Tue 14 May 2013
Wolfgang Amadeus Mozart - Die Zauberflöte
Festspielhaus Baden-Baden, 2013 | Simon Rattle, Robert Carsen, Pavol Breslik, Ana Durlovski, Dimitry Ivashchenko, Kate Royal, Michael Nagy, Chen Reiss, Annick Massis, Magdalena Kožená, Nathalie Stutzmann, José van Dam, James Elliott | ARTE Live Web Internet Streaming, 1st April 2013
There’s not much magic in Robert Carsen’s new production of The Magic Flute for the 2013 Easter Festival at the Festspielhaus in Baden-Baden. There’s a flute at least, and you can’t always take that for granted - but Carsen very purposely brings this production very much down to earth. There are no big entrances and no grand effects, the settings are all related to nature and death. A rather grave Die Zauberflöte, you could say, which doesn’t provide much in the way of spectacle. Mozart’s music however can sustain that, but that might be more to do with the fine account of the score given by Berlin Philharmonic under the direction of Simon Rattle and some strong singing performances than with anything that Robert Carsen brings to the production.
Carsen at least applies a viable and consistent concept to the work, cutting through all the Masonic rituals and ceremonies to the heart of the conflict that lies between the opposing forces of the Queen of the Night and Sarastro. It does a little more than that and actually attempts to update some of the work’s less-enlightened views on women to give a more equality-minded view of the differences between the two sexes in regard to the rational and the emotional capacity of all human beings. One is not necessarily superior to the other here. Despite some of the inconsistencies with this position within the work itself - which only enhances its ambiguity and richness - it’s the joining of those two forces through the union of Tamino and Pamina to create a better world that undoubtedly forms the heart and the meaning of the work.
Carsen merely emphasises this union by showing it not so much in contrast to the entrenched positions of Sarastro and the Queen of the Night, as much it being the beginning of a new age that has the blessing of these once mortal enemies. In Carsen’s staging, both Sarastro and Königen present a united force, putting aside differences for the sake of a better future, coming together even in scenes where they don’t usually appear together to offer silent support to the other side, even if their stated position indicates the opposite. You’ll find women (and even Königen’s Three Ladies) then alongside the men in Sarastro’s temple and - just to get the point across - even the Three Boys are transformed into Three Girls wearing dresses to call Pamina back from her despair and attempted suicide.
This all requires a bit of an adjustment from viewer used to the traditional certainties within Die Zauberflöte, of which there are few enough as it is. In place of the old-fashioned obscure Masonic imagery and rituals - and indeed the traditional spectacular set-pieces - Carsen’s staging takes the opera back to a more natural setting, with the emphasis on Life and Death. There are no big spectacular effects scenes here, the location consisting for the most part of a cemetery of open graves set against the backdrop of a projection of woods. The opening scene then merely sees Tamino scramble out of a grave to be rescued from what isn’t anything more than a big snake by the Three Ladies in dressed in mourning attire. Papagena makes her first appearance during Papageno’s trial of silence not as an old hag, but as a skull-faced corpse climbing out of a coffin. Even the orchestra, surrounded by a platform, seem to be contained within one big pit.
There’s a constant and deliberate attempt to cut back on the flash and wonder. There’s no grand entrance even for Königen der Nacht, who simply walks onto the stage with a minimum of ceremony. If she still presents a formidable figure, that’s conveyed in the singing delivery of that famous opening aria, and that alone is more than enough. In keeping with the sober funereal imagery, Monostatos is a gravedigger here, the Three Boys are just three boys (when they aren’t Three Boys dressed as girls) with no magic flying balloons to transport them. The Speaker and Sarastro are also dressed in formal mourning coats, wearing blindfolds. In the one place where you would at least expect to see magic effects, the playing of the magic flute, we merely see shadows of birds flitting around in the trees in the background.
Carsen’s staging then does take away a lot of the wonder and the humour that contributes to the richness of Die Zauberflöte without really bringing anything new out of it. What holds the viewer however, and what the staging only emphasises, is the richness of the music itself and the quality of the performances. Die Zauberflöte wouldn’t be part of the normal repertoire of the Berlin Philharmonic, but perhaps because of that they seem to relish in the beauty of the work’s symphonic qualities. You’d hardly think Die Zauberflöte was just a Singspiel, but of course the work is much more than that and Rattle and the Berliner Philharmoniker give a warm account of the work that contrasts with Carsen’s direction but at the same time enhances it. It may give every visual appearance of being a dark, morbid version of the opera, but there’s more warmth and forgiveness here that you usually find in what can sometimes be a cold and rigidly performed work. It’s hugs all around at the end here with even Monostatos being welcomed back into the big love-in finale.
The casting and the singing also make this an absolutely gorgeous Die Zauberflöte to listen to. With his pure lyrical tenor and fresh, sincere delivery, Pavol Breslik is a natural for Tamino. Alongside Kate Royal’s Pamina, a more idealistically perfect couple would be hard to find. Both look good, can act well and have simply beautiful singing voices. Royal’s ‘Ach ich Fühls‘ in particular is just exquisitely heartbreaking. And there are no disappointments elsewhere in the cast. Ana Durlovski stepped in at short notice to replace an unwell Simone Kermes as Königen der Nacht and did so very impressively. Dimitry Ivashchenko’s Sarastro sounded fine, but had a tendency to work to his own timing rather than follow the conductor. The toning down of the comedy and strong principals meant that there was not danger of Michael Nagy’s Papageno stealing the show here, but rather it was a fine performance that was still funny but fitted in well with the overall production.
This production of Die Zauberflöte at the Baden-Baden Festspielhaus was recorded on the 1st April 2013 and broadcast via internet streaming throught the ARTE Live Web site, where it is currently still available for viewing until July. Subtitles on the broadcast are in German only.