The magic flute is a fantasy story and a confusing Masonic preaching that lends itself to flexing its adventures with some freedom and enhancing its music that is truly exceptional. The version in the Real is the quite veteran of the Berlin Comic Opera, already seen here, in which the triple stage direction (Kosky, Andrade and Barrit) placed in the context of the silent films of the 20s. It is attractive although the years are noticed to an almost amortized proposal that is suggestive because it allows to keep intact the musical values ​​and because its technical realization is irreproachable. Forget the almost one hundred meters deep on the stage of the Real. A flat screen that embeds, when they act, the characters in the way of reliefs and a brilliant projection of cinema effects and virtual reality that serves everything since even the parliaments go in writing. All very well done, precisely and at times brilliant, in others, time is paid its tribute.

The work requires an expert musical direction and had it in that of Ivor Bolton, which is absolutely guaranteed, very well supported by the Madrid Symphony Orchestra and the excellent performance of the choir prepared by Andrés Máspero. Many good and good voices are also needed and here the main roles were in charge of the toned Stanislas de Barbeyrac and Anett Frisch who were really right with a special mention to the Papageno / Buster Keaton of Andreas Wolff and also to the Papagena de Ruth Rosique and the Sarastro by Andrea Mastroni. But always the most risky and most anticipated by the public is the diabolical second aria of the Queen of the Night with its agility, its cascades of "two" and "the acute" and the terrible fa 5 where more than one star has been shipwrecked . Fall of the poster the soloist announced, the role was assumed by the young Madrid soprano, who is triumphing over Europe, Rocío Pérez. It is a pleasure to listen to a new value that overcomes all difficulties not as a circus exercise, as sometimes happens, but based on musicality beyond the exultant technique. You have to master it, but you also have to sing. It was most notable in a generally very neat version where silent film expressions gave a visual framework to a work that fascinates with its music but which, like every opera, needs a sufficiently attractive visual explanation. The one offered here, although known to many, liked the respectable who received it very well.

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Work: The magic flute. Emanuel Schickander libretto. Mozart music

Performers: soloists, Choir and Symphony Orchestra of Madrid.

Direction scene: Barrie Kosky, Suzanne Andrade and Paul Barrit.

Musical direction: Ivor Bolton.

Place: Teatro Real

Dates: 19-01-2020

Rating: ***

According to the criteria of The Trust Project

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  • theater
  • music

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