La Sinne


Dec 08, 2022Jan 08, 2023

Duration: 3hr, no interval.
With the support of Fidelio.


Musical Director Andreas Spering Stage Director Johanny Bert Sets Amandine Livet Costumes Pétronille Salomé Lighting David Debrinay Dramaturg Louis Geisler Collaboration artistique Jean-François Kessler Chœur de l'Opéra national du Rhin, Les Petits Chanteurs de Strasbourg - Maîtrise de l'Opéra national du Rhin, Orchestre symphonique de Mulhouse


Sarastro Nicolai Elsberg La Reine de la nuit Svetlana Moskalenko La Reine de la nuit pour les représentations des 9, 12, 15, 18 déc. et 5 janv. Marie-Eve Munger Tamino Eric Ferring Tamino pour les représentations des 9, 12, 15, 18 déc. et 5 janv. Trystan Llŷr Griffiths Pamina Lenneke Ruiten Pamina pour les représentations des 9, 12, 15, 18 déc. et 5 janv. Helène Carpentier Papageno Huw Montague Rendall Papageno pour les représentations des 9, 12, 15, 18 déc. et 6 janv. Michael Borth Papagena Elisabeth Boudreault Monostatos Peter Kirk Première Dame Julie Goussot Deuxième Dame Eugénie Joneau Troisième Dame Liying Yang L’Orateur Manuel Walser Premier Ministre Iannis Gaussin Deuxième Ministre Oleg Volkov Trois Enfants Louisa Bouzar, Léon Hieber, Benjamin Ogier Trois Enfants pour les représentations des 9, 12, 15, 18 déc. et 5 janv. Nathalie Adleiba, Lily Ledermann, Hélisende Nuss Marionnettistes Valentin Arnoux, Chine Curchod, Faustine Lancel


Young Prince Tamino learns to his cost that a hero is made, not born. When he is pursued by a giant serpent, it is not his shining armor that saves him after he faints from fright but three attendants of the mysterious Queen of the Night. The Queen promises Tamino her daughter Pamina’s hand in marriage if he rescues her from the clutches of the evil Sarastro. Tamino is given a magic flute to help him in his quest. Accompanied by his sidekick Papageno, who hopes to find love in the arms of a Papagena, Tamino makes his way to Sarastro’s palace. The world he encounters turns out to be more complex than any fairy tale.
Fairy play, symbolic opera and allegory are just some of terms used to describe The Magic Flute, indicative of the story’s multiple layers of meaning open to so many interpretations. For his final operatic work, Mozart allowed himself immense freedom to mix styles and registers to assemble this enchanting mosaic, full of contrast yet supremely coherent. Johanny Bert brings his background in theater and puppetry to this production, creating a mischievous tone around the juxtaposition of convention and prejudice with the complicity of conductor Andreas Spering.

In German
Overtitled in French, German

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