November 16-19, 2024 The Magic Flute

Ziff Ballet Opera House

Florida Grand Opera and The Adrienne Arsht Center for the Performing Arts of Miami-Dade County present

The Magic Flute

Directed by Jeffrey Marc Buchman

 

Die Zauberflöte by Wolfgang Amadeus Mozart

An opera in two acts

Libretto by Emanuel Schikaneder

First performed in 1891, Theater auf der Wieden, Vienna

Last performed at FGO in 2013

Sung in German with English dialogue

English- and Spanish-projected translations

Director's notes

Jeffrey Marc Buchman 

Mozart’s timeless opera The Magic Flute has long enthralled audiences with its multilayered storytelling, captivating adults and children alike. Its fantasy quest, woven with humor and poignancy, offers a journey that inspires, surprises and delights. As I pondered how to craft my newest telling of this masterpiece, I found myself drawn to the parallels between its narrative and the immersive world of fantasy role-playing board games.

Role-playing games transport players to fantastical realms where they embark on epic quests, facing challenges that mirror our own struggles and triumphs. Like The Magic Flute, these games engage us on multiple levels, inviting us to explore themes of morality, resilience and camaraderie. While both mediums undeniably provide a form of escapism, their true value lies in their ability to inspire. They serve as reminders of our potential for growth and the profound impact of shared experiences on our journey through life. 

In this new production, I have blended Mozart’s opera with the world of gaming to tell its story through boundless imagination and adolescent eyes. If childhood represents a time of innocence and clarity where moral structures appear distinct and straightforward, then adulthood unfolds as a journey into the nuanced realm of complexity where we must confront the bittersweet truths that great pain often accompanies great love, and that the lines between right and wrong are often blurred in our pursuit of what we perceive as a noble cause. This transition from simplicity to complexity finds a poignant expression in adolescence, a period marked by questioning the inconsistencies and hypocrisies of the world around us. Through the lens of adolescent perception, navigating the uncharted waters of personal growth and self-discovery, the opera takes on a renewed vibrancy capturing the essence of a transformative journey into maturity.

Beyond mere entertainment, The Magic Flute and role-playing games present profound opportunities for personal exploration and empowerment. They challenge us to confront ethical dilemmas, to tap into our inner resilience and to forge connections with others. Whether in the opera house or sitting around a gaming table, these experiences inspire us to embrace our inner hero and confront the battles that life throws our way.

In a world that often feels fragmented, the communal experience of attending the opera, just like that of role-playing board games, offers a sense of belonging and shared purpose. By merging these two worlds, this production celebrates the enduring power of storytelling to unite, inspire and transform. It is a tribute to the child in all of us, whose imagination knows no bounds and whose spirit yearns for adventure and magic. 

Synopsis

ACT I 

The Three Ladies kill a huge serpent that was chasing Tamino, then go to inform the Queen of the Night of his arrival. Papageno introduces himself, boasting to Tamino that he was the one who slew the dragon. The Ladies return to give Tamino a portrait of Pamina, claiming she has been enslaved by Sarastro, and they temporarily padlock Papageno’s mouth for lying. Tamino is charmed by the image of Pamina. The Queen appears, lamenting the loss of her daughter, and charges Tamino and Papageno with Pamina’s rescue. The Ladies give Tamino a magic flute and Papageno magic bells to ensure their safety. Monostatos tries to capture Pamina but is frightened away by Papageno, who tells Pamina that Tamino loves her and intends to save her. Tamino arrives at a temple and is told that it is the Queen, not Sarastro, who is evil. He plays his flute, hoping to make Pamina appear. She and Papageno are nearby and, thanks to Papageno’s magic bells, are able once again to escape from Monostatos. Sarastro promises Pamina eventual freedom. She sees Tamino outside the temple, and they fall in love. 

 

ACT II 

Tamino and Papageno begin the first of three initiation trials to join Sarastro’s temple brotherhood. Sworn to silence, Tamino resists the temptations of the Three Ladies, but Papageno quickly succumbs. Monostatos again approaches the sleeping Pamina but is warded off by the Queen of the Night, who gives her daughter a dagger with which to murder Sarastro. Monostatos renews his quest when the Queen vanishes, but Pamina is rescued by Sarastro, who consoles her. Papageno catches a glimpse of Papagena, but is warned that he must succeed in the trials if he is to have her for a wife. Pamina is despondent over Tamino’s silence, but is saved from suicide by the Three Spirits. She is reunited with Tamino, and they undergo the trials by water and fire, emerging triumphant thanks to the magic flute. Papageno also is saved from attempted suicide by the Spirits, who remind him to use his magic bells to summon Papagena. The pair plan for a fertile future. The Queen of the Night, her Three Ladies and Monostatos attack the temple brotherhood, but are defeated, and the victory of light over darkness is celebrated.  

Cast

  • Ricardo Garcia (tenor)

    Tamino

  • Avery Boettcher (soprano)

    First Lady

  • Mary Burke Barber (mezzo-soprano)

    Second Lady

  • Monique Galvão (mezzo-soprano)

    Third Lady

  • Alex DeSocio (baritone)

    Papageno

  • Laura León (soprano)

    Queen of the Night

  • David Margulis (tenor)

    Monostatos

  • Sara Kennedy (soprano)

    Pamina

  • Kornel Racz (soprano)

    First Spirit

  • Christian Burbach (soprano)

    Second Spirit

  • Sophia Cavaretta (soprano)

    Third Spirit

  • Neil Nelson (bass-baritone)

    Speaker

  • Andrew W. Potter (bass)

    Sarastro

  • James A. Mancuso (tenor)

    First Priest / First Armored Man

  • Alexander Kolyszko (bass)

    Second Priest / Second Armored Man

  • Sydney Dardis (soprano)

    Papagena

Crew

  • Christine Brandes

    Conductor

  • Jeffrey Marc Buchman

    Director

  • Felix Jarrar

    Assistant conductor

  • Jared Peroune

    Chorus master

  • Rosa Mercedes

    Choreographer

  • Florida Grand Opera

    Production

  • Stephan Moravski

    Scenic designer

  • Camilla Haith

    Costume designer

  • Brittany Rappise

    Wig and makeup designer

  • Robert Wierzel

    Lighting designer

  • Greg Emetaz

    Video designer

  • Karl Hesser

    English titles

  • Dreambay Enterprises

    Spanish titles

Adrienne Arsht Center