11/10/2022 0 Comments Magic flute musicIn producing the opera, Bergman sought to fulfill his early dream of a production in the Drottningholm Palace Theatre (one of the few surviving Baroque theatres in the world). Evidon also sees a parallel between Bergman's treatment of Sarastro and Amfortas in Parsifal. The latter film includes a puppet-theatre sequence of part of act 1 of the opera. Įvidon suggests that the characters of Frid and Petra in Bergman's 1955 film Smiles of a Summer Night, and Johan and Alma in his Hour of the Wolf (1968) pre-figure his conception of Papageno and Papagena, and Tamino and Pamina respectively in The Magic Flute. The roles of the Three Slaves, originally spoken roles assigned to adult actors, are given to children, who are silent. Instead of his usual costume of plumage, Papageno wears conventional clothing. However, Bergman altered the libretto in a number of respects: Sarastro is Pamina's father, trios in act 2 are omitted, and "Ein Mädchen oder Weibchen" is sung by Papageno just before he sees Papagena. In 1968, the Swedish poet Alf Henrikson prepared a Swedish-language version of the libretto for the purpose of a performance by the Royal Swedish Opera, which Bergman adopted as the basis of his script. For the plot, see The Magic Flute, and for details of the libretto see Libretto of The Magic Flute. The German-language libretto of The Magic Flute was the work of Mozart's collaborator Emanuel Schikaneder, who was also theatre manager and sang Papageno at the first performances in 1791. Enhörning readily agreed and supported the project without hesitation. The origin of his filmed version was in the 1960s, when Magnus Enhörning, head of the Swedish Radio, asked him for possible projects and he replied "I want to do The Magic Flute for television". Īt one stage, Bergman had hoped to direct a production at the Malmö City Theater. And now, together, we'll create! In other words, it is obvious that the drama of The Magic Flute should unfold in a baroque theater. The moment the curtain is raised, an agreement between stage and audience manifests itself. Here lies the noble, magical illusion of theater. In my imagination I have always seen The Magic Flute living inside that old theater, in that keenly acoustical wooden box, with its slanted stage floor, its backdrops and wings. I remember distinctly what a bewitching experience it was: the effect of chiaroscuro, the silence, the stage. I walked inside and saw for the first time the carefully restored baroque theater. For some reason the stage door was unlocked. One October day I set out for Drottningholm (in Stockholm) to see its unique court theater from the eighteenth century. Also while still a child, he serendipitously discovered the Baroque theater that served as the inspiration for his much-later production:Īs a boy I loved to roam around. He first saw The Magic Flute at the Royal Opera in Stockholm when he was 12 and hoped then to recreate it in his marionette theatre at home he could not do so because he could not afford the cost of a recording. The film's inception is rooted in Bergman's youth.
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