“The Magic Flute” is probably as much a singing game as an opera. The difference is, among other things, that in a singing game the dialogues are spoken, not recited or sung. Something that makes “The Magic Flute” well suited for shoe players – if they are good at singing, that is. Director Ole Anders Tandberg took that chance. About “The Magic Flute” “The Magic Flute” is a German opera (singer play) in two acts with music by Wolfgang Amadeus Mozart (1756-1791) and libretto by Emanuel Schikaneder (1751–1812). among the world’s most played operas. It is also considered the first great German opera and contains some of the most famous arias in opera history (for example, the Queen of the Night’s coloratura aria “Der Hölle Rache”). “The Magic Flute” was Mozart’s last opera, but his first longer opera with a German text after “Die Entführung aus dei Serail” (“The Abduction from the Serail”). The first known production of the opera in its entirety in Norway was produced in 1862 by Kristiania Norske Theater. In addition, he took a chance on a scout troop, a group of bears and Kapellmeister Trond Lindheim. He should have a large part of the credit for “The Magic Flute” flowing as well as it does at Det Norske Teatret. I barely got through a minute of the overture before I started laughing out of surprise. Much of the humor lies in how Lindheim has re-orchestrated Mozart’s music so that it sounds good for various wind instruments, electric guitar, banjo, percussion, keyboards – and, not least: recorder. BE CAREFUL: When menacing bears want to eat you, it’s good to have a magic whistle. Prince Tamino’s (Vetle Bergan) recorder works wonders in “The Magic Flute”. Photo: Erik Berg In a rich mix of genres, he let it tickle and bubble from the orchestra pit. When you think it’s getting pompous and solemn, it’s quietly jazzed down. Or ballad-like. Or cheerful, light-hearted and popular. Of course, this is a smart solution because it is not opera singers, but actors who will deliver the well-known arias to Natta’s queen and Papageno. Skode players have a different voice training and a different way of working with body and sound. And they work differently with expression. This way they can open up the text, meaning and feelings in the well-known opera. ON DUTY: Papageno (Joachim Rafaelsen) and Pamina (Ina Svenningdal) look after. Photo: Erik Berg It is not an evening at the theater for those who want three hours of wonderful opera singing. For songleg, the performances are uneven. If you want to enter the adventure that “The Magic Flute” is, then you are in the right place. In a dream, anything goes. Because this is an opera that can seem quite incomprehensible. Bird catchers and watchmen, evil queens and Egyptian deities. Wisdom, temple, princes, life and death. Director Tandberg has chosen to let Prince Tamino (Vetle Bergan) be a sleeping audience member, and the dream that is played out on stage is his. And in a dream, anything can happen: You can fall in love with a picture and be ready to go through fire and water for the one you love. You can get a magic flute as an aid, make bears dance and of course get the princess at the end. Everything can be swallowed raw in a dream. HELPERS: A singing trio comes in handy for Prince Tamino (Vetle Bergan) in “The Magic Flute”. Photo: Erik Berg By doing it this way, Tandberg brings out more clearly the fairy tale about the princess and the prince who work to get each other. About how what you think is good, may not be after all (beautifully played by Natta’s queen, Charlotte Frogner), and about how the old must give way to the new. One must of course accept this premise when the foresight is seen for our own time. But again: Dream logic defends this move. HAPPY Glance: Tamino falls in love with Pamina (Ina Svenningdal). In the dream, he hunts her and tempts her to free her from captivity – but ends up freeing both her and himself. Photo: Erik Berg The orchestration pulls it all together “The Magic Flute” is funny, not least because it is cleverly solved. One of the highlights is the well-known aria of Natta’s Queen and Charlotte Frogner’s physical interpretation of it. The scenography is characterized by large airy rooms, and the absurdity is maintained by ensemble scenes with dancing bears and active scouts. In addition, the turnover of Jostein Avdem Fretland is very good. GOOD OR EVIL: The Queen of the Night (Charlotte Frogner) does a memorable version of the famous aria of the Queen of the Night as a meandering snake. Photo: Eirik Malmo Nevertheless – not all premises in the story are as easy to just accept. In between, the narration quickly went off guard, and uneven vocals sometimes dragged the experience down. But then smart and fun orchestration saves the foresight from the wildest paths. Because it is not difficult to be convinced by a music ensemble with rock feet in the whole body. news reviews Photo: Fredrik Arff Title: “The magic flute” Original title: “Die Zauberflöte” By: Wolfgang Amadeus Mozart and Emanuel Schikaneder With: Charlotte Frogner, Pål Christian Eggen, Vetle Bergan, Ina Svenningdal, Joachim Rafaelsen, Ragne Grande, Bartek Kaminski, Lasse Kolsrud, Geir Kvarme, Julie Støp Husby, Tiril Heide-Steen, Ingrid Jørgensen Dragland. Production: Jostein Avdem Fretland Director: Ole Anders Tandberg Music manager: Trond Lindheim Set designer: Ole Anders Tandberg Costume designer: Maria Geber Choreographer: Anna Koch Lighting designer: Ellen Ruge Sound designer: Bjørnar Hopland Sound teacher: Ståle Ytterli Dramaturg: Siri Løkholm Ramberg
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“The Magic Flute” at the Norwegian Theater – Reviews and recommendations
