It has long been eagerly awaited, the world’s most performed opera, composed by Wolfgang Amadeus Mozart with a libretto by Emanuel Schikaneder. On Sunday, “Die Zauberflöte”, directed by Gregor Bloéb, celebrated its premiere in a state theater that was filled to the last seat. Frenetic applause!
Everyone loves Mozart and everyone loves his last opera – “The Magic Flute”. But Mozart was not only a star because of his brilliant musical life’s work; or better: to a galaxy in the musician’s sky. Mozart was also an important representative of the Enlightenment, who brought the political reformism of Freemasonry into new areas through the broad message of his music, and that brings us back to the “Magic Flute”.
Bloéb’s first opera director
“The Magic Flute” is a collective, cross-generational cultural heritage and the most frequently performed opera of all. It is precisely for these reasons that hardly any other musical theater has become the object of staging destructive frenzy. That brings us to the “Magic Flute” premiere last Sunday at the Tiroler Landestheater. Director Johannes Reitmeier wanted – as reported – actor Gregor Bloéb to direct them. After a short period of reflection and “self-reflection”, Bloéb agreed and took over his first opera production.
And it wouldn’t be Bloéb if he hadn’t put his distinctive stamp on it. For example, in the aria “Der Vogelfänger bin ich ja” the well-known pan flute is by no means played, but a harmonica. Papageno (Phillippe Spiegel) also appears to be somewhat alpine and boyish in other ways, as if with an implied “Schuhplatteln”. Sarastro (Johannes Maria Wimmer) takes the “Heil’gen Hallen” as an opportunity to present himself as a rock star in the temple of wisdom. The Queen of the Night (Sophia Theodorides) is strikingly reminiscent, including her foam wig, of a teenage pop singer Madonna and Monostatos could be an Elton John 40 years ago.
Reminiscence of the 80s
The whole thing takes place in imaginatively designed costumes in a minimalist, but artistically extremely impressive set design (including a cleverly used revolving stage) with lots of colorful light. Which is why a number of scenes in the opera’s two acts are strikingly reminiscent of the neon-colored MTV commercials of the 80s. A young, committed duo is responsible for the set design and costumes: Laura Maimberg and Paul Sturminger, the son of the well-known director Michael Sturminger (Salzburg “Jedermann”).
Gregor Bloéb, born in 1968, grew up like the author of these lines in Austria’s “three golden decades” after 1945. These years were primarily characterized by political stability, economic growth and social togetherness. Therefore, in this three-hour, lively and very entertaining production, one should see a reminiscence of those years, implemented with a lot of winking, which will probably never return in this intensity.
Pure musical enjoyment
The hustle and bustle on stage is excellently played around and accompanied by the brilliant musicians of the Tyrolean Symphony Orchestra Innsbruck under conductor Andreas Sanguineti. He put a lot of energy into his brisk tempos, with the result that a fresh and straightforward magic flute sounded from the trench. Each of the artists in the soloist ensemble gave their all vocally and performed superbly.
The bright voice of Susanne Langbein as Pamina harmonizes wonderfully with the three boys of the Wilten Boys’ Choir. Sophia Theodorides perfectly intones the Queen of the Night and Johannes Maria Wimmer as Sarastro can confidently demonstrate and prove the depth of volume and satiety that his vocal part carries.
Don’t forget the choir (choir of the Tiroler Landestheater) which is very important in the “Magic Flute” and fits harmoniously into the whole. In this production there is harmony and joy, whereby Gregor Bloéb seems to be the positive center of it. The audience at the premiere recognized what was on offer with long and frenetic applause.