, thunderous clapping, loud ovations), and when the creators of the performance came out, the hugest personal success and triumph of Rolando were palpable.
The greatest, magnificent singers with their fabulous voices enchanted the audience. We know the marvelous art of almost all singers : we have heard them and seen their acting in several productions.
Kathryn Lewek with her extremely hard coloraturas, Franz-Josef Selig in Sarastro's magnificent arias, Paul Schweinester as a remarkable Manostatos, Tamara Ivanis as a cheerful Papagena, Emily Pogorelc as a gentle Pamina, the central heroin. A new discovery, the fantastic Theodore Platt as Papageno, a role that fits him like a glove, a new Tamino for us, with a really Mozartian tenor : Magnus Dietrich.
And what a majestic orchestra under the baton of superb, outstanding Roberto González-Monjas, giving all the extreme beauty and richness of this immortal music, every member being the absolute virtuoso of his instrument. The sound of the choir was brilliant, bringing goosebumps.
An absolute and perfect musical and theatrical evening!
KÖSZÖNJÜK, ROLANDO!
Eléonore and Klári
Une excellente critique :
***
Après le concert du 24 01 25, Rolando a rencontré la reine Silvia de Suède qui était déjà présente pour la première de "La Flûte enchantée"...
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